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Fudo Pilgrims in Shikoku
Temple Nr. 32 . Tenpuku-Ji . 天福寺
第32番 美応山 天福寺 真言宗御室派
香川県香川郡香南町岡 1077 0878-79-2243
Fudo on a hill, Oka Fudo 岡不動
This temple is located at the top of a mountain, where you have an easy slope for women and a steep one for men to climb up, each with 75 steps. Then another 60 steps to the main gate.
There is also a statue of Yakushi Nyorai, said to be made by Gyoki.
Myokozo (Myookoozoo) Doji 妙光蔵童子
Myookuuzoo 妙空蔵童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on koonan tokujitsu sowaka
おん こうなん とくじつ そわか
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四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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5/02/2008
Shikoku Fudo 33
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Fudo Pilgrims in Shikoku
Temple Nr. 33 Jodo-Ji (Joodoji) 浄土寺
第33番 高木山 浄土寺 真言宗善通寺
香川県木田郡三木町井戸 429 0878-99-0226
Fudo for Rain Rituals, "Thunder Fudo"
Rai Fudoo, Kaminari Fudo 雷不動
請雨瀧不動尊
© PHOTO : kotetu_s
He stands on top a two-story building, protecting the people from rain and also bringing rain if need be.
Fukoo-Oo Doji 普香王童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on aishani hatta hatta sowaka
おん あい びしやに はつた はつた そわか
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There is another "Kaminari Thunder Fudo" 雷不動 along the Tohoku Pilgrimage
請雨瀧不動尊 Sho-U-Ryu Fudo
. Daijuu-In 大樹院 Daiju-In - Yamagata .
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四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
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Fudo Pilgrims in Shikoku
Temple Nr. 33 Jodo-Ji (Joodoji) 浄土寺
第33番 高木山 浄土寺 真言宗善通寺
香川県木田郡三木町井戸 429 0878-99-0226
Fudo for Rain Rituals, "Thunder Fudo"
Rai Fudoo, Kaminari Fudo 雷不動
請雨瀧不動尊
© PHOTO : kotetu_s
He stands on top a two-story building, protecting the people from rain and also bringing rain if need be.
Fukoo-Oo Doji 普香王童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on aishani hatta hatta sowaka
おん あい びしやに はつた はつた そわか
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There is another "Kaminari Thunder Fudo" 雷不動 along the Tohoku Pilgrimage
請雨瀧不動尊 Sho-U-Ryu Fudo
. Daijuu-In 大樹院 Daiju-In - Yamagata .
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四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
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5/01/2008
Shikoku Fudo 34
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Fudo Pilgrims in Shikoku
Temple Nr. 34 Jinno-Ji (Jinnooji) 神応寺
Hansho-In (Hanshoo-in 繁昌院)
第34番 東流山 神応寺 神應寺 繁昌院 真言宗当山派
香川県大川郡寒川町神前 1722-1 0879-43-3825
"One Item" Fudo, Ichiji Fudo ... 一事不動
meaning you make one wish at a time, and when this wish has come true you make the next wish.
Zennishi Doji 善邇師童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on hanmei bazara kishiya un
おん はんめい ばざやら きしやうん
In the temple garden is a stone memorial of
Memyo Bosatsu 馬鳴菩薩. Ashvagosha
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Ichigan Fudo .. 一願不動 .. "One Wish" Fudo
四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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Fudo Pilgrims in Shikoku
Temple Nr. 34 Jinno-Ji (Jinnooji) 神応寺
Hansho-In (Hanshoo-in 繁昌院)
第34番 東流山 神応寺 神應寺 繁昌院 真言宗当山派
香川県大川郡寒川町神前 1722-1 0879-43-3825
"One Item" Fudo, Ichiji Fudo ... 一事不動
meaning you make one wish at a time, and when this wish has come true you make the next wish.
Zennishi Doji 善邇師童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on hanmei bazara kishiya un
おん はんめい ばざやら きしやうん
In the temple garden is a stone memorial of
Memyo Bosatsu 馬鳴菩薩. Ashvagosha
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Ichigan Fudo .. 一願不動 .. "One Wish" Fudo
四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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Shikoku Fudo 35
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Fudo Pilgrims in Shikoku
Temple Nr. 35 Myo-O In 明王院
第35番 西寶山 明王院 単立
香川県高松市西宝町 2-855 0878-61-5136
厄除不動 Fudo to ward off evil
Harika Doji 波利迦童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on ken manimani sowaka
おん けん まにまに そわか
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四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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Fudo Pilgrims in Shikoku
Temple Nr. 35 Myo-O In 明王院
第35番 西寶山 明王院 単立
香川県高松市西宝町 2-855 0878-61-5136
厄除不動 Fudo to ward off evil
Harika Doji 波利迦童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on ken manimani sowaka
おん けん まにまに そわか
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四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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Shikoku Fudo 36
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Fudo Pilgrims in Shikoku
Temple Nr. 36 Shodai-Ji (Shoodaiji) 聖代寺
第36番
成田山 聖代寺 真言宗 善通寺
香川県高松市屋島東町 1322 0878-41-9287
Access from Yakuri Station.
not to mix with the famous Zentsuji Nr. 75 in Shikoku.
善通寺市善通寺町3-3-1
"Wareding off evil", Yakuyoke Fudo 厄除不動
Ubakei Doji 烏婆計童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on taramaya kiriku sowaka
おん たらまや きりく そわか
Click for more photos of the temple.
In spring there are more than 120 Somei Yoshino cherry blossom trees. There are also many apricot trees nearby.
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善通寺会陽, 善通寺裸祭り Zentsuji Hadaka Matsuri
Zentsuji Naked Festival, Zentsuuji Eyoo
四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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Fudo Pilgrims in Shikoku
Temple Nr. 36 Shodai-Ji (Shoodaiji) 聖代寺
第36番
成田山 聖代寺 真言宗 善通寺
香川県高松市屋島東町 1322 0878-41-9287
Access from Yakuri Station.
not to mix with the famous Zentsuji Nr. 75 in Shikoku.
善通寺市善通寺町3-3-1
"Wareding off evil", Yakuyoke Fudo 厄除不動
Ubakei Doji 烏婆計童子
© PHOTO : www.rokuriyu.or.jp
Mantra
on taramaya kiriku sowaka
おん たらまや きりく そわか
Click for more photos of the temple.
In spring there are more than 120 Somei Yoshino cherry blossom trees. There are also many apricot trees nearby.
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善通寺会陽, 善通寺裸祭り Zentsuji Hadaka Matsuri
Zentsuji Naked Festival, Zentsuuji Eyoo
四国三十六不動尊霊場会
Fudo Pilgrims in Shikoku
Alphabetical Index of the Daruma Museum
worldkigo
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1/16/2008
Kihara Fudoson
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Kihara Fudoson ... 木原不動尊
Kumamoto, Tomiai Town, 富合町
Temple Choju-Ji (Choojuuji) 長壽寺 , 長寿寺
Tyoujiu-ji Kihara Fudô-Son
熊本県下益城郡富合町大字木原2040
Temple Nr. 19 on the Kyushu Fudo Pilgrimage.
The temple compound is very large and there are many stone steps up to the main hall.
The Nio Statues at the entrance gate are very impressive.
The temple is located at the "Demon Side" in the north of the old castle, to protect the area from evil influence. The castle had been erected by Chinsei Hachiro 鎮西八郎 (Minamoto no Tametomo 源為朝), who even shot down some geese from the high sky with his strong bow and had the rest of the geese fly around in horror. So the mountain is also called "geese flying in circles", Gankaizan 雁回山.
The temple was initiated as a "Cermon Temple" dangijo 談義所 related to Hieizan by Dengyo Daishi. It dates back more than 1200 years.
The annual fire ritual festival is on February 28. 春季大祭
Hiwatari and Yutate Rituals 火渡りや湯立ての荒行
The standing Fudo statue is in a shrine. Inside the Lotus sutra had been inserted.
It is called
"Goldbrocade Fudo" Kin Nishiki Fudo, Gonki Fudo 金錦不動、
Preventing Fire : Hibuse Fudo 火伏不動、
Bringing Rain : Mizuhiki Fudo 水引不動
or
Sujikiri Fudo すじきり不動 to protect children from diseases.
source : 木原不動尊
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Oku no In 奥之院
© PHOTO : ~joma
CLICK for more photos by Joma.
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Three Most Famous Fudo . 三大不動尊 Sandai Fudo Son
Fire-preventing Daruma 火防達磨
Hibuse Daruma
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. Mizuhiki 水引 decoration paper cord .
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. Kobayashi Issa 小林一茶 in Edo .
菜の畠打や談義を聞ながら
na [no] hata uchi ya dangi o kiki nagara
plowing the field
listening to
the sermon
An itinerant Buddhist priest is preaching, possibly on the subject of Amida Buddha's saving grace.
Tr. David Lanoue
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Kihara Fudoson ... 木原不動尊
Kumamoto, Tomiai Town, 富合町
Temple Choju-Ji (Choojuuji) 長壽寺 , 長寿寺
Tyoujiu-ji Kihara Fudô-Son
熊本県下益城郡富合町大字木原2040
Temple Nr. 19 on the Kyushu Fudo Pilgrimage.
The temple compound is very large and there are many stone steps up to the main hall.
The Nio Statues at the entrance gate are very impressive.
The temple is located at the "Demon Side" in the north of the old castle, to protect the area from evil influence. The castle had been erected by Chinsei Hachiro 鎮西八郎 (Minamoto no Tametomo 源為朝), who even shot down some geese from the high sky with his strong bow and had the rest of the geese fly around in horror. So the mountain is also called "geese flying in circles", Gankaizan 雁回山.
