Hibachi Brazier

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Hibachi, Braziers 火鉢　




quote
The hibachi (火鉢, "fire bowl") is a traditional Japanese heating device. It consists of a round, cylindrical or a box-shaped open-topped container, made from or lined with a heatproof material and designed to hold burning charcoal.

In North America, the term "hibachi" is used to refer to a small cooking stove heated by charcoal (actually called shichirin in Japanese), or to an iron hot plate (teppan) used in Teppanyaki restaurants.

Although the word is Japanese and the device is strongly associated with Japan, the hibachi originated in China as a type of portable charcoal brazier used to heat the homes of the nobility. It is not known when the hibachi was first used in Japan; however written records suggest that it was used by the Heian period (798-1185AD). Owing to the low availability of metal in China and Japan, early hibachis were made from dug-out cypress wood lined with clay.

Traditional hibachis can be very attractive objects in themselves and are today sometimes sold as antiques.
©　More in the WIKIPEDIA !



. kirihibachi　桐鉢 hand warmer from paulownia wood .


oke 桶 see below
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Made from Takatori Pottery, this is a sort of te-aburi, handwarmer, one to warm your hands in winter.
about 40 cm high. Beautiful glazing on the head, falling down like hair.




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Metal Brazier



Metal hibachi, possibly brass; about 30 cm in hight. Rather sabi on the sides.
The two handles show little Daruma dolls.



My Collection, January 2007

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Brazier with Daruma Face


Photo from my friend Ishino.


Princess Daruma Hibachi / Photos


Small black teaburi / 2 Photos

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smiling Drauma on a small handwarmer


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Made from clay
diameter 7.48in(19cm) x 6.69in(17cm)


©　www.antique ichiroya.com

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Two small teaburi handwarmers


©　tokukobi


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small hibachi from the Showa period
hight about 20 cm, diameter 24



side view


Photos from my friend Ishino



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Read more details here:

Hibachi- Daruma Brazier to Keep You Warm
火鉢とだるま—寒季散歩
BACKUP TEXT only　

Te-aburi - Daruma as a Handwarmer
手あぶりとだるま—寒季散歩

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From Hagi Pottery


Photos from my friend Ishino
About 25 cm high.


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H A I K U




kigo for all spring

haru hibachi 春火鉢 (はるひばち) brazier in spring
haru hioke, haru hi-oke 春火桶（はるひおけ）"fire box" in spring

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kigo for all summer

natsu hibachi 夏火鉢（なつひばち） brazier in summer


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kigo for late autumn

. hibachi hoshi 火鉢欲し（ひばちほし）to want a handwarmer
The evenings are slowly getting colder and a brazier is welcome.


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kigo for all winter

. brazier, hibachi 火鉢 　 and other stoves
including
hand warmer, teaburi 手あぶり
Cat Warmer, neko hibachi 　猫火鉢

..... hioke, hi-oke 火桶（ひおけ）"fire box"
kiri hioke 桐火桶（きりひおけ）hibachi from paulownia wood
..... kiri hibachi 桐火鉢（きりひばち）
hako hibachi 箱火鉢（はこひばち）hibachi in box format
nagahibachi 長火鉢（ながひばち）long square hibachi


. rentan hibachi 煉炭火鉢（れんたんひばち）hibachi for small briquettes



. HUMANITY KIGO - for all seasons



Brazier (jiko) Kenya. makaa (charcoal)

. Karematsu Jinja 枯松神社 and hidden Christians .
Nagasaki



. Utagawa Kuniyoshi 歌川国芳 .
つじうらをきく Tsujiura no Kiku

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霜の後撫子咲ける火桶哉
shimo no nochi nadeshiko sakeru hioke kana

frost has come,
but a wild pink blossom
on the wooden brazier
Tr. Barnhill


after the frost comes
a pink blossom remains on
the wooden brazier
Tr. Chilcott


Written in the winter of 1690 元禄3年冬。

This is an allusion to the waka by
. Fujiwara no Teika 藤原定家 .

霜さゆるあしたの原の冬枯れにひと花咲ける大和撫子

On a day with frost there is just one flower blossoming in the winter-withered field -
a Yamato Nadeshiko.


. WKD : nadeshiko 撫子 Pink, Fringed Pinks, wild carnation .


. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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. okeya 桶屋 bucket maker .
In Edo, many worked in the Kyobashi　京橋　district and also in Okemachi.
taruya 樽屋 buying barrels, making barrels


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okechoo, okemachi、桶町 Okecho, "Bucket district" in Edo
Many bucket makers lived in this area.



There was also a famous well with delicious water, yuzuri no i　譲りの井 "the Heritage Well". The owner of this well sold the cold waster to passers-by during the hot summer months, one cup for one Mon　(文). His son inherited the well and the business, hence the name.

In March 10 / 11, 1641, there was a great fire in Oke-machi 桶町火事. More than 400 people lost their lives and 123 homes of Samurai were burned down.
The fire started in the home of a medicine maker (薬師 kusushi) named Matsuo　松尾, and spread fast in the strong wind.
The home of the Government official 大目付　Ometsuke 加賀爪忠澄 Kagatsume Tadazumi (1586 - March 11, 1641) burned down and he died in the fire.
After this fire, the Shogun Iemitsu established a firebrigade of the Daimyo, 大名火消 Daimyobikeshi.

