6/27/2012

Rice Field Art

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Rice Field Art 田んぼアート  tanbo aato


Plan for 2012 in Inakadate village, Aomori

田舎館(村)




Jibo Kannon and Fudo Myo-O 悲母観音と不動明王



The village uses 7 different types of rice, including 2 new ones, to produce the colors and patterns.

They have a special building with a high tower where you can enjoy the view from above.

source : www.vill.inakadate.lg.jp





I saw it on TV in June 2012, it looks quite impressive already.

Click on the image to see more.


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Rice field art has become quite popular in Japan. This is the 20th year in Inakadate village.

There has been Daikoku, Mona Lisa, Mickey Mouse, even the great wave of Hokusai in 2007!





Olympics 2020


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quote
Tanbo art (田んぼアート, tanbo āto, also tambo āto) is a Japanese project in which people use rice of various types and colors to create a giant picture in rice fields.

In 1993, the people of Inakadate, Aomori were looking for a way to revitalize their village. Archaeological exploration led to a realization that rice had been grown in the area for more than 2000 years. To honor this history, the villagers started a rice field behind the town hall. With the paddy as a canvas, the villagers cultivated and used four different types of heirloom and modern strains of rice to create a giant picture in the field. To allow viewing of the whole picture, a mock castle tower 22 meters high was erected at the village office. In 2006, more than 200,000 people visited the village to see the art.

For the first nine years, the farmers created a simple picture of Mount Iwaki before going to more complex designs.

Following Inakadate's example, other villages such as Yonezawa in Yamagata prefecture, have started to create their own tanbo art.

Every April, the villagers meet and decide what to plant for the year. Prior to planting, farmers sketch out the designs on computers to figure out where and how to plant the rice. In 2007, 700 people helped plant rice.In Inakadate, the fields used are approximately 15,000 square meters. Agreements between landowners have allowed for larger pictures to be created.
© More in the WIKIPEDIA !


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The silhuette of Matsuo Basho and a haiku !

松尾芭蕉のシルエットと俳句

蚤虱馬の尿する枕もと

Miyagi perfecture, Naruko Hot Spring, 2011
宮城県・鳴子温泉/2011.8.30
source : tanbo/tohoku/naruko-sp


nomi shirami uma no bari suru makuramoto

fleas and lice
and a horse pissing
next to my pillow


. Matsuo Basho 松尾芭蕉 .




source : www.iwanichi.co.jp
from a local newspaper in July 2013 - 緑のキャンバスに俳聖くっきり 平泉
Basho and Sora as "field art" 田んぼアート , rice art 「ライス・アート」


. Oku no Hosomichi - Hiraizumi .


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. WKD : Fields, rice fields, rice paddies (ta) .  


. Hokusai, the Great Wave and the Tsunami in 2011.


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2/08/2012

Bosatsu Bodhisattva

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Bosatsu 菩薩  Bodhisattva



Bodhi = enlightened
Sattva = being, essence

The Compassionate Ones
Penultimate state before Buddhahood

Compassion is the defining characteristic of the Bodhisattva, whose highest aspiration is to save all sentient beings. The Bodhisattva concept is closely associated with Mahayana Buddhism, and has at least three distinct meanings. The Mahayana form in particular spread throughout Japan, thus most surviving Buddhist sculpture in Japan today belongs to the Mahayana tradition.

Read the details here :
source : - Mark Schumacher -


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Bosatsu Mandala


Individual Bosatsu introduced in the Daruma Museum

. The Bosatsu Group 菩薩   .


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芒から菩薩の清水流れけり
susuki kara bosatsu no shimizu nagare keri

from the pampas grass
the saint's pure water
flows



One year later, in 1809, Issa re-writes this

松風に菩薩の清水流れけり

matsukaze ni bosatsu no shimizu nagare-keri

wind through pines
pure bodhisattva water
flowing, flowing


in the pine breeze
the saint's pure water
flows


Kobayashi Issa
Tr. David Lanoue


There is a place called
Miroku Bosatsu no Shimizu 弥勒菩薩の清水
and above it
Sasa Shimizu 笹清水

at Mount Hotaka Yama 武尊山 in Gunma.

source : kakehashi


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松風にぼうたんの白菩薩かな
matsukaze ni bootan no haku bosatu kana

in the wind of the pines
a peony like a white
Bodhisattva


- Akegarasu sensei -

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B o s a t s u  菩薩 (Bodhi-sattva)

Abkürzung des indischen Wortes Bodhi-sattva, japanisch:
bo dai sat ta = bosatsu.
Bedeutet Wesen, die nach oben zur Erleuchtung eines Buddha streben und gleichzeitig nach unten zur Errettung der Menschheit tätig werden (joogu bodai, gege shujoo).
Ein Bosatsu praktiziert Askese, um Buddha zu werden, bleibt aber einen Schritt vor diesem Ziel stehen, um zuerst alle Menschen zu erlösen. Dazu müssen die Bosatsu einen Askeseweg mit 10 Stufen überwinden (juuji) und vier Gelübde (shigu seigan) einhalten.

Bosatsu unterziehen sich einer strengen Askese mit sechs Vorschriften (rokuharamitsu, ropparamitsu; paaramitaas):

1. Almosen geben (fuse);
2. Einhalten der Vorschriften (jikai);
3. Beharrlichkeit (ninniku);
4. Energie (shoojin);
5. Meditation (zenjoo) und
6. Weisheit zur Erleuchtung (chie).


Ein Bosatsu, der alle diese Vorschriften beherzigt und dabei eine hohe Stufe erlangt, kann als Begleitfigur neben einem Nyorai stehen und wird im nächsten Leben sicher ein Buddha werden (fusho no bosatsu), z. B. Miroku.