The temple was initiated as a "Cermon Temple" dangijo 談義所 related to Hieizan by Dengyo Daishi. It dates back more than 1200 years.
The annual fire ritual festival is on February 28. 春季大祭
Hiwatari and Yutate Rituals 火渡りや湯立ての荒行
The standing Fudo statue is in a shrine. Inside the Lotus sutra had been inserted.
It is called
"Goldbrocade Fudo" Kin Nishiki Fudo, Gonki Fudo 金錦不動、
Preventing Fire : Hibuse Fudo 火伏不動、
Bringing Rain : Mizuhiki Fudo 水引不動
or
Sujikiri Fudo すじきり不動 to protect children from diseases.
source : 木原不動尊
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Oku no In 奥之院
© PHOTO : ~joma
CLICK for more photos by Joma.
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Three Most Famous Fudo . 三大不動尊 Sandai Fudo Son
Fire-preventing Daruma 火防達磨
Hibuse Daruma
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. Mizuhiki 水引 decoration paper cord .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Kobayashi Issa 小林一茶 in Edo .
菜の畠打や談義を聞ながら
na [no] hata uchi ya dangi o kiki nagara
plowing the field
listening to
the sermon
An itinerant Buddhist priest is preaching, possibly on the subject of Amida Buddha's saving grace.
Tr. David Lanoue
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[ . BACK to DARUMA MUSEUM TOP . ]
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7/20/2007
Kuniyoshi Utagawa Hiroshige
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Ando Hiroshige, see below
Kuniyoshi, Utagawa ... 歌川国芳
Ichiyusai (一勇斎)
Utagawa Kuniyoshi (Japanese: 歌川国芳)
(1797 - April 14, 1861)
was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting and belonged to the Utagawa school.
He was born in 1797, the son of a silk-dyer, originally named Yoshisaburō. Apparently he assisted his father's business as a pattern designer, and some have suggested that this experience influenced his rich use of color and textile patterns in prints. It is said that Kuniyoshi was impressed, at an early age of seven or eight, by ukiyo-e warrior prints, and by pictures of artisans and commoners (as depicted in craftsmen manuals), and it is possible these influenced his own later prints.
His economic situation turned desperate at one point when he was forced to sell used tatami mats. A chance encounter with his prosperous fellow pupil Kunisada, to whom he felt (with some justice) that he was superior in artistic talent, led him to redouble his efforts (but did not create any lingering ill-feeling between the two, who later collaborated on a number of series). During the 1820s, Kuniyoshi produced a number of heroic triptychs that show the first signs of an individual style. In 1827 he received his first major commission for the series, One hundred and eight heroes of the popular Suikoden all told (Tūszoku Suikoden gōketsu hyakuhachinin no hitori), based on the incredibly popular Chinese tale, the Shuihu zhuan. In this series Kuniyoshi illustrated individual heroes on single-sheets, drawing tattoos on his heroes, a novelty which soon influenced Edo fashion. The Suikoden series became extremely popular in Edo, and the demand for Kuniyoshi’s warrior prints increased, gaining him entrance into the major ukiyō-e and literary circles.
He continued to produce warrior prints, drawing much of his subjects from war tales such as Tale of the Heike (Heikei monogatari) and The rise and fall of the Minamoto and the Taira (Genpei seisuki). His warrior prints were unique in that they depicted legendary popular figures with an added stress on dreams, ghostly apparitions, omens, and superhuman feats. This subject matter is instilled in his works The ghost of Taira Tomomori at Daimotsu bay (Taira Tomomori borei no zu) and the 1839 triptych The Gōjō bridge (Gōjō no bashi no zu), where he manages to invoke an effective sense of action intensity in his depiction of the combat between Yoshitsune and Benkei. These new thematic styles satisfied the public’s interest in the ghastly, exciting, and bizarre that was growing during the time.
In the late 1840s, Kuniyoshi began again to illustrate actor prints, this time evading censorship (or simply evoking creativity) through childish, cartoon-like portraits of famous kabuki actors, the most notable being "Scribbling on the storehouse wall" (Nitakaragurakabe no mudagaki). Here he creatively used elementary, child-like script sloppily written in kana under the actor faces. Reflecting his love for felines, Kuniyoshi also began to use cats in the place of humans in kabuki and satirical prints. He is also known during this time to have experimented with ‘wide-screen’ composition, magnifying visual elements in the image for a dramatic, exaggerated effect (ex. Masakado’s daughter the princess Takiyasha, at the old Soma palace).
In 1856 Kuniyoshi suffered from palsy, which caused him much difficulty in moving his limbs. It is said that his works form this point onward were noticeably weaker in the use of line and overall vitality. Before his death in 1861, Kuniyoshi was able to witness the opening of the port city of Yokohama to foreigners, and in 1860 produced two works depicting Westerners in the city (Yokohama-e, ex. View of Honcho, Yokohama and The pleasure quarters, Yokohama).
He died at the age of 65 in March of 1861 in his home in Genyadana.
© More in the WIKIPEDIA !
LOOK at more
Woodblock prints by Kuniyoshi .
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Samurai encountering Fudo Myo-o at a graveyard
source : commons.wikimedia.org
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Musha-e 'Soga no Hakoomaru' 曽我箱王丸
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歌川国芳「那智の滝の文覚」 Mongaku under the waterfall of Nachi
- source : bluediary2.jugem.jp
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. Tengupedia - 天狗ペディア - Tengu ABC-List .
An elephant catching a flying Tengu
. . . CLICK here for more Photos - Kuniyoshi Tengu ! !
Kyôga tengu no korishô - Tengu no hana Tengu and their noses"
CLICK for more of his Tengu paintings - 歌川国芳 天狗 !
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Daruma
source : commons.wikimedia.org
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Daruma's Buffoonery (Dôke Daruma asobi)
Publisher: Horimasa 1847
After the imposition of a ban on actor prints in 1842, Kuniyoshi produced numerous humorous designs with thinly disguised actors’ portraits. In this series, well known actors are portrayed as Daruma, without any mention of their names. This series is listed as number 191 in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961).
The prints in this series are each about 14 by 10 inches (36 by 25 centimeters), a size known as ôban.
Actors Nakamura Utaemon IV (right), Ichikawa Kuzô II (center) and Matsumoto Kôshirô VI (left) playing the game of ken
Actors Ichimura Uzaemon XII (right), Ichikawa Danjûrô VIII (center) and Onoe Kikujirô II (left)
Sumidagawa
Actors Bandô Shûka (right), Sawamura Sôjûrô V (center) and Onoe Kikugorô III (left)
Otowa no Taki
Actors Badnô Shûka and Onoe Kikugorô III
CLICK here to look at the prints :
source : www.kuniyoshiproject.com / William Pearl
「流行達磨あそび」
............... MORE :
Artistic Performances of Daruma-monks
(Tôsei Daruma no gei zukushi)
Description:
Five variations of Daruma: two squabbling women, two jugglers, and the actor Ichikawa Danjûrô VII as the aged Daruma, whose nose was so long that a thread, wound around his nose and one ear, would actually hold
Date: c. 1842
Toys with Actor's Expressions
(Sono omokage teasobi zukushi)
Description:
A lion's mask, a Daruma doll, a female doll with bare shoulders, an owl and a male doll playing with a piece of paper (fukigami)
Daruma Utsushi-E
Women and children enjoying shadow pictures
Date: c. 1832-1844
CLICK here to look at these prints :
source : www.kuniyoshiproject.com / William Pearl
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Exhibition at Fuchu Art Museum
府中市美術館 : 歌川国芳
From 2010-03-20 to 2010-05-09
Kuniyoshi Utagawa is a late Edo period ukiyo-e artist whose fantastic motifs have received renewed critical attention in recent years. Full of a playful, ludic spirit, his works feature cats, warriors, huge monsters and fantastical creatures. A selection of these works were shown last spring in London, and later traveled to various European cities before ending up in New York this spring.
This exhibition features over 230 of Kuniyoshi's works over two parts.
source : www.tokyoartbeat.com
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quote
The rootless woodblock prints of Kuniyoshi
By C.B. LIDDELL
There have been several exhibitions of the 19th-century ukiyo-e (woodblock print) artist Utagawa Kuniyoshi in recent years. In 2009, there was "Woodblock Prints of Eccentricity and Laughter" at the Fuchu Art Museum and last year we had "Utagawa Kuniyoshi: Unparalleled Ukiyo-e Artist" at the Ota Memorial Museum. Both shows were quite comprehensive and treated Kuniyoshi with all the respect accorded a major artist — as he is now considered to be.
This year, we have the grandly titled "Kuniyoshi: Spectacular Ukiyo-e Imagination." With 420 works, it claims to be the biggest exhibition of the artist's works yet, and seems designed to elevate him to a level equal to the likes of Katsushika Hokusai.
But, while the show is ostensibly impressive and awe-inspiring, it does little to develop our understanding of the artist, falling back on the uninspiring narrative of a polymorphously creative individual in overdrive.
The breathless buzzwords in the title give it away. These are echoed by the exhibition's publicity, presentation, and catalogue, which show a tendency to gush over its subject in prose that reveals hard-sell intent more than curatorial insight.
"Variety was Kuniyoshi's watchword in technique as well as subject matter," exclaims a typically overloaded phrase in the catalogue's English essay. This is closely followed by the information that Kuniyoshi "explored developing compositions from a multiplicity of perspectives," conjuring up a picture of the artist sketching while standing on his head, and the assurance that his "wide screen compositions" are "particularly spectacular."
The vision of the artist that the curators are presenting is of some irrepressible fount of pure creativity who just happened to burst forth in the Edo Period (1603-1867) and who must be worshipped without question.
Of course, they might very well be onto something. As you pass through the exhibition, you are bombarded with what seems like an endless stream of unexpected and innovative imagery.