Okemachi Chiba Doojoo 桶町千葉道場 Dojo training hall of sword master
千葉定吉 Sadakichi Chiba.
One of its famous members was . Sakamoto Ryōma 坂本龍馬 Sakamoto Ryoma .

. metsuke 目付 and Ōmetsuke 大目付 Inspector and Inspector General .

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. Legends and Tales from Japan　伝説 - Introduction .

- reference : nichibun yokai database 妖怪データベース -
103 to explore
10 火鉢

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MORE - - -Pottery

Shichirin 七輪 portable cooking stove 　


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- #hibachi #okeya #taruya -
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Kaze Daruma

nnnnnnnnnnnn TOP nnnnnnnnnnnnn

Wind Daruma, Kaze Daruma 風だるま

Hijikata, Tatsumi 1928- "Wind Daruma"
TDR: The Drama Review - Volume 44, Number 1 (T 165), Spring 2000, pp. 71-79

Excerpt

I've gone and caught a terrible cold, and I bet there are people in the audience too who have colds. It's the first cold I've had in 20 years. With this cold I don't sweat much, either night or day, but my nose runs and when I blow it, my ears are affected. When people around me with colds blow their noses too, they make a snuffling sound. It's like there's a communal society in the neighborhood.

Let the same sickness strike and people flock together, it seems. I've thought for a long time that maybe we should give up our delusions about good health and just bring a cold into each neighborhood. People might then get along with each other. But, it's true that a cold can be the start of all kinds of illnesses so you can't be careless.

From talking about colds, I'd like to talk a bit about cold Akita, where I grew up and where a blustery wild wind blows. In Akita, or I should say in all of the Tohoku district, there's something called a "wind daruma." I'd better explain this a bit. Sometimes when it gusts up north, the snow swirls around and the wind is just incredible.

Then a Tohoku person can get wrapped in the wind that blows from the footpath between the rice paddies to my front door and, garbed in the wind, become a wind daruma standing at the entrance. The wind daruma goes into the parlor, and that already is butoh. I'd like to talk a bit about this idea of a wind daruma.

Quoted from
http://muse.jhu.edu/cgi-bin/access.cgi?uri=/journals/the_drama_review/v044/44.1tatsumi04.html&session=54661741


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Quote from artshore:

舞踏論：土方巽の風だるま

人体までがそのままコピーされ、複製された生命の誕生も可能となっている時代です。オリジナルが求められ続けた芸術の世界では、一足先にコピーへの動きがありました。でも、起源をたどれば絵を描いたり、歌を歌ったり、踊ったりすることは何かの模写だったのでしょう。そうするとオリジナルということが、かなり怪しいものに映ってきます。自己表現という言葉にも、胡散臭さがつきまといます。むしろ、模倣すること、剽窃すること、化身することで、ある種の普遍性が誕生し、同時にそれでもなお失われることのない個性が浮かび上がってきたりもします。

20世紀の日本にあってオリジナルな芸術の登場として世界に迎えられたものに、「舞踏」(BUTOH)があります。土着的なものに根を張った舞踏では、その生成過程で“変身”というものがひとつの鍵になっています。
　舞踏における変身への理解を深めるうえで、興味深い話があます。「舞踏懺悔録集成――舞踏フェスティヴァル’85」(1985)の前夜祭で、土方巽(Hijikata Tatsumi,1928-86)がおこなった『衰弱体の採集』と題した講演です。

　ここに“風だるま”の話がでてきます。土方が生まれ育った東北・秋田では、冷たい冬の日に風だるまが座敷にあがりこんで、囲炉裏の端にペタッと腰をおろし、あまりものを喋らず、じっとしているといいます。舞踊評論家の市川雅の解釈では「おそらく、風だるまとは吹雪のなかを顔を歪めながら歩き、顔が凍てつき、やっと目的の家にたどりついた訪問者」ということです。とにかく、風だるまの身体は生身の身体ではなく、かといって虚構を表現するためになにものかに扮しているのでもない。生々しさの消え失せた身体に、そっくりそのまま棲み着いてしまった存在こそが風だるまなのでしょう。

　風だるまの話は、もちろん土方巽が“身体の記憶”としてもっているもの、さらには舞踏を可能たらしめた“場所の記憶”を浮き彫りにします。舞踏の形態的特徴とされるガニ股やＯ脚、重心を低くした座位に近い姿勢、あるいは右腕右足を同時に前にだして歩くナンバ式歩行などは、風土性を色濃くにじませています。
　たしかにヨーロッパやアメリカで舞踏が喝采をもって受け入れられたのは、多くの場合、こうしたエキゾティシズムゆえのことであったのかもしれません。しかし、それだけのものなら、舞踏はキッチュな一過性の流行にすぎなないでしょう。舞踏の凄みは、風土の模写にあるのではなく、空虚な身体にまるごと風土や場所の忌まわしさをとりこんだことにあるはずです。そうすることで、「ヴァナキュラーな身体」とでも呼ぶべきものが、ここに立ち現われてくるのではないでしょうか。

http://artshore.exblog.jp/2277047/

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土方巽全集 2
http://books.yahoo.co.jp/book_detail/31579545


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Please send your contributions to Gabi Greve
http://groups.yahoo.com/group/Darumasan-Japan/


Alphabetical Index of the Daruma Museum

WKD - Sakazuki

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Sakazuki, small cups to drink Sake

さかずき【杯／盃／坏】
choko, ochoko ちょく【猪口】





I have written extensively about

Tokkuri - Drinking Hot Sake with Daruma
徳利とだるま―焼物散歩

Sake and Shochu - Ricewine, Schnaps and Daruma
酒、焼酎と達磨 ...