Am besten bekannt in Japan sind Kannon und Jizoo, auch häufig als Stein-Statuen am Wegesrand zu finden. Bosatsu sind freundliche, hilfsbereite Gottheiten, die den Menschen in Not sofort direkt mit verschiedenen Mitteln und in den verschiedensten Inkarnationen zu Hilfe kommen.
Bosatsu finden sich als Begleitfiguren in Dreiergruppen mit Nyorai-Statuen.
Bosatsu wurde dann auch eine japanische Bezeichnung für besonders verehrenswerte heilige Priester oder japanische Gottheiten, z.B. wird der Asket En no Gyooja "Shinhen Daibosatsu (Jinpen Daibosatsu)" und der japanische Kriegsgott Hachiman "Hachiman Daibosatsu" genannt.
僧形八幡 soogyoo Hachiman, sogyo Hachiman, Hachiman as a Buddhist monk, Hachiman als buddhistischer Mönch.


Ikonografie:
Die Gestalt eines Bosatsu entspricht der des Prinzen Shakyamuni, bevor er sein Schloß verlassen hat, daher mit reichlich Schmuck an Brust (munakazari), Oberarmen (hisen), Hand- und Fußgelenken (wansen, sokusen); langes Perlengehänge um den ganzen Leib (yooraku).
Bei gegossenen Statuen werden diese Verzierungen mitgegossen, während sie bei Holzstatuen meist getrennt aus Metall gefertigt und angebracht werden.

Hoch aufgekämmte Haare bzw. ein Haarknoten (hookei) und Hohe Krone (Diadem) mit Blumenverzierungen (hookan, sanzankan, tenkan). Die Krone wird von einem besonderen Band (tenkandai) gehalten. Eine besondere Form ist eine bandartige Krone mit drei Zierteilen vorne und an beiden Seiten (sanmen tooshoku). In der Kamakura-Zeit wurden diese Hohen Kronen oft aus Metall gefertigt und einer Holzstatue aufgesetzt.

Viele Gewänder, z.B. schmales Tuch um die Brust, meist von der linken Schulter zur Mitte der rechten Körperseite (joohaku); wehende Schals über den Armen (tenne), langes Hüfttuch bzw. Wickelrock bis an die Fußknöchel (mo, kun), das aber nie über den Sockel hängt. Manchmal wird das Gewand über den Knien noch einmal mit einer Schleife zusammengebunden.

Drei Falten am Hals (sandoo). Über die Schultern herabhängende Haare (suihatsu). Immer milder Gesichtsausdruck; die einzige Ausnahme bildet die Pferdeköpfige Kannon, die einen furchterregenden Gesichtsausdruck zeigt.

Ein Bosatsu hält meist Gegenstände in den Händen (jimotsu), als Ausdruck dafür, daß er mit den verschiedensten Mitteln die Menschheit retten will, z.B. Lotusblüte, Wassergefäß mit Lebenswasser oder wunscherfüllendes Juwel.
Bosatsu-Statuen stehen im allgemeinen auf einem Lotussockel.
Im Unterschied zu Nyorai-Statuen können Bosatsu auch mehrere Köpfe und mehrere Gliedmaßen haben, um ihre vielseitigen Bestrebungen zur Rettung der Menschen zum Ausdruck zu bringen.


. Buddhastatuen ... Who is Who .
Ein Wegweiser zur Ikonografie
von japanischen Buddhastatuen

Gabi Greve




. rokuharamitsu 六波羅蜜 six paramitas,
six religious practices, roku haramitsu .
  

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1/22/2012

Kozuke Province

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The Buddhist Sculptures of Kozuke Province

source : ajw.asahi.com/article

Editor's Note:
The following articles are translations of reviews carried by the latest issue( No. 1393) of Kokka, a prestigious art magazine published in Japan. The publication, which specializes in old Japanese and Oriental art, was founded in 1889 by Tenshin Okakura, a well-known Japanese art critic and philosopher (1862-1913), among others. It is held in high esteem by researchers and experts aboard.


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The Buddhist Sculptures of Kozuke Province

By HIROSHI OKABE

After Buddhism was first brought to Japan around the middle of the 6th century, it soon spread from the capital cities to the regional areas. Amidst this, the beginnings of Buddhist culture appeared in Kozuke province (centering on present-day Gunma Prefecture) during the latter half of the 7th century. Fragments of molded figurines excavated at Sannohai-ji, built in the 4th quarter of the 7th century and thought to be the ruins of Hoko-ji, are said to be scenes of the Jataka Tales that appeared on the first story of a stupa.

During the Nara period, according to a document known as the Kozuke no kuni kotai jitsurokucho, a gold colored seated figure of Shaka (S: Sakyamuni) with a figure height of 250 cm, and standing attendant figures of Monju (S: Manjusri) and Fugen (S: Samantabhadra), with figure heights of 300 cm, plus Shitenno figures, were enshrined in the Kondo of Kozuke Kokubun-ji, established around the middle of the 8th century.

The earliest extant wooden Buddhist sculptures handed down in the Kozuke region date from the late Heian period onwards. The ichiboku-zukuri, or solid single block construction, figures dating from the 11th century consist of the
Standing Fudo Myoo at Soji-ji,
the Seated Fudo Myoo of Tokujo-ji,

the Standing Eleven-Headed Kannon of Onabuchi Kannondo, the Standing Eleven-Headed Kannon of Chokoku-ji, and the Standing Eleven-Headed Kannon of Nichirin-ji. In the next century, both single block construction and yosegi-zukuri, or joined hollow block construction, works appear. Typical examples from this period can be seen in the Jizo Bosatsu with Pendant Leg (S: Ksitigarbha) of Kongo-ji and the Standing Amida Nyorai figures of Choraku-ji and Iwamatsu Shoren-ji.