Pictures of warriors fighting battles and monsters, give way to epic scenes with giant ghosts and whale hunts, which in turn lead to depictions of holy men and paragons of virtue. Kimono-clad beauties delight our eyes, then give way to landscapes and pictures of anthropomorphized animals and objects, followed by trick pictures using ambiguous silhouettes and tiny human figures arranged to create the image of larger faces. A one-trick pony, Kuniyoshi certainly wasn't!
After this colorful carousel, the point of least resistance is to just surrender to the idea offered, of Kuniyoshi as the incarnation of pure "boundless imagination."
The problem with this, however, is that it is ultimately an unsatisfying narrative as it merely places the artist behind a curtain of blind adoration that ignores his failings as an artist — some of his pictures are hopelessly cluttered and compositionally weak — as well as the elements that tie him to his era.
source : Japan Times, Feb. 2, 2012
"Kuniyoshi: Spectacular Ukiyo-e Imagination"
Mori Arts Center Gallery
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
More by Kuniyoshi
Badger Tanuki and his big scrotum .. with Daruma
Daruma and Tokusakari ... two-way pictures, 上下絵 (じょうげえ jooge-e)
The Monster Cats enjoying a Dance
Priest Nichiren in the Snow on Sado Island
.................................................................................
Daruma eating buckwheat noodles
流行達磨遊び-蕎麦・首引き
流行達磨遊び-手が出る足が出る
Daruma, Life Beeing Breathed into a Papier-mache Doll
Shared by Ken Ishihashi - Facebook
. だるま夜話 Daruma Yobanashi - Dancing
Daruma Story for a Spooky Night .
. 歌川国芳 達磨 Kuniyoshi and Daruma .
Ichiyusai Kuniyoshi 一勇斎 国芳
giga 戯画 playful pictures
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二代歌川広重(歌川重宣)Utagawa Shigenobu
Shigenobu Utagawa, Hiroshige II
(1826 - 1869)
Utagawa Shigenobu (1826-1869) was the chief pupil of the the second great master of the Japanese landscape woodblock print, Hiroshige. He took over his master's go 'Hiroshige' on the latter's death, and is now principally known by it, being more usually referred to as 'Hiroshige II'.
He was born into a family of fire-watchmen, like his master Hiroshige I. He was originally named Suzuki Chimpei, and as his artistic career began, he was given the name Shigenobu (重宣) by his master Hiroshige I. He was made part of his master's household, and married Hiroshige I's daughter Tatsu.
MORE
source : mercury.lcs.mit.edu J. Noel Chiappa
source : www.jti.co.jp
新板手遊尽し Teasobi Tsukushi
Things to play with, including a Daruma だるま
When these prints became more popular, Daruma was one of the common features in them.
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Utagawa Hiroshige 歌川広重
Ando Hiroshige 安藤広重
(1797-1858)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
kigo for late autumn
Hiroshige Ki 広重忌 Hiroshige Memorial Day
1797 in Edo – October 12, 1858
. Memorial Days of Famous Poeple .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
"Fifty-Three Stations of the Tokaido"
"Famous Places of Edo: A Hundred Views"
Utagawa Hiroshige (sometimes called Ando Hiroshige)
was the second of the two great masters of the Japanese landscape woodblock print, after Hokusai. He is particularly known for his scenes featuring snow and rain, which feauture in many of his best and most famous images, and which has led to his becoming know as "the artist of rain, snow and mist".
He was born (with the name Ando Tokutaro) in Edo (the name of Tokyo at that point in time), and originally was intended to follow the career of his father, a fire-watchman. After his parents' death in 1809, the orphan Hiroshige gravitated toward the art world, an inclination which had been encouraged by his father.
source : mercury.lcs.mit.edu
quote
"A Road Traveled by Feudal Lords and Pet Dogs:
Hiroshige's Fifty-three Stations of the Tokaido,
Primarily from the Hoeido and Reisho Editions"
SUNTORY MUSEUM OF ART
Yokkaichi-Juku 四日市宿
A popular subject of literature and art during the Edo Period (1603-1867) was the journey along the Tokaido highway between Edo (present-day Tokyo) and Kyoto, the most famous depictions of which come from ukiyo-e (woodblock print) artist Utagawa Hiroshige (1797-1858). Hiroshige produced more than 20 editions of these works, one of which is known as the Hoeido — 55 oban (26.5×39 cm) full-color prints depicting all 53 stations along the highway.
source : www.japantimes.co.jp
The international Hiroshige research website:
Theo de Kreijger
source : www.utagawahiroshige.nl
. Mentioning Hiroshige in the Daruma Museum .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Utagawa Toyokuni 'Toyokuni I'
Look at more than 5000 of his prints!
source : ukiyo-e.org
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Utagawa Yoshikazu 歌川芳員
(active about 1848-1863)
UCSF Japanese Woodblock Print Collection - Fudō myōō
. Fudō Myō-ō, Fudoo Myoo-Oo 不動明王 Fudo Myo-O
Acala Vidyârâja - Vidyaraja .
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[ . BACK to WORLDKIGO . TOP . ]
[ . BACK to DARUMA MUSEUM TOP . ]
- #kuniyoshi #utagawa -
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Ando Hiroshige, see below
Kuniyoshi, Utagawa ... 歌川国芳
Ichiyusai (一勇斎)
Utagawa Kuniyoshi (Japanese: 歌川国芳)
(1797 - April 14, 1861)
was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting and belonged to the Utagawa school.
He was born in 1797, the son of a silk-dyer, originally named Yoshisaburō. Apparently he assisted his father's business as a pattern designer, and some have suggested that this experience influenced his rich use of color and textile patterns in prints. It is said that Kuniyoshi was impressed, at an early age of seven or eight, by ukiyo-e warrior prints, and by pictures of artisans and commoners (as depicted in craftsmen manuals), and it is possible these influenced his own later prints.
His economic situation turned desperate at one point when he was forced to sell used tatami mats. A chance encounter with his prosperous fellow pupil Kunisada, to whom he felt (with some justice) that he was superior in artistic talent, led him to redouble his efforts (but did not create any lingering ill-feeling between the two, who later collaborated on a number of series). During the 1820s, Kuniyoshi produced a number of heroic triptychs that show the first signs of an individual style. In 1827 he received his first major commission for the series, One hundred and eight heroes of the popular Suikoden all told (Tūszoku Suikoden gōketsu hyakuhachinin no hitori), based on the incredibly popular Chinese tale, the Shuihu zhuan. In this series Kuniyoshi illustrated individual heroes on single-sheets, drawing tattoos on his heroes, a novelty which soon influenced Edo fashion. The Suikoden series became extremely popular in Edo, and the demand for Kuniyoshi’s warrior prints increased, gaining him entrance into the major ukiyō-e and literary circles.
He continued to produce warrior prints, drawing much of his subjects from war tales such as Tale of the Heike (Heikei monogatari) and The rise and fall of the Minamoto and the Taira (Genpei seisuki). His warrior prints were unique in that they depicted legendary popular figures with an added stress on dreams, ghostly apparitions, omens, and superhuman feats. This subject matter is instilled in his works The ghost of Taira Tomomori at Daimotsu bay (Taira Tomomori borei no zu) and the 1839 triptych The Gōjō bridge (Gōjō no bashi no zu), where he manages to invoke an effective sense of action intensity in his depiction of the combat between Yoshitsune and Benkei. These new thematic styles satisfied the public’s interest in the ghastly, exciting, and bizarre that was growing during the time.
In the late 1840s, Kuniyoshi began again to illustrate actor prints, this time evading censorship (or simply evoking creativity) through childish, cartoon-like portraits of famous kabuki actors, the most notable being "Scribbling on the storehouse wall" (Nitakaragurakabe no mudagaki). Here he creatively used elementary, child-like script sloppily written in kana under the actor faces. Reflecting his love for felines, Kuniyoshi also began to use cats in the place of humans in kabuki and satirical prints. He is also known during this time to have experimented with ‘wide-screen’ composition, magnifying visual elements in the image for a dramatic, exaggerated effect (ex. Masakado’s daughter the princess Takiyasha, at the old Soma palace).
In 1856 Kuniyoshi suffered from palsy, which caused him much difficulty in moving his limbs. It is said that his works form this point onward were noticeably weaker in the use of line and overall vitality. Before his death in 1861, Kuniyoshi was able to witness the opening of the port city of Yokohama to foreigners, and in 1860 produced two works depicting Westerners in the city (Yokohama-e, ex. View of Honcho, Yokohama and The pleasure quarters, Yokohama).
He died at the age of 65 in March of 1861 in his home in Genyadana.
© More in the WIKIPEDIA !
LOOK at more
Woodblock prints by Kuniyoshi .
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Samurai encountering Fudo Myo-o at a graveyard
source : commons.wikimedia.org
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Musha-e 'Soga no Hakoomaru' 曽我箱王丸
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歌川国芳「那智の滝の文覚」 Mongaku under the waterfall of Nachi
- source : bluediary2.jugem.jp
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. Tengupedia - 天狗ペディア - Tengu ABC-List .
An elephant catching a flying Tengu
. . . CLICK here for more Photos - Kuniyoshi Tengu ! !
Kyôga tengu no korishô - Tengu no hana Tengu and their noses"
CLICK for more of his Tengu paintings - 歌川国芳 天狗 !
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Daruma
source : commons.wikimedia.org
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Daruma's Buffoonery (Dôke Daruma asobi)
Publisher: Horimasa 1847
After the imposition of a ban on actor prints in 1842, Kuniyoshi produced numerous humorous designs with thinly disguised actors’ portraits. In this series, well known actors are portrayed as Daruma, without any mention of their names. This series is listed as number 191 in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961).