My Photo Album about Sake and Daruma


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Here is a nice pair made of wood and laquer. It starts of as one figure, and develops into a set of two cups with a small tray, almost like the maryoshika dolls of Russia.



Both heads are made flat so they stand as a sake cup.



Nr. 15 to 17 in the Album.


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This piece is rather large, almost 25 cm.
I have written about a similar small one in the story about Takasago.
At first it looks like a small statue, then you take of the head and have the first sakazuki. Next comes O-Kame, off and used as a sakazuki for the wife.



Again, the heads are formed rather flat so the cups can stand.



Nr. 09 - 12 in the Album.

Read about
Meoto Daruma and Takasago - Daruma and a Happy Couple


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Some sakazuki from Kutani



There are more in my Album, Nr. 18 to 21.

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Tumbler with Daruma 達磨タンブラー


中国醸造


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choko cups with a flask


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SOME LINKS

The very small cups for ricewine are called sakazuki　杯.
Somewhat bigger versions are guinomi　食いのみ or o-choko.


. . . CLICK here for guinomi Photos !



In olden times flat vessles of earthware were called
hiraka ひらか【平瓮】


Books about Sake Vessels -
from www.e-yakimono.net, Robert Yellin

COMPLETE LISTING OF SERIAL SAKE STORIES
All Stories by Robert Yellin

... ... ... ...

Japanese Sake Containers - A bit on the KITSCH side.

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Japanese Military Sake Cups 1894-1945
This is the first book of its kind
regarding the up-and-coming hobby of collecting Japanese Military Sake Cups (guntai sakazuki). It consists of 144 pages of useful information and photos regarding the usage and history on Japanese Army & Navy sake cups used by the military for roughly 50 years. The book covers cups, sake bottles, sake trays and commemorative items. The cups photographed in the book are the result of the author's 20 years of collection WWII Japanese militaria with a focus on sake-related items.

The attraction of these cups is not only hand made, hand painted craftsmanship but their historical significance as well. Many cups will have the owner's regiment, name etc..on the cup which gives the collector the option of researching the cup to discover where the original owner was stationed during the war.

The Japanese military machine chose to revive several age-old samurai traditions including the use of hand-forged swords, long helmet straps tied in the samurai style, and the consumption of ceremonial sake before a battle.

The sake was consumed in a solumn ceremony, with no words spoken other than a reverent, singular "Kanpai" by the leader.

- other books by Dan King

The Last Zero Fighter
Firsthand Accounts from Japanese WWII Naval Pilots and Airmen

A Tomb Called Iwo Jima
Firsthand Accounts from Japanese Survivors

- source : Dan King

兵隊盃 　/ 従軍記念杯

- reference about these cups

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盃に 三つの名を飲む 今宵かな
sakazuki ni mitsu no na o nomu koyoi kana

with a sake cup
I drink to the three names
this fine evening

Matsuo Basho
Tr. Higginson

Where is the season word?—you ask? In the opening quatrain of
Li Po’s poem "Under the Moon, Drinking Alone":

Among the flowers one jug of wine:
drinking alone with no one familiar,
I offer my cup to the bright moon
my shadows and I a party of three.


Bashô, too, drinks alone, but has the companionship of "the three names": Li Po and his two shadows of the same name (one on the ground, one in the wine cup). Oseku points out that we should also note the puns in this hokku: Puns on "moon" (-zuki cup = tsuki moon) and "full" (mitsu three = mitsu to fill).5 Rather than provoking humor directly as a pun in English might, these implied words simply capitalize on the profusion of homonyms in Japanese to provide further clues to the poem’s hidden seasonal topic.

William Higginson, 2001
source : www.haijinx.com



la coupe de vin (la lune)
remplie de trois noms
pour boire ce soir

Tr. Daniel Py



On that night, there were three uninvited guests at Basho's home, all with the name of Shichirobei 七郎兵衛.
Basho had intended to drink alone in memory of Li Po, maybe, but the drunken visitors joined him.
This hokku has the cut marker KANA at the end of line 3.


. Li Po, Li Bo, Li Bai 李白, lived 701 – 762 .


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quote
Sakazuki ni / mitsu no na nomu / koyoi kana

With my sake cup
& the moon, I toast three friends —
this fine evening

Basho wrote this playful haiku in 1685, when three friends came to visit him late at night. He had in mind lines from Li Po’s poem:

With blossoms, a bottle of wine
Drinking all alone, no one else.
Raising the cup, we greet the bright moon
With my shadow we become three.

Basho substituted Li Po’s three friend, the wine cup, his shadow and the moon for three actual friends.

The influence of Chinese literature on Basho
Bill Wyatt
source : www.poetrymagazines.org.u


According to Wyatt, Basho's haiku was written in 1685, a time period that "the haikai world was swept by the "Chinese style" (kanshibun-cho)" .
(For further info. read the section titled "Parody and the Chinese Style" (Shirane,Haruo, Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Basho, pp 60-7)

Basho was well-versed in Chinese classics. Read in the emotional context of his poem ("this fine evening"), "three friends" could be also read as an allusion to a popular Chinese idiom, three is a crowd, contrasted with Li Po's lonely lifeworld (himself, his shadow, and the moon).