From the Kamakura period, early 13th century figures include the Sho-Kannon (S: Aryavalokitesvara) of Shobo-ji and the Amida Triad of Ko'on-ji. These works all continue the Fujiwara style of yosegi-zukuri, using hollow joined blocks of hinoki wood. By around the middle of the 13th century, Unkei-style images appear, such as the Standing Amida Nyorai of Fugen-ji and Kaikei-style images such as the Standing Amida Nyorai of Sozen-ji. From the latter half of the 13th century to the beginning of the 14th century, figures made in the front-back split yosegi-zukuri method appeared, such as the Standing Eleven-Headed Kannon of Sankoin, the hidden statue Standing Eleven-Headed Kannon of Chokoku-ji, the Standing Bato Kannon (S: Hayagriva Avalokitesvara) of Namezawa Kannondo, and the Yakushi Nyorai (S: Bhaisajya) of Otsubayakushido. On the other hand, from the 12th century onwards, when it seemed that lacquered and gilded yosegi-zukuri images completely dominated wooden images, there appears to be a concurrent and continuous production of single block construction images, such as the Shinto images at Mangyo-ji and Nitta Yoshisada at Soji-ji. Around the middle of the 13th century, various different sculptural methods began to develop in the area, such as the stone image Standing Fudo at Miyata, the bronze Senkoji-style Standing Amida Triads at Kiryu's Shoren-ji and other temples, the iron figure of a Seated Amida Nyorai at Zensho-ji, and the molded clay figure of the seated figure of Eicho Zenji at Choraku-ji. Of further note are the priest portrait sculptures at Nitta-no-sho Choraku-ji and the portrait of Shoshin Shonin at Hofuku-ji.

The two guardian figures at Myoo-in exhibit the baroque style of the Northern and Southern Courts period, while it is interesting to note that there is a fascinating glimpse of powerful, regional-style sculpture in the Muromachi period's production of the ever present technically proficient yosegi-zukuri which turned away from true sculpting.

During the Edo period, the mid-17th century Seated Amida Nyorai of Choraku-ji combines classical style with a pre-modern sense of added decorativeness. The majority of the works created during this period were small in scale, and they reflect the efficient creation of standardized forms. However, the great increase in the number of Buddhist images created conveys a sense of the deepening connection between people and Buddhist images.

The author is an art Historian(Japanese Art), Research Scholar of Buddhist Art Research Institute, Inc.

snip

Standing Fudo Myoo(S: Acalanatha)


Wood with white undercoating, polychrome and carved eyeballs
Fig.H. 99.5 cm
Soji-ji, Ota City

By TAKEO OKU
This image is noteworthy as one of the few standing images of Fudo, dating prior to Jocho. The honpa style of alternating high and low areas of drapery folds shows extremely shallow carving of the drapery folds. The thin chest, and face with slightly smaller than usual eyebrow and eye forms are all characteristic of images created in the first half of the 11th century.

Two features, namely the face turned to the right and the appearance of raised knees with skirt hems symmetrically arranged to the right and left of center, are all shared with two major examples of early period, pre-Jocho standing images of Fudo at Myoho-in and Taisan-ji. These two characteristics accord with the Standing Fudo depicted in the "Chuo-zu" of the Ninnokyo gohoshoson-zu said to be in the hand of Kukai. Thus it can be thought that the sculptural images of standing Fudo figures were created under the influence of this Chuho-zu image.

This figure is shown in walking pose with one foot raised. This pose is said to represent the function of this deity as a guide to the afterlife, and is modeled after such images as the Amida Nyorai in Cave 16 at the Anyue-Yuanjue Caves in Sichuan province, China. Prayers to Fudo were one element of Heian period Buddhist funerary rituals, and thus it is possible that this type of Fudo image was created for the role of guide for the deceased to the Pure Land.

The author is an art historian(Japanese art), Inspector at the Agency for Cultural Affairs


MORE DETAILS in this article ABOUT

Jizo Bosatsu (S: Ksitigarbha) with One Leg Pendant
Wood with lacquer, gilding and carved eyeballs
Kongo-ji, Ota City



Seated Amida Nyorai (S: Amitabha)
Iron
Zensho-ji, Maebashi City


Standing Amida (S: Amitabha) Triad
Gilt bronze
Shoren-ji, Kiryu City


Standing Eleven Headed Kannon (S: Ekadasa-mukha)
Wood with lacquer, gilding and crystal eyeballs
Sanko-in, Numata City



Figure Seated in a Chair, Traditionally Said to be
Nitta Yoshisada
Wood with traces of polychrome and crystal eyeballs
Soji-ji, Ota City


Seated Figure of Gessen Shinkai
Wood with original faded polychrome and later wodden eyeballs
Choraku-ji, Ota City



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Koozuke no Kuni 上野国 Kozuke - now mostly 群馬県 Gunma prefecture


Nitta Yoshisada
(1301 – August 17, 1338)
was the head of the Nitta family in the early fourteenth century, and supported the Southern Court of Emperor Go-Daigo in the Nanboku-chō period, capturing Kamakura from the Hōjō clan in 1333.

. Temple Kinryuji 金竜寺, Ota town, Gunma .

. Yoshisada Nitta 新田義貞 - Kamakura .