The prints in this series are each about 14 by 10 inches (36 by 25 centimeters), a size known as ôban.
Actors Nakamura Utaemon IV (right), Ichikawa Kuzô II (center) and Matsumoto Kôshirô VI (left) playing the game of ken
Actors Ichimura Uzaemon XII (right), Ichikawa Danjûrô VIII (center) and Onoe Kikujirô II (left)
Sumidagawa
Actors Bandô Shûka (right), Sawamura Sôjûrô V (center) and Onoe Kikugorô III (left)
Otowa no Taki
Actors Badnô Shûka and Onoe Kikugorô III
CLICK here to look at the prints :
source : www.kuniyoshiproject.com / William Pearl
「流行達磨あそび」
............... MORE :
Artistic Performances of Daruma-monks
(Tôsei Daruma no gei zukushi)
Description:
Five variations of Daruma: two squabbling women, two jugglers, and the actor Ichikawa Danjûrô VII as the aged Daruma, whose nose was so long that a thread, wound around his nose and one ear, would actually hold
Date: c. 1842
Toys with Actor's Expressions
(Sono omokage teasobi zukushi)
Description:
A lion's mask, a Daruma doll, a female doll with bare shoulders, an owl and a male doll playing with a piece of paper (fukigami)
Daruma Utsushi-E
Women and children enjoying shadow pictures
Date: c. 1832-1844
CLICK here to look at these prints :
source : www.kuniyoshiproject.com / William Pearl
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Exhibition at Fuchu Art Museum
府中市美術館 : 歌川国芳
From 2010-03-20 to 2010-05-09
Kuniyoshi Utagawa is a late Edo period ukiyo-e artist whose fantastic motifs have received renewed critical attention in recent years. Full of a playful, ludic spirit, his works feature cats, warriors, huge monsters and fantastical creatures. A selection of these works were shown last spring in London, and later traveled to various European cities before ending up in New York this spring.
This exhibition features over 230 of Kuniyoshi's works over two parts.
source : www.tokyoartbeat.com
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quote
The rootless woodblock prints of Kuniyoshi
By C.B. LIDDELL
There have been several exhibitions of the 19th-century ukiyo-e (woodblock print) artist Utagawa Kuniyoshi in recent years. In 2009, there was "Woodblock Prints of Eccentricity and Laughter" at the Fuchu Art Museum and last year we had "Utagawa Kuniyoshi: Unparalleled Ukiyo-e Artist" at the Ota Memorial Museum. Both shows were quite comprehensive and treated Kuniyoshi with all the respect accorded a major artist — as he is now considered to be.
This year, we have the grandly titled "Kuniyoshi: Spectacular Ukiyo-e Imagination." With 420 works, it claims to be the biggest exhibition of the artist's works yet, and seems designed to elevate him to a level equal to the likes of Katsushika Hokusai.
But, while the show is ostensibly impressive and awe-inspiring, it does little to develop our understanding of the artist, falling back on the uninspiring narrative of a polymorphously creative individual in overdrive.
The breathless buzzwords in the title give it away. These are echoed by the exhibition's publicity, presentation, and catalogue, which show a tendency to gush over its subject in prose that reveals hard-sell intent more than curatorial insight.
"Variety was Kuniyoshi's watchword in technique as well as subject matter," exclaims a typically overloaded phrase in the catalogue's English essay. This is closely followed by the information that Kuniyoshi "explored developing compositions from a multiplicity of perspectives," conjuring up a picture of the artist sketching while standing on his head, and the assurance that his "wide screen compositions" are "particularly spectacular."
The vision of the artist that the curators are presenting is of some irrepressible fount of pure creativity who just happened to burst forth in the Edo Period (1603-1867) and who must be worshipped without question.
Of course, they might very well be onto something. As you pass through the exhibition, you are bombarded with what seems like an endless stream of unexpected and innovative imagery.
Pictures of warriors fighting battles and monsters, give way to epic scenes with giant ghosts and whale hunts, which in turn lead to depictions of holy men and paragons of virtue. Kimono-clad beauties delight our eyes, then give way to landscapes and pictures of anthropomorphized animals and objects, followed by trick pictures using ambiguous silhouettes and tiny human figures arranged to create the image of larger faces. A one-trick pony, Kuniyoshi certainly wasn't!
After this colorful carousel, the point of least resistance is to just surrender to the idea offered, of Kuniyoshi as the incarnation of pure "boundless imagination."
The problem with this, however, is that it is ultimately an unsatisfying narrative as it merely places the artist behind a curtain of blind adoration that ignores his failings as an artist — some of his pictures are hopelessly cluttered and compositionally weak — as well as the elements that tie him to his era.
source : Japan Times, Feb. 2, 2012
"Kuniyoshi: Spectacular Ukiyo-e Imagination"
Mori Arts Center Gallery
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
More by Kuniyoshi
Badger Tanuki and his big scrotum .. with Daruma
Daruma and Tokusakari ... two-way pictures, 上下絵 (じょうげえ jooge-e)
The Monster Cats enjoying a Dance
Priest Nichiren in the Snow on Sado Island
.................................................................................
Daruma eating buckwheat noodles
流行達磨遊び-蕎麦・首引き
流行達磨遊び-手が出る足が出る
Daruma, Life Beeing Breathed into a Papier-mache Doll
Shared by Ken Ishihashi - Facebook
. だるま夜話 Daruma Yobanashi - Dancing
Daruma Story for a Spooky Night .
. 歌川国芳 達磨 Kuniyoshi and Daruma .
Ichiyusai Kuniyoshi 一勇斎 国芳
giga 戯画 playful pictures
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
二代歌川広重(歌川重宣)Utagawa Shigenobu
Shigenobu Utagawa, Hiroshige II
(1826 - 1869)
Utagawa Shigenobu (1826-1869) was the chief pupil of the the second great master of the Japanese landscape woodblock print, Hiroshige. He took over his master's go 'Hiroshige' on the latter's death, and is now principally known by it, being more usually referred to as 'Hiroshige II'.
He was born into a family of fire-watchmen, like his master Hiroshige I. He was originally named Suzuki Chimpei, and as his artistic career began, he was given the name Shigenobu (重宣) by his master Hiroshige I. He was made part of his master's household, and married Hiroshige I's daughter Tatsu.
MORE
source : mercury.lcs.mit.edu J. Noel Chiappa
source : www.jti.co.jp
新板手遊尽し Teasobi Tsukushi
Things to play with, including a Daruma だるま
When these prints became more popular, Daruma was one of the common features in them.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Utagawa Hiroshige 歌川広重
Ando Hiroshige 安藤広重
(1797-1858)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
kigo for late autumn
Hiroshige Ki 広重忌 Hiroshige Memorial Day
1797 in Edo – October 12, 1858
. Memorial Days of Famous Poeple .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
"Fifty-Three Stations of the Tokaido"
"Famous Places of Edo: A Hundred Views"
Utagawa Hiroshige (sometimes called Ando Hiroshige)
was the second of the two great masters of the Japanese landscape woodblock print, after Hokusai. He is particularly known for his scenes featuring snow and rain, which feauture in many of his best and most famous images, and which has led to his becoming know as "the artist of rain, snow and mist".
He was born (with the name Ando Tokutaro) in Edo (the name of Tokyo at that point in time), and originally was intended to follow the career of his father, a fire-watchman. After his parents' death in 1809, the orphan Hiroshige gravitated toward the art world, an inclination which had been encouraged by his father.
source : mercury.lcs.mit.edu
quote
"A Road Traveled by Feudal Lords and Pet Dogs:
Hiroshige's Fifty-three Stations of the Tokaido,
Primarily from the Hoeido and Reisho Editions"
SUNTORY MUSEUM OF ART
Yokkaichi-Juku 四日市宿
A popular subject of literature and art during the Edo Period (1603-1867) was the journey along the Tokaido highway between Edo (present-day Tokyo) and Kyoto, the most famous depictions of which come from ukiyo-e (woodblock print) artist Utagawa Hiroshige (1797-1858). Hiroshige produced more than 20 editions of these works, one of which is known as the Hoeido — 55 oban (26.5×39 cm) full-color prints depicting all 53 stations along the highway.
source : www.japantimes.co.jp
The international Hiroshige research website:
Theo de Kreijger
source : www.utagawahiroshige.nl
. Mentioning Hiroshige in the Daruma Museum .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Utagawa Toyokuni 'Toyokuni I'
Look at more than 5000 of his prints!
source : ukiyo-e.org
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Utagawa Yoshikazu 歌川芳員
(active about 1848-1863)
UCSF Japanese Woodblock Print Collection - Fudō myōō
. Fudō Myō-ō, Fudoo Myoo-Oo 不動明王 Fudo Myo-O
Acala Vidyârâja - Vidyaraja .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to WORLDKIGO . TOP . ]
[ . BACK to DARUMA MUSEUM TOP . ]
- #kuniyoshi #utagawa -
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7/07/2007
Sake
[ . BACK to Daruma Museum TOP . ]
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Ricewine ... Fudo Myo-O Sake
Fudo Myo-O Junmai Ginjo Sake
Fudo Myo-O Nigori Sake
SakéOne
was founded by a group of folks who simply loved saké and had a vision - to produce world-class saké in the United States.
And so Forest Grove, Oregon, became the home of SakéOne.
source : SakeOne Corporation
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Sake, 酒 Ricewine and Daruma
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[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ] - - - - - #fudosake - - - - -
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Ricewine ... Fudo Myo-O Sake
Fudo Myo-O Junmai Ginjo Sake
Fudo Myo-O Nigori Sake
SakéOne
was founded by a group of folks who simply loved saké and had a vision - to produce world-class saké in the United States.