Chen-ou Liu



Ricewine and sakazuki cups haiku by
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

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quote
Reviving Japanese Haikai Through Chinese Classics:
Yosa Buson and the Basho Revival

Li Po's poem Drinking Alone by Moonlight, the sixth in The Three Hundred Tang Poems
(月下獨酌, pinyin: Yuè Xià Dú Zhuó), translated by Arthur Waley, 1919, reads:

花間一壺酒。 A pot of wine, under the flowering trees;
獨酌無相親。 I drink alone, for no friend is near
舉杯邀明月。 raising my cup I beckon the bright moon,
對影成三人。 for her, together with my shadow, will make three people

"Three people" (or "a party of three;" Chinese: 三人) refers to the moon in the sky (, which connotates "Heaven"), Li Po's shadow on the ground ("Earth"),and Li Po himself ("Humanity").

Nankaku was a student of one of the most important Confucian scholars, Ogyu Sorai (1666--1728), who emphasized an unmediated understanding of Chinese classics, and whose thoughts had highly influenced the leading painters of nanga (also known as bunjinga, which literally means literati painting). Nanga was a school of Japanese painting modeled on the Chinese Southern school of painting, to which Buson belonged. Nankaku specialized in Chinese classics, and one of his greatest achievements was the Toshisen, a Japanese edition of one the most influential Chinese verse anthologies, Tang Selected Poems. The Toshisen had long served as one of the foundational texts for the bunjin movement.

The concept of “wenren” is highly related to that of “renwen” (wenren written inversely in Chinese). It can be found in the Yi Jing, also known as the Book of Changes, which is one of the oldest of Chinese classics. 36 Renwen can roughly be translated as meaning the "arts of humanity," one component of the three-fold Chinese universe: heaven, earth, and humanity. It "embodies all that is of the highest value to the society, and interacts with the other two: the spiritual and philosophical (tianwen) and the environmental and ecological (diwen). A person cultivated in renwen was originally called wenren.

source : Chen-ou Liu

Phenomenologically speaking, "three people" constitutes Li Po's lifeworld (German Lebenswelt understood in the Husserlian sense of the word).
Basho's allusion emotionally and tonally changes the connotative meaning of "three people."
Chen-ou Liu



. Chinese background of Japanese kigo .


koyoi no tsuki 今宵の月 the moon tonight
can be seen as a kigo for autum.

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. Sake 酒 for rituals and festivals .

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Incense and Daruma koogoo

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Incense, O-Koo　お香とだるま



Container for Incense, carved wood
Collection Gabi Greve

The incense culture of Japan has quite an old tradition.
Incense was used not only in temples, but at the imperial court.

I have written extensively about the world of Incense and Fragrance in Japanese Culture, sniff it out here:

My Incense files comprise three parts in the following order:

. Incense - general introduction .

Daruma as Incense Stick Holder <> senkoo　線香立てとだるま　

Daruma as Incense Burner <> kooro 香炉

and the text below, about koogoo incense containers.


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Daruma as Incense Container <> koogoo
香合とだるま

gooshi, gōshi- goosu 合子 incense container


CLICK for many more samples !


For the Tea Ceremony
A small lidded container for the incense that is added to the charcoal fire during the charcoal-laying procedure. For the kneaded incense (nerikō) that is used in a sunken hearth (ro), the container is generally made of ceramic. For the chips of incense wood (kōboku) used in a portable brazier (furo), it is generally made of lacquer ware or plain wood. There are also incense containers made of clam shells.
©　More in the WIKIPEDIA !


Incense in Japan has been introduced together with Buddhism in the 5th century and been used during religious ceremonies for a long time. Five to seven different kinds of incense ingredients are finely chipped and mixed together. The mixture is kept in a container called "koogoo" (kogo, kohgoh, kougou) and is sprinkled directly on hot ash containing charcoal.

This ritual offernig of incense to the Buddha (sonae-koo 供え香、shookoo 焼香) is usually performed during a funeral ceremony. Stick incense was introduced in the sixteenth century via China and Korea and soon became very popular because it was easier to use. Joss sticks were soon also used for pure pleasure in the home.The burning of fragrant chips for pleasure only was also called "empty burning" (soradaki 空薫).
The container is also called "Incence box" (koobako 香箱).

The scenting of garments using a little brazier and fragrant wood was also a common practise since the Heian period and frequently mentioned in prose and poetry and we heared about it in the story of the
Te-aburi 手あぶりとだるま Daruma as a Handwarmer 　
The natural scent of plum blossoms was also greatly appreciated and subject to Heian poetry.


Another form of incense consists of pulverized chips of up to 20 different kinds, mixed with honey to keep it fresh and rolled to little balls (nerikoo, neriko 練香) which had to rest for three years to gain the right scent. These "fragrant substances" (kunkoo 薫香) were also thrown directly into the fire during a religious fire ceremony (goma kuyoo 護摩供養).


Containers for incense used in temples during the Heian period where round bowls on a high stand with a lid in the form of an upside down bowl with a handle in the form of a Pagoda (toomari 塔椀). Since the Kamakura period round flat containers came into use. Many materials were used for these containers, for example metal, porcelain, ivory, laquer or wood. The Zen sect often uses containers made of carved wood with a thick layer of red or black laquer (chooshitsu 彫漆).
. . . CLICK here for Photos !



You can also look at beautiful laquered incense containers from various museums.
. . . CLICK here for Photos !



More
Utensils for the Way of Incense (koodoo, kodo 香道)
. . . CLICK here for Photos !