- quote -
Kanayama Castle (金山城 Kanayama-jō),
also known as Ōta Kanayama Castle and
as Nitta Kanayama Castle
,
is a yamashiro (castle sited on a hill) located on top of Mount Kanayama in Ōta, Gunma Prefecture, Japan.
Kanayama Castle was built in 1469 by Iwamatsu Iezumi. In 1528, a retainer of the Iwamatsu Clan, Yokose Narishige (his family later changed their name to Yura), began ruling over it. The castle withstood sieges by Uesugi Kenshin in 1574, Takeda Katsuyori in 1580, and Satake Yoshishige in 1583. The Hōjō clan captured the lord of Tatebayashi Castle, Nagao Akinaga, and Yura Kunishige. The two brothers gave the Hōjō Kanayama Castle, under the condition that he be released. In 1590, as part of Toyotomi Hideyoshi's campaign against the Hōjō, Kanayama Castle was seized by Maeda Toshiie. Following this, the castle was abandoned and never used again. The castle's ruins (which have partly been restored) are currently maintained by the City of Ota.
It was long believed
until 1965 that the tenshu (keep) of Kanayama Castle was moved to Inuyama Castle by Ishikawa Mitsuyoshi in 1559. Such theory was disapproved as a result of examination through a large scale restoration work, involving the dismantling of the donjon of Inuyama Castle, carried out between 1961 and 1965.
- source : wikipedia -

- Kanayama Castle 金山城
- source : jcastle.info/castle/profile -

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#kozuke #nittayoshisada
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12/24/2011

Munakata Shiko

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Munakata Shikoo 棟方志功 Munakata Shiko








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source : gyararikunya.jugem.jp

at 総本山大岩山日石寺 Toyama
. Nissekiji Ooiwasan 大岩山日石寺 Oiwasan, Nisseki-Ji .   


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source : www.oida-art.com

不動明王の柵

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source and more by Shiko : artnet.fr...


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Shikō Munakata 棟方志功
(September 5, 1903 – September 13, 1975)

a woodblock printmaker active in Shōwa period Japan. He is associated with the sosaku hanga movement and the mingei (folk art) movement. Munakata was awarded the "Prize of Excellence" at the Second International Print Exhibition in Lugano, Switzerland in 1952. He was awarded the Order of Culture, the highest honor in the arts by the Japanese government in 1970.

Munakata was born in Aomori city, Aomori prefecture in northern Honshū as the third of 15 children to a local blacksmith. Due to the impoverished circumstances of his family, he had only an elementary school education; however, he exhibited a passion for art from early childhood. In third grade, he began illustrating kites for his classmates.

Munakata's early career was not without obstacles. Unable to sell his paintings, he was forced to repair shoes and sell natto part time to survive. He was rejected by the Bunten (The Japan Art Academy Exhibition) four times, until one of his paintings was finally accepted in 1928. However, by this date, his attention had shifted away from oil painting to the traditional Japanese art of woodblock printing.



Quotations of Shiko Munakata

"Like the vastness of space, like a universe unlimited, untold, unattainable, and inscrutable- that is the woodcut."

"The nature of the woodcut is such, that even a mistake in its carving will not prevent it from its true materialization."

"The concern that it be ugly is characteristic of human thoughts and not of the woodcut itself."

"It is inherent in the woodcut that it can never be ugly."

"The woodcut, unconcerned with good and evil, with ideas, with differences, tells us that it consists of truth alone,"

"It is precisely the beauty of this which will further enlarge the limitlessness of the world of beauty."


(from Shiko Munakata, Munakata:
the “Way” of the Woodcut, Brooklyn, Pratt Adlib Press, 1961).

© More in the WIKIPEDIA !




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へたくそだからいい - unskillful is just right


source : xxx

His eyesight was very bad and he had to lean heavily over his artwork to see what he was doing.

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Daruma Whiskey Bottle


. Suntory Old サントリーオールド Daruma .


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南無不動明王 Namu Fudo Myo-O
Thinking of the victims of the catastrophy on March 11.

source : 松謡堂文庫


. Japan after the BIG earthquake March 11, 2011 .



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志功の天女 Tennyo


人戀へば志功の天女冬の燈に
hito koeba Shikoo no tennyo fuyu no hi ni

if you are in love
the Apsars of Shiko
are a light in winter


河野多希女 Kano Takijo



桃咲くや志功天女の腰ゆたか
momo saku ya Shikoo tennyo no koshi yukata

peach are blossoming -
the Apsaras of Shiko
have bulging hips


加藤いろは Kato Iroha

. Apsara, Apsaras, Heavenly Maidens .

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“A cypress tree in the front garden”, 1959.
- Arts of Asia November-December 2015 issue -

庭前柏樹子 teizen hakujushi

Jōshū 趙州, in the Mumonkan (case 37):
A monk asked Joshu:
“Why did Bodhidharma come from the West?”
Jōshū answered :
“The cypress tree in the courtyard”.


(This has been translated in a great number of ways. The ideograms mean something like “courtyard / in front / cypress / tree / (child)”. Among the translations commonly found are “the cypress in front of the yard”, “that oak tree in the garden”, “the tree in the middle of the garden”, and even stranger things.
The “oak” translation apparently comes from the Japanese reading of the ideogram “柏”, which may or may not have been the Chinese meaning at the time when Jōshū spoke this, or at the time when the Mumonkan was written, I have no idea.
But really it doesn't matter.)
source : xxx

一人の僧が趙州和尚に問う。
「如何なるか是(こ)れ祖師西来意 (そしせいらいい)」
趙州和尚は、「庭前の柏樹子」と応えただけである。柏樹は、日本の広葉樹の柏餅のあの柏のことでなく、常緑樹のカイヅカイブキと同種の柏槙 byakushin(びゃくしん)のことで、いまでも中国の寺院では大木の柏槙をみるが、趙州のいた観音院でもこの柏樹が茂っていたのだろう。
- source : jyofukuji.com/10zengo -
byakushin 柏槙 a kind of mountain juniper

. Koan and Haiku 公案と俳句 .