And so Forest Grove, Oregon, became the home of SakéOne.
source : SakeOne Corporation
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Sake, 酒 Ricewine and Daruma
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[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ] - - - - - #fudosake - - - - -
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5/27/2007
Shusse Fudo
[ . BACK to Daruma Museum TOP . ]
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Shusse Fudoo 出世不動
Fudo Myo-O for a good career !
First read the basics about Shusse Daruma :
Daruma for a good career !
At Fukagawa, Tokyo 出世不動尊
(長専院不動寺)
東京都江東区三好1-6-3
This temple was built by the Edo government and belongs to the Jodo Sect of Buddhism.
It was first build on the reclaimed land near the river Kandagawa, but the construction on the unstable land was difficult.
At that time the priest at the Temple Mii-Dera in Omi had a dream about the Fudo Statue in his temple: Fudo appeared in his dream and told him, he should be carried off to Edo to help build the temple.
So they did and put his statue in a contemporary building close to the construction site. Now the building was finished without much more problems and the statue had come to be called "Fudo for a good career".
In 1653, after the great earthquake, the temple was relocted to the present position and the statue now is called: "The Career Fudo from Fukagawa".
© www.fukagawa.info
. Fukagawa Fudoo Doo 深川不動堂 Fukagawa Fudo Do .
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At Kanda in Tokyo
千代田区内神田2-6
大日山東潮院
The original temple was built more than 1200 years ago by Chishoo Daishi Enchin 智証大師, but now the small building amongst the scyscrapers is all that remains. It was later relocated here to protect the Hitotsubashi Family of Daimyos.
It is still very popular with the sumo wrestlers to pray here for a good career.
© www.keishicho.metro.tokyo.jp
. Enchin 圓珍 - 円珍 / 智證大師 Chisho Daishi .
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Shusse Fudo Yugawara, Hakone
出世不動湯河原
At the Fudo Taki waterfall, there is a small sanctuary.
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. 高野寺 出世不動 - Koya-Ji, Shusse Fudo .
Kumamoto
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More Japanese Reference
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. WASHOKU - Shusse uo 出世魚 career fish
[ . BACK to WORLDKIGO . TOP . ]
[ . BACK to DARUMA MUSEUM TOP . ]
- #shussefudo -
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Shusse Fudoo 出世不動
Fudo Myo-O for a good career !
First read the basics about Shusse Daruma :
Daruma for a good career !
At Fukagawa, Tokyo 出世不動尊
(長専院不動寺)
東京都江東区三好1-6-3
This temple was built by the Edo government and belongs to the Jodo Sect of Buddhism.
It was first build on the reclaimed land near the river Kandagawa, but the construction on the unstable land was difficult.
At that time the priest at the Temple Mii-Dera in Omi had a dream about the Fudo Statue in his temple: Fudo appeared in his dream and told him, he should be carried off to Edo to help build the temple.
So they did and put his statue in a contemporary building close to the construction site. Now the building was finished without much more problems and the statue had come to be called "Fudo for a good career".
In 1653, after the great earthquake, the temple was relocted to the present position and the statue now is called: "The Career Fudo from Fukagawa".
© www.fukagawa.info
. Fukagawa Fudoo Doo 深川不動堂 Fukagawa Fudo Do .
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At Kanda in Tokyo
千代田区内神田2-6
大日山東潮院
The original temple was built more than 1200 years ago by Chishoo Daishi Enchin 智証大師, but now the small building amongst the scyscrapers is all that remains. It was later relocated here to protect the Hitotsubashi Family of Daimyos.
It is still very popular with the sumo wrestlers to pray here for a good career.
© www.keishicho.metro.tokyo.jp
. Enchin 圓珍 - 円珍 / 智證大師 Chisho Daishi .
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Shusse Fudo Yugawara, Hakone
出世不動湯河原
At the Fudo Taki waterfall, there is a small sanctuary.
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. 高野寺 出世不動 - Koya-Ji, Shusse Fudo .
Kumamoto
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More Japanese Reference
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. WASHOKU - Shusse uo 出世魚 career fish
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- #shussefudo -
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3/11/2007
Hitokotonushi
[ . BACK to Daruma Museum TOP . ]
七天狗 - Seven Tengu, see below
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Hitokotonushi 一言主
Local people also call this deity in the temple: Ichigonji san
いちごんじさん, 一言寺.
The Shrine for Hitokotonushi 一言主神社
Katsuraki, Katsuragi, Kazuraki, Kazuragi, Hitokotonoshi
Dedicated to Hitokotonushi no kami, or literally the God of One Word, who is referred to in the Nihon Shoki Chronicles. The god only grants requests made in one word or one request for each person praying to him. Others say in his oracles he only utters only one word of good or bad.
In fall, the sight of the tall ginkgo tree leaves turning yellow is breathtaking. In the precinct are Kumozuka, or spider mound, whose origin is in the Nihon Shoki, and a monument inscribed with a haiku poem by the travelling poet Basho Matsuo.
© Text and Photo: Katsuragi Kodoo 葛城古道
Hitokotonushi is most probably identical with
Kotoshironushi 事代主(ことしろぬし、言代主神)
Yae Kotoshironushi 八重言代主神、八重事代主神(ヤエコトシロヌシ)
a deity known for its oracle powers, spreading the word of the gods among the people.
Hitokotonushi was the "God of the Rice Paddies" from Katsuragi area.
In olden times, there were five famous shrines in the Katsuragi area.
The word "KOTO 言" in the name of this deity means "Oracle".
Ta no Kami, God of the Rice Fields and Haiku 田の神さま
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source : facebook
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Katsuragi no hitokotonushi no ōkami (Kojiki)
A god (kami) appearing on Mount Katsuragi, near the border of Yamato and Kawachi Provinces, and who could utter oracles of good or evil with the decisive speaking of a "single word" (hito-koto). The central deity (saijin) of the Hitokotonushi Shrine in Katsuragi, Katsurakami District, Yamato Province (present-day Nara Prefecture).
According to Kojiki, when Emperor Yuryaku climbed Mount Katsuragi with his many courtiers, they encountered another troupe having identical appearance. Enraged, the emperor readied his arrow and asked for the names of those in the opposing group. The leader of the group responded,
"I am Hitokotonushi no kami of Katsuragi,
who proclaims evil in a single word,
good in a single word."
Upon hearing this, the emperor and his courtiers removed their garments and offered them to the kami. Similar stories are found in Nihongi and Shoku Nihongi; the version in Nihongi reflects ancient beliefs in hermetic mountain wizards.
© Matsunaga Naomichi, Kokugakuin University.
http://eos.kokugakuin.ac.jp/modules/xwords/entry.php?entryID=63
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(かつらぎひとことぬしじんじゃ)Shrine Hitokotonushi
The great Gingko Tree
© PHOTO Teranishi 寺西
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En no Gyooja (E no ubasoku) , the famous mountain ascetic around 700.
He is famous for roaming the area of Mt. Katsuragi.
Here is one old legend:
E no ubasoku was of the Kamo-no-enokimi family, presently the Takakamo-no-asomi family. He came from the village of Chihara, Upper Kazuraki district, Yamato province. By nature he was endowed with wisdom; he excelled in learning and attained ultimate knowledge. He lived with reverence and faith in the Three Treasures. His greatest desire was to fly on a five-colored cloud beyond the sky and play in the garden of eternity with the guests of the heavely palace, lying in the flowering garden and sucking the vital force out of the haze to nourish his nature.
Accordingly, in his late forties he went to live in a cave, wore clothing made of vines, drank the dewdrops on pine needles, bathed in pure spring water to rinse away the filth of the world of desire, and learned the formula of the Peacock to attain extraordinary power. Thus he could employ spirits and gods at his command at his command.
Once he summoned them all and ordered them, "Make a bridge between Kane-no-take and Kazuraki-no-take." Hitokotonushi no Okami, who was very ugly, only ventured out at night to help. But the gods were not happy about the bridge building, and in the reign of the emporer residing at Fujiwara Palace, Hitokotonushi no Okami of Kazuraki-no-take was possessed and slandered him, saying, "E no ubasoku plans to usurp the throne." The emporer dispatched messengers to capture him, but they found it hard to take him due to his mysterious power, so they captured his mother instead. In order that his mother might be freed, he gave himself up.
He was exiled to the island of Izu. One time his body went floating on the sea as if he were walking on land. Again, his body perched on a mountain ten thousand feet high and looked like a huge phoenix in flight. In the daytime he stayed on the island in accord with the emporer's command, but at night he went to Fuji-no-take [Mt. Fuji] in Suruga to practice austerities.
As he prayed for pardon from his severe punishment and for permission to return to the capital, he lay down on the blade of an assassin's sword and ascended Mt. Fuji. Three years passed in ascetic practice after he was exiled to the island. At the turn of the eighth year of the ox, the first year of the Taiho era, he was pardoned and approached the capital, finally becoming a saint and flying to heaven.
Dharma Master Dosho of our country received an imperial order to go to Great T'ang China in order to search out Buddhist teachings. On the request of five hundred tigers he went to Silla to lecture in the mountains on the Hoke-kyo. At that time there was a man among the tiger who raised a question in Japanese. The monk asked, "Who are you?" and the man answered, "E no ubasoku." The monk thought that the man was a Japanese sage and came down from his high seat to inquire about him, but he was gone.
Hitokotonushi no Okami was bound with a spell by E no gyoja, and he has not escaped even to this day. E no ubasoku did so many miraculous deeds that we cannot enumerate them all. Indeed we learn that Buddhist miraculous arts are comprehensive. Those who have faith will attain them without fail.
© nichirens coffeehouse.net
Zenkiboo Zenkibō 前鬼坊 Zenkibo
大峰山前鬼坊 Ominesan Zenki-Bo, to become a Tengu
and his wife Goki 後鬼.