Learn more about the Way of Incence and its history.
http://www.japanese-incense.com/kodo.htm

Reference : Japanese Kodo


. Ashes layed out for Incense smelling


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from Hagi Pottery 萩焼の香合
. . . CLICK here for Photos !



Daruma from Kyoto Pottery 京焼達磨香合


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Hakata Daruma Doll as Incense Container


CLICK for more Daruma containers !



Reference : Incense containers from Japan

. . . CLICK here for Photos of English HP !


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Incense Container from Kutani Pottery
Look at Photos Nr. 70 - 72
Kutani and Daruma . Album



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LOOK at more beautiful artwork here
source : Bachmann Eckenstein

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- CLICK for enlargement ! -
source : Hadrien on facebook


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Another smell I associate with Daruma san is that of fresh green tea.

After all he is the father of the Tea Plant in ancient lore. I am still working on more details of this story.

"When the priest Daruma sat in a cave for nine years meditating, he had to fight sleepiness. He thought: "Because I have eyes, my eyelids fall over them and I start snoozing." So in a bold act he cut off his eyelids to keep awake. (The eyelashes, which he had thrown away, took root and turned into the tea bush to give us this wonderful wakening beverage, as legend knows!)｡

Who is Daruma ?


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This is a piece of Oribe pottery, about 25 cm high. The inside is hollow, so you put this Daruma on an incense cone and the smoke comes out of the ears!
The eyes are made with inlay of glass. The beard is modelled with great care and the whole facial expression is one of seriousness mixed with humour.




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THE BOOK OF INCENSE
Review by Donald Richie
© The Japan Times, December 10, 2006

by Kiyoko Morita.
Tokyo/New York/London: Kodansha International, 2006, 136 pp.,

Incense came early to Japan. According to the fifth-century "Nihonshoki" (Chronicles of Japan), a whole aloeswood tree drifted ashore at Awaji. When the fisherfolk burned it, the smoky perfume eventually attracted the attention of Prince Shotoku. From there it was but a step into Buddhism, the sacred purposes of which incense still serves.

At the same time, a secular use was also found. The court took up what the church had sanctioned, and shortly incense fumed at hearth and home. The 11th-century "Tale of Genji" makes frequent references to it. The Shining Prince, Genji himself, encounters it first in a temple, then takes it back and domesticates it. Shortly we find him scenting his robes by holding a small, smoking brazier under each sleeve.

The first imperial poetry collection, the 10th-century "Kokinshu," spoke of "that fragrance more alluring than color" and even the very particular Heian Period author Sei Shonagon included scented robes in her "Pillow Book" listing of things more pleasant than not.

Shortly a number of palace activities centered around incense could be observed. Courtiers would bring various samples and make each other guess what they were. This occasioned some difficulty, since by now nearly 2,500 varieties had been recognized. In addition, there were various recondite combinations, and elaborate diversions were invented, such as blending different scents to create the atmosphere of a particular literary work. That involving the "Kokinshu" called for some 700 different types of incense.

In the "Umegae" chapter of the "Genji," we find the prince hard at work in a deeply curtained room. In the Seidensticker translation, "he turned with great concentration to blending two perfumes according to formulas which . . . had been handed down in secret from the days of the Emperor Nimmyo."

More and more elaborate became the proper necessities. As in the analogous tea ceremony, various instruments (many of them made of gold or silver) were called for. Diverse formalities were developed and a proper name for the activity was created: kodo. Eventually even the act of smelling became too common. Instead one "listened" to incense. (koo o kiku)

Such ceremonial excess is perhaps what eventually did kodo in. Despite later popularity, in particular during the Genroku Era (1688-1704), and notwithstanding the attentions of such important social figures as Oda Nobunaga, interest in incense-smelling declined to the low level it occupies today.

The tea ceremony, however, is still with us, and there are many other examples of such fossilization. One wonders, then, why kodo seems to have more or less vanished. One reason might be that, like many such diversions in this country, it became too openly competitive. Another might be that after its stylishness wore off, it began to look effete to a rising middle class.

Yet, as Kiyoko Morita's book indicates, there still remains a public for it. Originally published in 1992, this volume came out in paperback in 1999, and is now available in its first trade paperback edition.
Morita gives real assistance. She lists all the popular varieties and indicates where to get them, is knowledgeable about the instruments necessary, gives advice on the "incense ceremony," and tells how to "sample for fun."

And, truly, in this age of fast food, of instant replay, of demanding e-mail and the voracious cell phone, something as reflective and as time-consuming as kodo is plainly needed if sanity is to be retained.

Review by Donald Richie
© The Japan Times, December 10, 2006

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Incense container from Bronze





Photos from my friend Ishino


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hangonkoo, hankonkoo 反魂香
soul-returning incense
hangonko, hankonko


鳥山石燕『今昔百鬼拾遺』
より「返魂香」


If it is burned, the soul of a diseased person will come back to life. Or his soul will be seen in the form of the smoke. One emperor in ancient China used this to bring back te memories of his beloved wife Li 李. He used the incinse of a special tree for this occasion, hangonju 反魂樹.
This story is also used in Noh-plays, Kabuki and the puppet theater bunraku.
傾城（けいせい）反魂香 Keisei hangonkoo by Chimamatsu Monzaemon.
The magic to make this work is called hangonjutsu 反魂術.


yomigae よみかえ coming back to life

ukiyo-e from Hishikawa Moronobu
菱川師宣 (1618 - 1694)


まぼろしの反魂香や雉のこえ
maboroshi no hangonkoo ya kiji no koe

this elusive
Hangonko incense -
voice of a pheasant

Sawa Rosen 沢露川　 （1661－1743)
Maybe as he stands in front of the grave of his parents, lighting a bit of incense, a pheasant's call sounds just like the voice of his parents.