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- quote -
Munakata Shiko Memorial Museum of Art
2-1-2 Matsubara, Aomori City, Aomori

A museum where you can learn about, see, and feel the genius of the world-famous woodblock print artist Shiko Munakata.
This museum was opened in 1975 to commemorate the awarding of the Order of Culture to Shiko Munakata, the extraordinary woodblock print artist born in Aomori. Its goal is to inform future generations about the wide-ranging creative activities of this world-class artist, who did not focus on woodblock prints alone.
The long-cherished desire of Shiko Munakata
is reflected in the works exhibited here: to display comparatively few works, so that the viewer spends time looking closely at each and every one. The art of Munakata is condensed into woodblock prints impressive in their scale, such as Ten Great Disciples of the Buddha, as well as exquisite Yamato-e classical paintings (painted by hand), oil paintings that reflect his admiration for van Gogh, and fascinating, dynamic calligraphy. Moreover, the museum exhibits the printing blocks he used and many other artifacts that provide visitors with a multifaceted understanding of Shiko Munakata.
As well as the works themselves,
the building and garden are also very appealing. The museum building itself, in the azekura (log-cabin) style, and the pond-stroll-style Japanese garden have been designed to complement each other with their unique appearance, and never fail to captivate visitors. There's no doubt that you'll be delighted by the beauty of the Tohoku region, no matter what the season.
- source : jnto.go.jp/eng/location -

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. Fellow Pilgrims .


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- #munakatashiko #shikomunakata -
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12/21/2011

Kaneda Sekijo

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Kaneda Sekijo  金田石城 
Kaneda Sekijoo, Kaneda Sekijyo 書道家

born 1941
Iwaki, Fukushima



source : www.anyouji.or.jp/Sekijyo.html

Folding screen at Temple Anyoo-Ji 安養寺 Anyo-In


『墨の魔術師』『書道界の鬼才』



Homepage of the Artist
source : www.sekijyokaneda.com



金田 石城(かねだ せきじょう、1941年 - )
は、福島県いわき市出身の書道家。埼玉県さいたま市在住。

全日本書道芸術院主宰。『墨の魔術師』『書道界の鬼才』の異名を得る前衛的な書道家として知られる。テレビドラマ、映画等の題字なども多く手がける。書行50年超。


© More in the WIKIPEDIA !


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source : takasaki.keizai.biz
高崎で書道家・金田石城さんの作品展
December 11, 2011

高崎名物の縁起だるまを描いたびょうぶを同小学校、高崎市に寄贈する。

Suzunari no Daruma 鈴なりのだるま Takasaki Daruma
This folding screen will be given as offering to a local school in Takasaki.



. byoobu 屏風 portable screens, byoobu 屏風 .
with Daruma


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THE WORLD OF SEKIJO KANEDA’S CREATION


- Reference -



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10/14/2011

Seated Buddha Statues

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Statues with seated Buddhas (zazoo 座像 / 坐像)


Hanka fumisage position 半跏踏下坐
半跏踏み下げ


不動明王のフィギュア Modern Fudo Myo-O Figure

On this link there is also a green Fudo in this position, which is different from the usual seated positions of Fudo Myo-O, especially different from the famous seated statue at the temple Toji (東寺) in Kyoto and quite unusual for a statue of Fudo Myo-O.
source : kazu_san



. 高野山別格本山 赤不動明王院 Aka-Fudo
Red Fudo at Myo-O-In, Mt. Koya .


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source : Mariusz Szmerdt. facebook


. Daruma by Mariusz .


Reference : Sumie from Poland .

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Izayamaji 勇山寺 Izayama-Ji
482 Katsuta, Maniwa, Okayama



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Shooshunji 正俊寺 Shoshun-Ji
- 長尾山 Nagaosan / Osaka





source : facebook

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Koyasan Shoochi-in 正智院 Shochi-In
159 Koyasan, Koya, Ito District, Wakayama

He holds a sword with a four-pronged vajra.
He has a lotus flower on his head.

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- ebay, facebook -


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CLICK for more samples !

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This is maybe the most famous statue in this position.
Miroku is silently and quietly pondering how to save the world and all creatures on it, now and in the future.


source : 仏像マニアックス


Chuuguuji 中宮寺-菩薩半跏像 Miroku Bosatsu 弥勒菩薩
Temple Chugu-Ji in Nara


. Miroku Bosatsu 弥勒菩薩 Maitreya .  


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Statues with seated Buddhas (zazoo 座像 / 坐像) 

Seated statues usually present a great quietude and serenity. The Nyorai are all seated in deep meditaion.
Crossed legs in the full louts position (kekka fuza 結跏趺坐) or
half-lotus position (hanka fuza 半跏趺坐).


source : uchiko yoga

gooma za 降魔坐 - the left leg is uppermost
kichijoo za 吉祥坐 - the right leg is uppermost




Half-crossed legs (rinnooza 輪王坐 )
The right knee is raised.

Example: Wish-fulfilling Kannon.



Seated on a throne with both legs (izoo 倚像, iza 倚坐) or
one leg hanging down (hanka fumisage 半跏踏下坐, hanka iza 半跏倚坐).
This form is most popular with statues of Ten deities and priests.

zenka iza 善跏倚坐 both legs down



Somethimes both legs are down and crossed at the ankle
(kookyakuzoo 交脚像).
This version is typical for China and seldom seen in Japan.

Example: Miroku Bosatsu 弥勒菩薩


A special placement is the "Kannon placing her soles together"
(ashizuri Kannon 足摺観音)
like both hands in prayer.

source : city.kanuma.tochigi.jp

Example: From Kanuma Town in Tochigi 鹿沼市. Important cultural property.
The wooden statue is about 63 cm high.

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- quote
zazou 坐像
A Buddhist image which is seated, as opposed to standing *ryuuzou 立像. The most common seated position is *kekka fuza 結跏趺坐, also called the full-lotus posture, a cross-legged position of meditation for a Buddhist image *nyorai 如来 or tathagata. The hanka shiyui 半跏思惟 position, a pose of meditation in which the figure has the right leg crossed over the pendant left leg, is also frequently employed on bodhisattva *bosatsu 菩薩, images.