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吉野 Yoshino
役行者 En no Gyôja
tried to convince the local Shinto deity, Hitokotonushi,
to help him build a 石橋 stone bridge extending from Mt. Katsuragi to Mt. Yoshino.
Hitokotonushi only worked during the night and hid his face during the daytime. Thus En no Gyoja became angry at the slow pace of the god's work, and threw him into a valley. The angry god then petitioned the emperor to send armies after En no Gyôja, to arrest him, claiming that the monk sought to rebel against the throne. Gyôja escaped the armies easily, flying away on his clouds, but, after they captured his mother instead, he was forced to surrender himself.
He was exiled to Izu Ôshima, but escaped his exile, flying to Mt. Fuji. .....
大和葛城山久米の岩橋伝説 -
The Legend of the Stone Bridge at Kume, Katsuragisan
- reference source : toki.moo.jp/gaten -
Click HERE to see more photos !
. 那智滝本前鬼坊 - Zenkibo, Nachinotakimoto - Nara .
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Kootenboo 葛城高天坊 - Katsuragi Kotenbo
He is one of the
. 四十八天狗 48 important Tengu of Japan .
He is venerated as 天狗魔王尊 Tengu Mao Son at mount Tengudake.
He is the boss of the 畿内七天狗 seven Tengu of the Kinai districts around Kyoto.
. 護法魔王尊 Gohoo Maoo Son .
at Mount Kurama 鞍馬山.
天狗岳 Mount Tengudake, - 558 m - also called
燈明ヶ岳 Tomyogadake,. 犬鳴山 Inunakisan, 天狗魔王岳 Tengu Maodake
source : blog.goo.ne.jp/yochanh1947...
Tengu Mao Son is the boss of the Kinai Shichi Tengu 畿内七天狗 seven Tengu of the Kinai district around Kyoto.
Mentioned in the 天狗経 Tengu Sutra:
The others are
鞍馬の僧正坊 - Sojo-Bo from Kurama
愛宕山の太郎坊 - Taro-Bo from Mount Atago
笠置山の大僧正 - Daisojo from Kasagizan
熊野大峯の菊犬坊 - Kikujo-Bo from Kumano Omine
吉野の皆杉小桜坊 - Kozakura-Bo from Yoshino Minasugi
那智滝本の前鬼坊 - Zenki-Bo from Nachi
高野山の高林坊 - Korin-Bo from Koyasan
. 転法輪寺 Tenporin-Ji .
Demukae Fudoo-son 出迎え不動明王
To pray for the safety of the climb to the shrine Katsuragi Jinja on top of the mountain.
- 葛城高天坊に会いに行った
- reference source : youkaiblog.blog75.fc2.com...602... -
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根来忍者僧「七天狗」Shichitengu, Shichi Tengu
"Seven Tengu" Ninja from Negoro
いずれも総髪に僧形をした忍者で、全員が淫石を作るための術を心得る。薙刀などの普通の武術や忍者の技を使う他、それぞれ固有の超人の域に達する忍法の使い手でもある。
風天坊(ふうてんぼう)Futen-Bo
武器の鎌をブーメランのように使う忍法「鎌がえし」や、自分の体そのものをブーメランのようにして宙を舞う「枯葉がえし」の忍法を持つ。
虚空坊(こくうぼう)Koku-Bo
内面を鏡のようにした直径七尺近い巨大な傘を自在に使う、忍法「かくれ傘」の使い手。
羅刹坊(らせつぼう)Rasetsu-Bo
特殊な針と糸で手術することで、完全に切断された人体をも蘇生させる、忍法「壊れ甕」を使う。
金剛坊(こんごうぼう)Kongo-Bo
要に針を仕込んだ扇で、空中から時間差をつけて相手を襲う、忍法「天扇弓」を使う。
水呪坊(すいじゅぼう)Suiju-Bo
女性の経血に浸した紙を使う忍法「月水面」を得意とする。
空摩坊(くうまぼう)Kuma-Bo
破軍坊とともに忍法「火まんじ」を使う。
破軍坊(はぐんぼう)Hagun-Bo
空摩坊とともに忍法「火まんじ」を使う。
- - - More in the WIKIPEDIA !
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Shichi Tengu-e 七天狗絵 and 天狗草紙 Tengu Zoshi
. . . CLICK here for Photos - 天狗草紙 !
The Seven Tengu Scrolls:
Evil and the Rhetoric of Legitimacy in Medieval Japanese Buddhism
Wakabayashi, Haruko
. The Seven Tengu Scrolls - Introduction .
Māra (or 魔 ma), the personification of evil
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.......... H A I K U
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
猶みたし 花に明行 神の顔
なほ見たし花に明けゆく神の顔
nao mitashi hana ni ake yuku kami no kao
all the more i wish to see
in those blossoms at dawn
the face of the god
Tr. Makoto Ueda
... ... ...
Memorial Stone of this Haiku by Basho
© PHOTO 牛久市森田武さん撮影
The above haiku by Basho could be rephrased like this:
"Do not be so shy, show me your face, dear God of One Word! All the cherry trees are in full bloom and everything is so beautiful here! I am sure you too will look beautiful today!"
... ... ...
Basho was quite fascinated with the atmosphere of the place and found it hard to leave without seeing the "face of this deity".
............ Other translators' versions:
Still, I would fain see
The god's face
In the dawning cherry blossoms.
--Blyth
God of this mountain,
May you be kind enough
To show me your face
Among the dawning blossoms?
--Yuasa
More than ever I want to see
in these blossoms at dawn
the god's face
--Hass
all the more I'd like to see it
with dawn coming to the blossoms:
the face of the god
--Barnhill
How I long to see
among dawn flowers,
the face of God.
-- Lucien Stryk
Written in "Oi no kobumi" 「笈(おい)の小文(こぶみ)」, at age 45.
- quote -
Matsuo Basho haiku scroll
The text dates to around 1688 and carries the title Preamble and poem on Mount Katsuragi. It was written on one of Basho's many jaunts around Japan.
It's presented in a wooden box, which is inscribed "Scroll brushed by the venerable Basho".
The poem reads, in translation:
"Still, I would fain see / the god's face / in the dawning cherry blossoms".
In the Japanese Shinto tradition, Mount Katsuragi is home to a kami (a kind of elemental spirit) named Hitokotonushi no kami - the God of One Word.
The god's face is usually described as nightmarish, indicating just how agreeable Basho found the cherry blossoms.
This poem can also be found inscribed on a rock at the god's shrine on the mountain.
It was first published in Basho's celebrated anthology Oi no kobumi (Notes from my Backpack). ...
- source : paulfrasercollectibles.com/news -
"The face of God", for a good Christian, might evoke the image of the old man with a white beard.
Translating this "kami no kao" is really difficult.
Translating Haiku Forum
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一言も言わぬ吾等や寺の秋
hitokoto mo iwanu warera ya tera no aki
not even one word
can we utter here -
autumn in the temple
Gabi Greve, at Hitokotonushi Jinja, 1994
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葛城の山懐に寝釈迦かな
katsuragi no yamafutokoro ni neshaka kana
deep in the mountains
of Mount Katsuragi -
a statue of Buddha lying down
高濱年尾Takahama Toshio
Tr. Gabi Greve
Buddha lying down to await his end - neshaka, nehanzoo
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俳人松尾芭蕉は、葛城市とは縁が深い。特に葛城市の「竹内」(現在の竹内集落)は彼が何度も訪れた場所だ。これは門人の一人、千里(ちり)が竹内出身であったことにあるようだ。
「綿弓や琵琶になぐさむ竹のおく」とは芭蕉が貞享元年(1684)に読んだ句で、葛城市には 「綿弓塚」として門人千里の屋敷跡の近くの興善庵の境内に文化六年(1809)10月、句碑が建て られている。この句も「野ざらし紀行」で見ることができる。
また、芭蕉が貞享(1688)の「笈の小文」の旅の際、吉野、高野山、和歌浦、唐招提寺、奈良、丹波市と名所見物を終えて、明日に河内へ向かうため、やぎで泊まり、その翌日に竹内の伊麻を訪問した。彼女は千里のもとで働いていた女性で、当時流行していた悪病に冒された父を助けるため、その生涯を尽くし、生涯独身で過ごしたという孝女だった。
この話に芭蕉はいたく感激し、伊麻と別れてから當麻寺に参り、「よろずのたつときも伊麻を見るまでのことにこそあなれ」と述べた。芭蕉の感激の一端が伺える文である。
千里は故郷である竹内で亡くなっている。享年72歳。その墓碑は竹内の共同墓地内にある。
http://www.city.katsuragi.nara.jp/kankou/kanko/takeuci/main.html
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Hitokoto Jizo, Hitogoto Jizo 一言地蔵
One request Jizo (hitogoto Jizo)
A noticeboard next to this Jizo at Rokkakudo in Kyoto says that he's inclining his neck because he's carefully considering the request made to him. However, to avoid egotism, he'll only consider one request from a petitioner so it should be a meaningful one!
- shared by John on facebook -
. . . CLICK here for more Photos !
. Jizō - Jizo Bosatsu 地蔵菩薩 - Introduction .
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- quote -
Hitokoto Kannon 一言観音
One-Prayer Kannon, or Kannon of a Single Utterance, or One-Word Kannon. This deity is worshipped at various locations throughout Japan, most notably at Kōfukuji Temple 興福寺 in Nara. The temple’s web site says this: “The Hitokoto Kannon Hall was relocated to its current location in the Meiji period. It houses a hidden image of Hitokoto Kannon, or ’Avalokitesvara of a Single Utterance.’ This name for Kannon is derived from the belief that if one sincerely recites Kannon's name, Kannon is sure to respond to the devotee’s prayer.”