Reference


hangontan 反魂丹 Hangontan medicine
medicine to "bring back the soul", now a stomach medicine
From Toyama


三代目豊国「薬うり直介」
medicine seller, pill-peddler Naosuke

Reference

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これや世の煤に染まらぬ古合子
kore ya yo no susu ni somaranu furu gooshi

Written in December 1689, Genroku 2 元禄2年12月, In Zeze 膳所.
For Haikai Kanjin Choo 俳諧勧進牒 compiled by Yasomura Rotsuu 八十村路通 Rotsu.

This is not about an incense burner.

MORE
. gooshi 合子/ 盒子 set of bowls for food offerings .


. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

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Kirikane decorated balls Mari kōgō (まり香盒, incense box ball)
by National Living Treasure of Japan as a Kirikane artist,
Eri Sayoko (江里佐代子, 1945-2007).

- source : facebook

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My Photo Album about Incense


Incense (India), senkoo (Japan)
a Kigo in the WKD Database


Incense Burner ... kooroo 香炉とだるま

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Opfergaben, Rauchopfer Deutscher Text

Duftopfer, Blumenopfer Deutscher Text

Buddhistische Kultgegenstände Japans



Alphabetical Index of the Daruma Museum

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Wa Kei Sei Jaku

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Wa Kei Sei Jaku

和　 敬　清　寂

WA for "harmony"
KEI for "respect"
SEI is "purity"
JAKU is "quietude, stillness"

They comprize the essence of the way of tea as taught by Sen no Rikkyuu.
Now the Urasenke Tea School teaches these precepts.

The Philosophy of Chado The underlying philosophy of Tea evolved from Zen Buddhism. Zen is the Japanese counterpart of the Chinese word chan, which is a translation of the Sanskrit word dhyana, meaning the meditation that leads to deep spiritual insight. Both Tea and Zen emphasize a way of training body and mind in awareness that has potential to become a rigorous spiritual discipline.

Urasenke founder, Sen Rikyu (1522-1591) summarized the principles of the discipline of Tea into four concepts: wa, kei, sei, and jaku.

http://www.urasenke.org/characters/

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Here is a calligraphy from Sôshitsu Sen XV.
Der Teeweg
By Gerhardt Staufenbiel

Look at this performance by Gerhardt too
Shakuhachi concert at GokuRakuAn, Japan

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. The Japanese Tea Ceremony .
(chadoo　茶道, cha no yu 茶の湯)


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[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]

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Danjiri Mikoshi Festival Float

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Legends about Mikoshi .
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Festival Float with Daruma
Daruma-Ren だるま連、祭り



平成7年（1995年）小池工務店により解体修理を行う。
特に腰板の額縁を新品に交換することで屋台のガタつきを直した。
屋台解体日＝平成7年（1995年）1月17日～阪神淡路大震災の日
http://www.ne.jp/asahi/fukude/matsuri/lst/14k/14k.htm


http://www.ne.jp/asahi/fukude/matsuri/grp/mya/mya.htm

　民芸品調の卓上祭り屋台
遠州は屋台祭りが盛んな地方として知られていますが、関連の民芸品が少ないことから今回民芸品調のお祭りグッズとしてミニ屋台の制作を企画。岐阜県の専門工房に依頼し3ヵ年弱の期間を費やしてこのたび完成となりました。
掛塚を発祥地として天竜川流域各地に見られる屋台で、当地福田・掛塚および天竜市二俣の3つをモデルにして各特徴を表現し、小さくても雰囲気を感じさせる形になるよう留意しています。
http://www.ne.jp/asahi/fukude/matsuri/grp/mya/mdl/mdl.htm


danjiri 山車（だんじり）
yatai 山車（やたい / 屋台)



. dashi 山車（だし）festival float
is a kigo for all summer.

The Chinese characters signify a mountain on a cart.

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岸和田だんじり Kishiwada Danjiri Festival

畑町のだんじり
Daruma float from Hata-Cho



Look at more beautiful carvings of the floats:
source : 桜井の駅


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Danjiri Matsuri Festivals だんじり祭り
岸和田 Kishiwada (Osaka)
八百津
泉州
灘のだんじり祭り
西浦だんじり祭り
堺市鳳だんじり祭り
南河内だんじり祭り

. . . CLICK here for Photos !


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Kishiwada Danjiri Festival, Osaka
September, on the "Respect for the Aged Day"

Danjiri festivals are common throughout Japan, but if you say
"Danjiri Matsuri" (festival) to a Japanese, there is one festival that will come to mind: the violent, exuberant mayhem that takes place every September in Kishiwada, Osaka.

The "danjiri" are the large wooden floats, or portable shrines, that are pulled around a pre-set route on the day of the festival. These shrines are kept in storage for a year and are quite beautiful.

Prior to the festival, there are ceremonies and prayers. The ornate shrine is taken out and readied; then the fun starts.

Where is the Danjiri Festival?
The Danjiri Festival is held in Kishiwada City, Osaka. Kishiwada is a working class castle town that was rural until recently. Today it is a suburb south of the city of Osaka, not far from Kansai International Airport.