More rarely shown positions include: *kiza 箕坐, where both legs are stretched out to one side; *koki 胡跪, a kneeling posture; *rinnouza 輪王坐, seated with one knee raised, among others.
Images which have both legs pendant over a throne are called *izou 倚像 and are also regarded as zazou images.
- source : JAANUS


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. ryuuzoo, ryūzō 立像 ryuzo, statue of a standing figure .
(another reading is ritsuzo)


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Sitzende Figuren (zazoo 座像) 

Sitzende Figuren drücken im allgemeinen eine große Ruhe aus.
Meist zeigen sie einen Nyorai in tiefer Meditation. Gekreuzte Beine im vollen (kekka fuza 結跏趺坐) oder halben (hanka fuza 半跏趺坐) Lotussitz.

"Halbverschränkungssitz": Sitzend mit dem rechten Knie nach oben aufgestellt (rinnooza 輪王坐 ) wie die Wunscherfüllende Kannon.

Auf einem Podest sitzend mit beiden (izoo 倚像) oder
einem Bein nach unten (hanka fumisage 半跏踏下坐).
Diese Formen finden sich häufig bei Ten- und Priesterfiguren.

Manchmal sind die Beine nach unten hängend überkreuzt (kookyakuzoo 交脚像); diese Version ist typisch fuer China und findet sich kaum in Japan.

Eine besondere Figur ist die "Fußreibende Kannon" (ashizuri Kannon 足摺観音):
Beide Fußsohlen sind aneinandergelegt, wie die Hände im Gebet.

. Buddhastatuen ... Who is Who .
Kurze historische Übersicht
und
Allgemeines über Statuen
Gabi Greve 

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external LINK
source : deepkyoto

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- #fudoseated #fudozazoo #seatedfudo -
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7/27/2011

Oyama Fudo Afuri

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Oyama Fudo (Ooyama no Fudoo sama)
大山の不動様、神奈川県

- not - 大山寺 Daisen-Ji -




The founding legend of this temple tells us the following :

Priest Roben, who was the de facto founder of Todaiji, came back to Kanagawa in 752 at the age of 48, shortly after the consecrating ceremony of the Great Buddha at Todaiji was over. First thing he did in Kanagawa was to climb Mt. Oyama, literally "a great mountain" and highly revered by the locals, where he found a stone statue of Fudo Myo-o, or Acala-vidyaraja in Skt. Interpreting it was a divine revelation, he made up his mind to found a temple (not a shrine) right on top of the mountain. He practiced asceticism in the mountain for three years. Getting the emperor's approval, he finally built a temple and named it Ukosan Daisanji .

In the early Kamakura Period (1185-1333), Yoritomo Minamoto (1147-1199) , the founder of the Kamakura Shogunate, patronized the Shrine and dedicated a holy sword to Sekison Gongen every year, praying for continued luck in arms. On the record is the fact that in 1192 he visited the Shrine and prayed that Masako Hojo (1156-1225), his wife, might have an easy delivery. Entering the Hojo Era in 1219, however, the Hojo Regents did not give as much support to the Shrine as Yoritomo had been, and the Shrine began to go downhill.

It was Priest Gangyo (?-1295), who restored the declining Shrine, or rather the temple to be exact. He was a Shingon Sect priest of Sen'nyuji in Kyoto, which had long been the temple for the Imperial Family before the Meiji Imperial Restoration of 1868. Unable to tolerate the sight of the half-desolate temple, he determined to restore it. Collecting necessary alms and funds, he rebuilt the temple and made two iron-cast statue of Fudo Myo-o during the 1261 to 1274 period.

The first one was dubbed "Trial Fudo," as he made it as a trial, which is now enshrined at Kakuonji in Kamakura. The second one was for the temple, which is 104 centimeter tall, and nearly as tall as 2 meters if its halo is included. The statue became the main object of worship of the temple, and the main hall was built precisely at the site where the Shrine's main hall stands today. Worshipers called the temple
"Oyama Fudo" or "Oyama-dera." (Ooyama-dera 大山寺)


The temple was founded on request of 聖武天皇 Shomu Tenno as a chokugan-ji 勅願寺.
. Chokuganji 勅願寺 Chokugan-Ji, "Imperial Temple" .


- Reference : Oyama Afuri Jinja Shrine


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observance kigo for late summer

Ooyama matsuri 大山祭 (おおやままつり)
Oyama festival

Ooyama moode 大山詣(おおやまもうで)pilgrimage to Oyama

sekison moode 石尊詣(せきそんもうで)pilgrimage to cliffs Sekison Gongen
bonyama, bon yama 盆山(ぼんやま)pilgrimage at O-Bon
(The cliffs at the Roben waterfall were considered deities, see below).

hatsuyama 初山(はつやま) first mountain pilgrimage
osamedachi 納太刀(おさめだち) offering a sword
(See the legends above.)

From July 27 to August 17 at Afuri Shrine.
Mount Oyama was famous for its rain rituals during the Edo period.


quote
The Oyama Afuri jinja matsuri(大山阿夫利神社祭)
is a unique festival held on mount Oyama in the Tanzawa mountains in Kanagawa. Mount Oyama is 1,252 metres high and has long been regarded as a holy mountain and object of worship. A sacred Shinto mikoshi is carried from the Afuri jinja, which is located on the top of Mount Oyama, first to the lower shrine on the side of the mountain, and then on down to the shrine office at the very foot of the mountain; a distance of 8km.


The people carrying the mikoshi are dressed in all white Heian period (794 -1185) clothing and the attendants are dressed in various traditional Heian and Edo period dress. Traditional instruments accompany the procession.

The highlight of the event is watching as they ascend the steep slopes of Oyama and then on down the winding roads of the mountain town at the base. A traditional Shinto Kagura dance is performed and a special Oyama Noh performance is held in the evening.