Says Matsunaga Naomichi at Kokugakuin University:
“A god (kami) appearing on Mount Katsuragi, near the border of Yamato and Kawachi Provinces, and who could utter oracles of good or evil with the decisive speaking of a ’single word’ (hito-koto). The central deity (saijin) of the Hitokotonushi Shrine in Katsuragi, Katsurakami District, Yamato Province (present-day Nara Prefecture). According to the Kojiki, when Emperor Yūryaku Tennō 雄略天皇 (5th century AD) climbed Mount Katsuragi with his many courtiers, they encountered another troupe having identical appearance. Enraged, the emperor readied his arrow and asked for the names of those in the opposing group. The leader of the group responded, ‘I am Hitokotonushi no Kami of Katsuragi, who proclaims evil in a single word, good in a single word.’ Upon hearing this, the emperor and his courtiers removed their garments and offered them to the kami. Similar stories are found in the Nihongi and Shoku Nihongi; the version in the the Nihongi reflects ancient beliefs in hermetic mountain wizards.”
- source : Mark Schumacher -
. Kannon Bosatsu 観音菩薩 - Introduction .
. Yuuryaku, Yūryaku 雄略天皇 Emperor Yuryaku .
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[ . BACK to WORLDKIGO . TOP . ]
- #hitokotonushi #zenkibo -
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七天狗 - Seven Tengu, see below
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Hitokotonushi 一言主
Local people also call this deity in the temple: Ichigonji san
いちごんじさん, 一言寺.
The Shrine for Hitokotonushi 一言主神社
Katsuraki, Katsuragi, Kazuraki, Kazuragi, Hitokotonoshi
Dedicated to Hitokotonushi no kami, or literally the God of One Word, who is referred to in the Nihon Shoki Chronicles. The god only grants requests made in one word or one request for each person praying to him. Others say in his oracles he only utters only one word of good or bad.
In fall, the sight of the tall ginkgo tree leaves turning yellow is breathtaking. In the precinct are Kumozuka, or spider mound, whose origin is in the Nihon Shoki, and a monument inscribed with a haiku poem by the travelling poet Basho Matsuo.
© Text and Photo: Katsuragi Kodoo 葛城古道
Hitokotonushi is most probably identical with
Kotoshironushi 事代主(ことしろぬし、言代主神)
Yae Kotoshironushi 八重言代主神、八重事代主神(ヤエコトシロヌシ)
a deity known for its oracle powers, spreading the word of the gods among the people.
Hitokotonushi was the "God of the Rice Paddies" from Katsuragi area.
In olden times, there were five famous shrines in the Katsuragi area.
The word "KOTO 言" in the name of this deity means "Oracle".
Ta no Kami, God of the Rice Fields and Haiku 田の神さま
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source : facebook
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Katsuragi no hitokotonushi no ōkami (Kojiki)
A god (kami) appearing on Mount Katsuragi, near the border of Yamato and Kawachi Provinces, and who could utter oracles of good or evil with the decisive speaking of a "single word" (hito-koto). The central deity (saijin) of the Hitokotonushi Shrine in Katsuragi, Katsurakami District, Yamato Province (present-day Nara Prefecture).
According to Kojiki, when Emperor Yuryaku climbed Mount Katsuragi with his many courtiers, they encountered another troupe having identical appearance. Enraged, the emperor readied his arrow and asked for the names of those in the opposing group. The leader of the group responded,
"I am Hitokotonushi no kami of Katsuragi,
who proclaims evil in a single word,
good in a single word."
Upon hearing this, the emperor and his courtiers removed their garments and offered them to the kami. Similar stories are found in Nihongi and Shoku Nihongi; the version in Nihongi reflects ancient beliefs in hermetic mountain wizards.
© Matsunaga Naomichi, Kokugakuin University.
http://eos.kokugakuin.ac.jp/modules/xwords/entry.php?entryID=63
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(かつらぎひとことぬしじんじゃ)Shrine Hitokotonushi
The great Gingko Tree
© PHOTO Teranishi 寺西
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
En no Gyooja (E no ubasoku) , the famous mountain ascetic around 700.
He is famous for roaming the area of Mt. Katsuragi.
Here is one old legend:
E no ubasoku was of the Kamo-no-enokimi family, presently the Takakamo-no-asomi family. He came from the village of Chihara, Upper Kazuraki district, Yamato province. By nature he was endowed with wisdom; he excelled in learning and attained ultimate knowledge. He lived with reverence and faith in the Three Treasures. His greatest desire was to fly on a five-colored cloud beyond the sky and play in the garden of eternity with the guests of the heavely palace, lying in the flowering garden and sucking the vital force out of the haze to nourish his nature.
Accordingly, in his late forties he went to live in a cave, wore clothing made of vines, drank the dewdrops on pine needles, bathed in pure spring water to rinse away the filth of the world of desire, and learned the formula of the Peacock to attain extraordinary power. Thus he could employ spirits and gods at his command at his command.
Once he summoned them all and ordered them, "Make a bridge between Kane-no-take and Kazuraki-no-take." Hitokotonushi no Okami, who was very ugly, only ventured out at night to help. But the gods were not happy about the bridge building, and in the reign of the emporer residing at Fujiwara Palace, Hitokotonushi no Okami of Kazuraki-no-take was possessed and slandered him, saying, "E no ubasoku plans to usurp the throne." The emporer dispatched messengers to capture him, but they found it hard to take him due to his mysterious power, so they captured his mother instead. In order that his mother might be freed, he gave himself up.
He was exiled to the island of Izu. One time his body went floating on the sea as if he were walking on land. Again, his body perched on a mountain ten thousand feet high and looked like a huge phoenix in flight. In the daytime he stayed on the island in accord with the emporer's command, but at night he went to Fuji-no-take [Mt. Fuji] in Suruga to practice austerities.
As he prayed for pardon from his severe punishment and for permission to return to the capital, he lay down on the blade of an assassin's sword and ascended Mt. Fuji. Three years passed in ascetic practice after he was exiled to the island. At the turn of the eighth year of the ox, the first year of the Taiho era, he was pardoned and approached the capital, finally becoming a saint and flying to heaven.
Dharma Master Dosho of our country received an imperial order to go to Great T'ang China in order to search out Buddhist teachings. On the request of five hundred tigers he went to Silla to lecture in the mountains on the Hoke-kyo. At that time there was a man among the tiger who raised a question in Japanese. The monk asked, "Who are you?" and the man answered, "E no ubasoku." The monk thought that the man was a Japanese sage and came down from his high seat to inquire about him, but he was gone.
Hitokotonushi no Okami was bound with a spell by E no gyoja, and he has not escaped even to this day. E no ubasoku did so many miraculous deeds that we cannot enumerate them all. Indeed we learn that Buddhist miraculous arts are comprehensive. Those who have faith will attain them without fail.
© nichirens coffeehouse.net
Zenkiboo Zenkibō 前鬼坊 Zenkibo
大峰山前鬼坊 Ominesan Zenki-Bo, to become a Tengu
and his wife Goki 後鬼.
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吉野 Yoshino
役行者 En no Gyôja
tried to convince the local Shinto deity, Hitokotonushi,
to help him build a 石橋 stone bridge extending from Mt. Katsuragi to Mt. Yoshino.
Hitokotonushi only worked during the night and hid his face during the daytime. Thus En no Gyoja became angry at the slow pace of the god's work, and threw him into a valley. The angry god then petitioned the emperor to send armies after En no Gyôja, to arrest him, claiming that the monk sought to rebel against the throne. Gyôja escaped the armies easily, flying away on his clouds, but, after they captured his mother instead, he was forced to surrender himself.
He was exiled to Izu Ôshima, but escaped his exile, flying to Mt. Fuji. .....
大和葛城山久米の岩橋伝説 -
The Legend of the Stone Bridge at Kume, Katsuragisan
- reference source : toki.moo.jp/gaten -
Click HERE to see more photos !
. 那智滝本前鬼坊 - Zenkibo, Nachinotakimoto - Nara .
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Kootenboo 葛城高天坊 - Katsuragi Kotenbo
He is one of the
. 四十八天狗 48 important Tengu of Japan .
He is venerated as 天狗魔王尊 Tengu Mao Son at mount Tengudake.
He is the boss of the 畿内七天狗 seven Tengu of the Kinai districts around Kyoto.
. 護法魔王尊 Gohoo Maoo Son .
at Mount Kurama 鞍馬山.
天狗岳 Mount Tengudake, - 558 m - also called
燈明ヶ岳 Tomyogadake,. 犬鳴山 Inunakisan, 天狗魔王岳 Tengu Maodake
source : blog.goo.ne.jp/yochanh1947...
Tengu Mao Son is the boss of the Kinai Shichi Tengu 畿内七天狗 seven Tengu of the Kinai district around Kyoto.
Mentioned in the 天狗経 Tengu Sutra:
The others are
鞍馬の僧正坊 - Sojo-Bo from Kurama
愛宕山の太郎坊 - Taro-Bo from Mount Atago
笠置山の大僧正 - Daisojo from Kasagizan
熊野大峯の菊犬坊 - Kikujo-Bo from Kumano Omine
吉野の皆杉小桜坊 - Kozakura-Bo from Yoshino Minasugi
那智滝本の前鬼坊 - Zenki-Bo from Nachi
高野山の高林坊 - Korin-Bo from Koyasan
. 転法輪寺 Tenporin-Ji .
Demukae Fudoo-son 出迎え不動明王
To pray for the safety of the climb to the shrine Katsuragi Jinja on top of the mountain.