What is the Danjiri Festival?
The Danjiri Matsuri dates to the 16th century, and is believed to have its origins in the "Inari Matsuri" that was held in 1703. Like many fall festivals, it is essentially a harvest festival to pray for a good harvest. It was created by the Lord of Kishiwada Castle and has always had a wild side to it.

In the past, that could have been said about most festivals in Japan. In the post-war period, however, festivals, like most aspects of Japanese life, have become tamer affairs. The good folk of Danjiri however continue to resist this, and it remains a dangerous festival with several deaths not uncommon each year.

The reason for this is that men stand atop the floats as they weave and turn down narrow streets. These men are sometimes thrown off and crushed below.
source : www.japanvisitor.com

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Iga Ueno Danjiri Museum
伊賀上野だんじり会館

One of Ueno city's big annual events is the 400 year-old
Ueno Tenjin festival 上野天神祭り　held between October 23rd to 25th. Originally a sacred agricultural ritual, the festival has elaborate portable shrines and demon-costumed revellers parading in the streets, but a main feature is the nine danjiri carted through the city. The danjiri is a type of dashi, a traditional Japanese festival float on wheels. When not being used in the festival, the Iga Ueno Danjiri Museum houses three of these floats for public viewing.

The three danjiri floats are encased in a large round glass-walled exhibition room, set about with life-sized models reenacting a festival scene. The floats are mounted on a turntable to make it possible to see them from every angle. As it is, visitors are able to walk and see completely around the showcase from the first floor, as well as partway from above the second.
source : The Yamasa Institute


. . . CLICK here for Photos of the museum!

. . . CLICK here for Photos of the festival!
上野天神祭りのだんじり

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Awaji Danjiri Matsuri 淡路だんじり祭り
Danjiri festival at Awaji Island, Hyogo

淡路島.賀集八幡神社春祭りだんじり



quote
Danjiri and Danjiri Chorus
Awaji Island has a profusion of festivals.
There is said to be a total of 300 danjiri in the greater Awaji area. The main is the futon danjiri 布団だんじり with five layers of red futons. The danjiri are pulled around by shrine parishioners in spring and fall.
Created as a group performance based on puppet shows as a sideshow for festivals, the danjiri chorus is also known as jorurikuzushi. The chorus skillfully takes highlights of the story and puts melodies to them. The songs are arranged using danjiri taiko drums and clappers, and there are chorus tsurebushi and solos called puppet katarikomi like storytelling and furi like fork ballad. Katari is placed in the intervals of the chorus and solos.
Many chorus groups have sprung up recently and contests are held.
The singing is now considered a folk art of Awaji.
source : www.yumebutai.org


だんじりは伝統工芸 ... the festival float is an important traditional folk art
source : awajidanjiri.jimdo.com



miniature of a danjiri futon float

It was made by 肥田利一 from 生穂町 and is not made any more.

futon taikodai 太鼓台 Futon drum float
. chossa taikodai ちょっさ太鼓台 Chossa Drum Futon Float . Sanuki, Kagawa
and more details about these futon floats.



mikoshi with kokeshi wooden dolls こけしみこし

. kokeshi こけし wooden dolls .



Mikoshi Daruma


. Regional Folk Toys from Japan .

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Suimu Jinja Mikoshi makuri 水無神社 神輿まくり
(スイムジンジャ）

Shrine festival where simple wooden mikoshi, made anew every year, are paraded through town for two days and then
thrown on the road, forward and sideways, with people standing on them, jumping off in the last moment . . .



Suimu Shrine (水無神社) is located in Kiso, Nagano Prefecture. Record said, it was established in the middle of the 13th century. It has thousand years old Hinoki Trees. Inside of the hall, there are many beautiful large Ema votive tablets. It has been respected by the people of Kiso as the guardian of the valley.
The most famous festival Mikoshimakuri, takes place on July 23.

Kiso Fukushima 木曽福島町内 Nagano
CLICK for more photos !
- source : www.nanchara.net/mikoshimakuri -



Minashi Jinja 水無神社
located in the city of Takayama, Gifu Prefecture, Japan. The kanji for the shrine are also sometimes read as Suimu. The full name is Hida Ichinomiya Minashi Shrine (飛騨一宮水無神社 Hida Ichinomiya Minashi Jinja), as it was once the main shrine of Hida Province.
. . . believed that it was constructed during the reign of Emperor Seiwa during the late-9th century.

Because of firebombing activities during World War II, Minashi Shrine served as a refuge for Atsuta Shrine's Kusanagi from August 21 to September 19, 1945.
- - - More in the WIKIPEDIA !

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photo source : ikuta blog


だんじりを桜の下に引き出して
danjiri o sakura no shita ni hikidashite

they pull
the danjiri float
below the cherry blossoms

Oe Nobuki 大恵宣樹 from Iga, Ueno
http://www.itoen.co.jp/new-haiku/17/kasatoku03.html


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mikoshi　神輿、御輿 portable shrine
kigo for all summer









Daruma Mikoshi だるま神輿


. Kawagoe Daruma Mikoshi 川越だるま神輿 .


source : popeye.sakura.ne.jp/saitama...
Kawagoe dashi 川越山車 festival float from Kawagoe


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. Oita Folk Art - 大分県 .