Look at the video here:
source : www.mustlovejapan.com


quote
Oyama Afuri Jinja Shrine
The Afuri Jinja Shrine is believed to have been founded about 2,200 years ago during the time of Emperor Sujin, and is dedicated to the high gods of
Oyamatsumi no Kami 大山祗大神,
Oikazuchi no Kami 大雷神 Ikazuchi no Kami, and
Takaokami no Kami 高おかみ神.


It was revered by Minamoto no Yoritomo as well as the Hojo clan, Ashikaga clan, and Tokugawa clan, and prospered during the Edo period when it was popular to visit Mt. Oyama.
source : amazing-kanagawa.jp


. Ooyamatsumi no kami 大山祇神 .
大山積神, 大山津見神 Oyama Tsumi no Mikoto

. Raijin and Ikazuchi 雷神 Gods of Thunder .

. Takaokami no Kami 高おかみ神 God of Rain .


. Rain Rituals and Prayers (amagoi 雨乞い) .


. Kurikara Fudo 倶利伽羅不動剣 .
at Afuri Jinja


. OBSERVANCES – SUMMER SAIJIKI .




Homepage of Afuri Jinja, Isehara
神奈川県伊勢原市大山355
source : www.afuri.or.jp

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Oyama Fudo Statue 大山不動像の大きさ Measurements
像   高  97.9 cm - hight of statue
総   高  287cm(8尺7寸)hight of all
重   量  重量130貫( 約480Kg ) weight

One of the three important Fudo Statues in the Kanto region.
http://www.oyamadera.jp/02.html


Every day there are fire rituals, Goma-Kitoo 護摩祈祷


But the biggest is the Great Fire Ritual in February 28, when five places are fired all at once. It used to be my favorite ritual when I was still living in the area. This was a special day every year indeed. See below for more.

Amulettes for protection


http://www.oyamadera.jp/03.html


県指定重要文化財木造不動明王坐像
. Seated Fudo Statue - National Treasure .
in the museum of Isehara town

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  五檀護摩供修行(大祭)
The Great Fire Ritual on Five Altars


On a cold morning in February many people gather here to celebrate the fire rituals on five altars. (This makes the inside quite warm, by the way.) The Heart Sutra is chanted over and over again until the last wooden piece with a wish or promise is burned to ashes. You can get quite in trance with all the incense and holy smoke in the small dim-lit hall. The statue of Fudo in the background seems to dance with the flames. All is very un-earthly after a while you are completely soaked into this mysterious realm.
If you have time, go there on February 28 of any year.
It starts around 10, so get up early.
I went there every year while I lived in Kamakura.





五檀護摩供修行(大祭)

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There is also a great Star Festival held on December 22,
Day of the Winter Solstice.

 星祭大護摩供修行開白

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Some talismans and amulettes are sold online.

Wooden Tablet with Fudo in his incarnation as a Dragon around a sword.
Kurikara, the Sword of Fudo Myo-o  




Migawari Fudo, he is taking your place in case of misfortune


Fudo himself to protect you



Keyholder to protect those born under his star.


http://www.oyamadera.jp/08.html


. Amulets and Talismans from Japan . 


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To get deliverance from a curse of a dead or living soul, you have to pray to Fudo Myo-O.
The ritual is called "Tsuina Tokubetsu Kitoo".
You find the cost of this ritual performed expecially for you here on the link given below. It can be more than 300 dollars, if your adversary is a real fiend.


追儺特別祈祷」(ついなとくべつきとう)。
http://www.oyamadera.jp/05.html

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Visiting Oyama in recent centuries



At Oyama in the city of Isehara, there are temples and shrines where people have been praying since ancient times. In particular, Oyama has been both a destination for religious purposes and for tourism as well since the 17th century, when the people of Edo started visiting.
One of the reasons behind the popularity of Oyama has been the priests known as “oshi” who visited many areas encouraging people to visit Oyama.
source : www.city.isehara.kanagawa.jp

oshi (onshi) 御師(おし/おんし) Oshi priest-guides of Oyama
They performed spacial purifying rituals before the ascent of the mountain and offered special amulets to their followers.

- quote
Localized religious specialists in early modern Japan:
The development of the Oyama Oshi System


This paper discusses the emergence of oshi, lay religious specialists who contributed to the spread of regional pilgrimage cults in the Tokugawa period, by focusing on the example of Oyama, Sagami Province.
Over the course of the seventeenth century, Oyama's oshi developed gradually as successors of shugenja and shrine priests who had lost much of their authority to the Shingon temples on the mountain in the first decade of the seventeenth century. In the second half of the seventeenth century the tradition of mountain asceticism largely disappeared from Oyama. The former mountain ascetics of Oyama needed new means of income, forcing them to run inns and develop parishes throughout the Kanto region.

These parishes, from which most of Oyama's pilgrims came, became the single most important source of income for Oyama. The system spread from areas near Oyama across the entire Kanto region. It was these oshi who sustained the bonds between parishioners and the mountain by making annual visits to their parishes and providing accommodations for pilgrims. Despite their conflict-laden genesis, the oshi were not in constant opposition to Oyama's Shingon temples.

They developed customary networks with temples to handle pilgrims and received licenses from the head Shingon temple of the mountain, Hachidai-bo, which helped them to distinguish themselves from their competitors in neighboring villages. Another reason why the oshi did not voice a united opposition to the temples was that they were a fairly diverse group with different lineages and levels of wealth.

Some oshi were in the employ of Hachidai-bo and therefore shared the Shingon temples' interests. It was only in the late Edo period that several wealthy oshi began to seek affiliation with external sources of authority such as the Shirakawa house and to engage in anti-Buddhist rhetoric culled from the nativist Hirata School. This led to friction between the Shingon temples and the oshi and provided the basis for the
Revue / Journal Title
- source : cat.inist.fr


The oshi handed special fuda amulets to their parishioners, called

haisatsu 配札 special amulets

which also helped to keep the groups (koo 講) together till our times.

