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 !




. . . CLICK here for Photos !



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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