- 葛城高天坊に会いに行った
- reference source : youkaiblog.blog75.fc2.com...602... -
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根来忍者僧「七天狗」Shichitengu, Shichi Tengu
"Seven Tengu" Ninja from Negoro
いずれも総髪に僧形をした忍者で、全員が淫石を作るための術を心得る。薙刀などの普通の武術や忍者の技を使う他、それぞれ固有の超人の域に達する忍法の使い手でもある。
風天坊(ふうてんぼう)Futen-Bo
武器の鎌をブーメランのように使う忍法「鎌がえし」や、自分の体そのものをブーメランのようにして宙を舞う「枯葉がえし」の忍法を持つ。
虚空坊(こくうぼう)Koku-Bo
内面を鏡のようにした直径七尺近い巨大な傘を自在に使う、忍法「かくれ傘」の使い手。
羅刹坊(らせつぼう)Rasetsu-Bo
特殊な針と糸で手術することで、完全に切断された人体をも蘇生させる、忍法「壊れ甕」を使う。
金剛坊(こんごうぼう)Kongo-Bo
要に針を仕込んだ扇で、空中から時間差をつけて相手を襲う、忍法「天扇弓」を使う。
水呪坊(すいじゅぼう)Suiju-Bo
女性の経血に浸した紙を使う忍法「月水面」を得意とする。
空摩坊(くうまぼう)Kuma-Bo
破軍坊とともに忍法「火まんじ」を使う。
破軍坊(はぐんぼう)Hagun-Bo
空摩坊とともに忍法「火まんじ」を使う。
- - - More in the WIKIPEDIA !
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Shichi Tengu-e 七天狗絵 and 天狗草紙 Tengu Zoshi
. . . CLICK here for Photos - 天狗草紙 !
The Seven Tengu Scrolls:
Evil and the Rhetoric of Legitimacy in Medieval Japanese Buddhism
Wakabayashi, Haruko
. The Seven Tengu Scrolls - Introduction .
Māra (or 魔 ma), the personification of evil
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.......... H A I K U
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
猶みたし 花に明行 神の顔
なほ見たし花に明けゆく神の顔
nao mitashi hana ni ake yuku kami no kao
all the more i wish to see
in those blossoms at dawn
the face of the god
Tr. Makoto Ueda
... ... ...
Memorial Stone of this Haiku by Basho
© PHOTO 牛久市森田武さん撮影
The above haiku by Basho could be rephrased like this:
"Do not be so shy, show me your face, dear God of One Word! All the cherry trees are in full bloom and everything is so beautiful here! I am sure you too will look beautiful today!"
... ... ...
Basho was quite fascinated with the atmosphere of the place and found it hard to leave without seeing the "face of this deity".
............ Other translators' versions:
Still, I would fain see
The god's face
In the dawning cherry blossoms.
--Blyth
God of this mountain,
May you be kind enough
To show me your face
Among the dawning blossoms?
--Yuasa
More than ever I want to see
in these blossoms at dawn
the god's face
--Hass
all the more I'd like to see it
with dawn coming to the blossoms:
the face of the god
--Barnhill
How I long to see
among dawn flowers,
the face of God.
-- Lucien Stryk
Written in "Oi no kobumi" 「笈(おい)の小文(こぶみ)」, at age 45.
- quote -
Matsuo Basho haiku scroll
The text dates to around 1688 and carries the title Preamble and poem on Mount Katsuragi. It was written on one of Basho's many jaunts around Japan.
It's presented in a wooden box, which is inscribed "Scroll brushed by the venerable Basho".
The poem reads, in translation:
"Still, I would fain see / the god's face / in the dawning cherry blossoms".
In the Japanese Shinto tradition, Mount Katsuragi is home to a kami (a kind of elemental spirit) named Hitokotonushi no kami - the God of One Word.
The god's face is usually described as nightmarish, indicating just how agreeable Basho found the cherry blossoms.
This poem can also be found inscribed on a rock at the god's shrine on the mountain.
It was first published in Basho's celebrated anthology Oi no kobumi (Notes from my Backpack). ...
- source : paulfrasercollectibles.com/news -
"The face of God", for a good Christian, might evoke the image of the old man with a white beard.
Translating this "kami no kao" is really difficult.
Translating Haiku Forum
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一言も言わぬ吾等や寺の秋
hitokoto mo iwanu warera ya tera no aki
not even one word
can we utter here -
autumn in the temple
Gabi Greve, at Hitokotonushi Jinja, 1994
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葛城の山懐に寝釈迦かな
katsuragi no yamafutokoro ni neshaka kana
deep in the mountains
of Mount Katsuragi -
a statue of Buddha lying down
高濱年尾Takahama Toshio
Tr. Gabi Greve
Buddha lying down to await his end - neshaka, nehanzoo
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俳人松尾芭蕉は、葛城市とは縁が深い。特に葛城市の「竹内」(現在の竹内集落)は彼が何度も訪れた場所だ。これは門人の一人、千里(ちり)が竹内出身であったことにあるようだ。
「綿弓や琵琶になぐさむ竹のおく」とは芭蕉が貞享元年(1684)に読んだ句で、葛城市には 「綿弓塚」として門人千里の屋敷跡の近くの興善庵の境内に文化六年(1809)10月、句碑が建て られている。この句も「野ざらし紀行」で見ることができる。
また、芭蕉が貞享(1688)の「笈の小文」の旅の際、吉野、高野山、和歌浦、唐招提寺、奈良、丹波市と名所見物を終えて、明日に河内へ向かうため、やぎで泊まり、その翌日に竹内の伊麻を訪問した。彼女は千里のもとで働いていた女性で、当時流行していた悪病に冒された父を助けるため、その生涯を尽くし、生涯独身で過ごしたという孝女だった。
この話に芭蕉はいたく感激し、伊麻と別れてから當麻寺に参り、「よろずのたつときも伊麻を見るまでのことにこそあなれ」と述べた。芭蕉の感激の一端が伺える文である。
千里は故郷である竹内で亡くなっている。享年72歳。その墓碑は竹内の共同墓地内にある。
http://www.city.katsuragi.nara.jp/kankou/kanko/takeuci/main.html
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Hitokoto Jizo, Hitogoto Jizo 一言地蔵
One request Jizo (hitogoto Jizo)
A noticeboard next to this Jizo at Rokkakudo in Kyoto says that he's inclining his neck because he's carefully considering the request made to him. However, to avoid egotism, he'll only consider one request from a petitioner so it should be a meaningful one!
- shared by John on facebook -
. . . CLICK here for more Photos !
. Jizō - Jizo Bosatsu 地蔵菩薩 - Introduction .
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- quote -
Hitokoto Kannon 一言観音
One-Prayer Kannon, or Kannon of a Single Utterance, or One-Word Kannon. This deity is worshipped at various locations throughout Japan, most notably at Kōfukuji Temple 興福寺 in Nara. The temple’s web site says this: “The Hitokoto Kannon Hall was relocated to its current location in the Meiji period. It houses a hidden image of Hitokoto Kannon, or ’Avalokitesvara of a Single Utterance.’ This name for Kannon is derived from the belief that if one sincerely recites Kannon's name, Kannon is sure to respond to the devotee’s prayer.”
Says Matsunaga Naomichi at Kokugakuin University:
“A god (kami) appearing on Mount Katsuragi, near the border of Yamato and Kawachi Provinces, and who could utter oracles of good or evil with the decisive speaking of a ’single word’ (hito-koto). The central deity (saijin) of the Hitokotonushi Shrine in Katsuragi, Katsurakami District, Yamato Province (present-day Nara Prefecture). According to the Kojiki, when Emperor Yūryaku Tennō 雄略天皇 (5th century AD) climbed Mount Katsuragi with his many courtiers, they encountered another troupe having identical appearance. Enraged, the emperor readied his arrow and asked for the names of those in the opposing group. The leader of the group responded, ‘I am Hitokotonushi no Kami of Katsuragi, who proclaims evil in a single word, good in a single word.’ Upon hearing this, the emperor and his courtiers removed their garments and offered them to the kami. Similar stories are found in the Nihongi and Shoku Nihongi; the version in the the Nihongi reflects ancient beliefs in hermetic mountain wizards.”
- source : Mark Schumacher -
. Kannon Bosatsu 観音菩薩 - Introduction .
. Yuuryaku, Yūryaku 雄略天皇 Emperor Yuryaku .
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[ . BACK to WORLDKIGO . TOP . ]
- #hitokotonushi #zenkibo -
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2/27/2007
Shiromen Fudo no Taki
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Shiromen Fudo no Taki Waterfall
白面不動の滝
Usually statues of Fudo Myo-O are kept in small shrines or caves near the waterfall. In this case, the statue is kept on the left side of the waterfall.
Close to Takarazuka near Kobe City.
. . . . . . The Fudo Statue
Part of the Movie DORORO
昔からここの一番奥にある滝 ( 龍王滝 ) が、 どろろに出てくる舞台に見えて仕方ないのです。 関西で宝塚に近い.
copyright © 2004 Powered By FC2 allrights reserved
Dororo (どろろ)
is a manga series from the well-known Japanese mangaka Osamu Tezuka in the late 1960s.
. WKD : Tezuka Osamu 手塚治虫 .
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[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
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Shiromen Fudo no Taki Waterfall
白面不動の滝
Usually statues of Fudo Myo-O are kept in small shrines or caves near the waterfall. In this case, the statue is kept on the left side of the waterfall.
Close to Takarazuka near Kobe City.
. . . . . . The Fudo Statue
Part of the Movie DORORO
昔からここの一番奥にある滝 ( 龍王滝 ) が、 どろろに出てくる舞台に見えて仕方ないのです。 関西で宝塚に近い.
copyright © 2004 Powered By FC2 allrights reserved
Dororo (どろろ)
is a manga series from the well-known Japanese mangaka Osamu Tezuka in the late 1960s.
. WKD : Tezuka Osamu 手塚治虫 .
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[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
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