Often when they distributed their amulets, they got soy beans or other vegetables as offerings, and thus could offer tofu and vegetarian meals at their lodgings.

「大山の御師たちが配札や祈祷、日侍行事などを行い、謝礼として受け取り集められた大豆などの豊富な原材料が大山に集中したこと。」

© More in the WIKIPEDIA !

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After praying and getting relief at the temple, you can walk down the mountain to the cable car.
On the way are more stone statues of various deities.



Pilgrimage to 36 Fudo Temples in the Kanto area,
starting with Oyama Fudo.
関東三十六不動霊場巡礼
Scroll through all the 36 temples.
http://www.nenjudo.co.jp/page/junreireport3.htm


関東三十六不動霊場 Pilgrimages to 36 Fudoo Temples
Ooyama Fudo in Kanagawa Pref.
大山不動、神奈川県



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Priest Roben and
. Temple Todai-Ji 東大寺 - Nara .

Rooben no taki 良弁滝(ろうべんのたき)Roben-Waterfall

神奈川県大山


Look at more photos here:
source : ooyamamairi.html

相州大山石尊権現  Oyama Sekison Gongen
Sekison Mairi Koritori 石尊参垢離取(せきそんまいりこりとり)
Ablutions at the foot of the Stone Deity Sekison Gongen
In former times from June 28 till July 7.
later from July 14 to 17 (Bon Yama 盆山)



相州大山ろうべんの瀧

. Katsushika Hokusai 葛飾北斎 .

Roben practised austerities here in the year 755.
At that time, the waterfall was about four meters high.
This scene has also been portraid in Kabuki
大山と家光 and 大山良弁滝の場.


The waterfall today


source : www.ooooyama.com


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. Kobayashi Issa 小林一茶 in Edo .

三間の木太刀をかつぐ袷かな
san-gen no kidachi o katsugu awase kana

in thick summer robes
pilgrims carry a wooden sword
eighteen feet long


This hokku is from the ninth month (October) of 1819, the year evoked in Issa's Year of My Life, when Issa was living in his hometown. The hokku appears in a fairly similar form in Year of My Life, where it has a note, On a pilgrimage to Ooyama Shrine, which indicates that it is about a group of pilgrims going to the Sekison Shrine on Mt. Ooyama, about fifty miles from the city of Edo, where Issa lived for many years. The main time of year for making pilgrimages to the shrine was between lunar 6/27 and 7/17, when the whole mountain became open to the public, and thousands of small groups of pilgrims representing larger groups or kou traveled to the mountain and were able to climb up it and present their offerings and prayers directly to the mountain god. Traditionally the mountain was believed to be a site where the souls of ancestors returned to this world, but it was also believed to respond to prayers for rain. In addition, warriors offered precious swords to the god there when they prayed for success. In Edo, the god of Mt. Ooyama was extremely popular among commoners during Issa's time, and groups of a hundred or more believers sprang up in many neighborhoods and among many professions, especially among carpenters, construction workers, blacksmiths, and firemen, and each year a different small group of members would be sent to the mountain to pray on behalf of all of the members, with expenses paid by offerings made by the whole group.


source : ooyamakaido.com/modules

Issa's hokku evokes one such group, perhaps as they set out from Edo to make their pilgrimage to Mt. Ooyama. By Issa's time commoner pilgrims had begun to present large wooden swords to the Ooyama god, Sekison Gongen, who was believed to be pleased by swords, which were commonly mentioned in Buddhism as a tool for cutting through illusions and attachment to the world and also in popular shamanism, where spiritually powerful swords were regarded as a means of protection against malevolent spirits. Some pilgrims carried short wooden swords, but it was believed that the pleasure of the mountain god increased with the size of the wooden sword, so many groups began to carry and present very long wooden swords, which had the name of the god written on them and represented the prayer of the whole group. The sword in the hokku is eighteen feet long, so it is probably being carried on the shoulders of two pilgrims. When they get to Mt. Ooyama, the pilgrims will enter a nearby river or perhaps the falls at the foot of the mountain in order to purify themselves and the wooden sword before meditating and then climbing the mountain and presenting the sword to the god. After they present the sword, they will be given a different wooden sword presented earlier by other pilgrims which has already been accepted and blessed by the god, and this sword they will take back to Edo and place in the shrine in the hall or room where the whole group periodically meets.

In the version of this hokku in Year of My Life, the sword is "25 or 30 feet long," although this may be a deliberate exaggeration by Issa. Judging from the placement of the hokku among other hokku in Year of My Life, Issa seems to be skeptical that greater sword length is related to greater sincerity or greater power of prayer. After all, the number of times one repeats Amida Buddha's name is much less important than the condition of one's heart/mind as one says the name. Still, Issa seems to be impressed by the great efforts made by the pilgrims on their journey. By mentioning the seemingly minor detail that the pilgrims wear thick summer robes -- usually worn in early summer, when it is cooler -- Issa stresses rather tactually the fact that after a few miles of walking the long sword must feel very heavy on the pilgrims' shoulders.

* The custom at Ooyama of receiving a wooden sword presented by another person after you presented your own wooden sword to the god suggests the presence of an important element linking the culture popular pilgrimages and the culture within which renga and renku emerged and flourished.


source : www.isehara-jc.com/2011
http://www.isehara-jc.com/2011/uploads/img4d735f14e1c2d.jpg

Contemporary pilgrims carrying a long wooden sword up the mountain:

Chris Drake

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. Shrine Hibita Jinja 比々多神社 .
San no Miya in Sagami


. 関東三十六不動霊場
Pilgrimages to 36 Fudo Temples in Kanto (Bando) .

Number 01 is Oyama!


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