Nakatsu mikoshi　中津神輿　Nakatsu Festival Float


source :　www.asahi-net.or.jp

The mikoshi is modelled from the Nakatsu Gion Festival 中津祇園祭り.
This toy tradition is no longer alive.
And
. akaheko tenjin 赤へこ天神 Tenjin sama with a red robe . - clay doll


- quote -
Nakatsu Gion Festival 中津祇園祭り
This festival has 570 years of tradition and is designated as an intangible folklore cultural asset by Oita prefecture. There will be fireworks on the first day.
On the 2nd day (morning parade) and the 3rd day (returning parade) floats called Gionguruma will parade through Fukuzawa street.
Many events are held during the festival. There are Floats parading around and dancing all over the city while the festival is held.
- source : www.visit-oita.jp -




. . . CLICK here for more Photos !

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source :　koshi/shurui.html


. WKD : Kobayashi Issa 小林一茶 .

輿の花盗人よぬす人よ
o-mikoshi no hana-nusubito yo nusubito yo

a blossom thief
in a fancy palanquin!
a thief!
Tr. Chris Drake

This hokku was written in the 1st month (February) of 1813, when Issa had returned to his hometown and was preparing to engage in the final strenuous negotiations with his mother-in-law and younger half brother over his inheritance. It seems possible to see the blossom thief as, on one level, an self-ironic image of Issa himself returning to "blossom-steal" his inheritance back from the people who have been keeping it from him. The exclamations might be his ironic imagined representations of the thoughts or whispered remarks of his mother-in-law and the many villagers in his hometown who consider him a greedy, pushy outsider. Even so, as a blossom thief and not an actual thief, Issa expects to be forgiven if he persists.

The most immediate image, however, is praise for a very beautiful cherry tree in full bloom. A thief of blossoms -- usually of cherries but sometimes of plums or other blossoms -- means someone who breaks off a blossoming sprig and takes it home. Popular renga grew out of linked verse festivals held under cherry trees in full bloom (hana-no-moto) in the 12th and 13th centuries, when the custom of taking home a sprig of cherry blossoms was tolerated to a certain extent for religious reasons, since the sprig was to believed to be part of the body of the cherry-tree god, and the sprigs were worshiped in people's homes. The custom continued over the centuries.

The term "blossom thief" also came to refer to doing something for the sake of great beauty or value that ordinarily wouldn't be allowed. For example, prince Atsumichi (981-1007) wrote the following waka when he visited the mansion of the aristocrat and poet Fujiwara Kintou bearing a sprig of cherry blossoms for his host:

If my name
be Blossom Thief
so be it!
I break off only
a single branch

The prince visited with his new lover, the famous woman poet Izumi Shikibu, who is doubtless the greatest blossom of all in the poem, though she is not mentioned directly. The relationship was a bit scandalous, since a short time earlier Izumi Shikibu had been the lover of prince Atsumichi's older half-brother, who suddenly died of the plague, making prince Atsumichi's actions a bit thief-like. Still, Izumi Shikibu is such a superb poet and person that the prince feels sure he will be forgiven.

In Issa's hokku, many people in his hometown are probably breaking off sprigs with cherry blossoms on them to take home with them, but Issa focuses on an expensive, decorated palanquin. The character Issa uses (輿) is usually read o-mikoshi, the special palanquin of the emperor or a god that is carried on the shoulders of many men, and this is the reading of the editors of Issa's collected works. Issa might also be using the term ironically to refer to any pompously luxurious palanquin. The scholar Maruyama Kazuhiko, however, reads norimono, which is also possible. A norimono was a special luxurious palanquin hanging from a thick, horizontal beam carried by two carriers, one in front and one in back, that had sliding doors on the sides, as opposed to an ordinary palanquin that was open at the sides or often simply a seat hanging from a pole.

In Issa's time only a few people were allowed to ride in an enclosed palanquin: high-ranking samurai, high-ranking monks, herbal and/or acupuncture doctors, women, children, and commoner males who had paid to get special permission from the authorities. I doubt Issa is referring to the emperor, and unless there is a festival going on, it wouldn't be a palanquin carrying a god. It seems likely that Issa is referring to someone of rank or power who has stopped beneath the tree because of its striking beauty and is breaking off a sprig to carry with him or her, probably as a gift to someone who hasn't been able to see the tree. The tone of the hokku is exclamatory, as if Issa were pointing out a shocking crime in progress.

Actually it must be mock-exclamatory, since Issa is at the same time suggesting that this cherry tree is so extremely beautiful that even people who usually ride hidden inside fancy palanquins are willing to get out and act like an ordinary commoner blossom thief. There is no doubt some social satire here, but Issa is also expressing his highest praise for the tree, which is able to make people of all classes humble before it. This is consistent with Issa's usual view that all humans of whatever class are equal in the eyes of Amida.

Chris Drake


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. Float with Dragon Decoration .
From Omi Hachiman Sagicho Festival 近江八幡　左義長まつり


. Matsuyama no mikoshi 松山のみこし mikoshi models .
Ehime


. otabisho, o-tabisho 御旅所　/ お旅所 sacred resting point .
for the mikoshi during a procession

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santai mikoshi 三体みこし three mikoshi
for the Gion Festival of Onomichi 尾道祇園祭

. Hiroshima Folk Art - 広島県　 　 .

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Shizuki Mikoshi 志筑神興
. Hyogo Folk Art - 兵庫県　 .


. WKD : Festivals of Japan 　


. WKD : mikoshigusa 神輿草（みこしぐさ） mikoshi plant .
Geranium nepalense. cranesbill

. Legends about Mikoshi .

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- #mikoshi #danjiri #float -
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