Kōdan (講談, formerly known as kōshaku (講釈)), is a style of traditional oral Japanese storytelling.
The form evolved out of lectures on historical or literary topics given to high-ranking nobles of the Heian period, changing over the centuries to be adopted by the general samurai class and eventually by commoners, and eventually, by the end of the Edo period, declining in favor of new types of entertainment and storytelling such as naniwa-bushi. It was at this time that the term kōshaku was abandoned and kōdan adopted.
Kōdan remained strong for many years, and gained a new popularity after the Meiji Restoration
(1868), which, being a quite major event, supplied the performers with
much new material. At one point, there were fifty performance halls in
Tokyo devoted primarily or exclusively to kōdan. By the beginning of World War II, there were still six or seven.
Though the arrival of movies, records, and other forms of entertainment eclipsed kōdan
in the early 20th century, the art form contributed heavily to various
forms of Japanese theater and to the development in Japan of the modern
popular fiction novel.
Today, after a failed attempt to revive the art in 1974, there are four schools of kōdan and only a very few performers between them.
Kōdan is usually performed sitting behind a desk or lectern, and using wooden clappers
or a fan to mark the rhythm of the recitation. This derives from the
origin of the art form in cultural, literary or historical lectures
given in the Heian period courts.
During the Muromachi period (1333-1568), the form was adopted or revived by the general samurai class for educational purposes.
Rōkyoku (浪曲; also called naniwa-bushi, 浪花節) is a genre of traditional Japanese narrative singing. Generally accompanied by a shamisen, rōkyoku became very popular in Japan during the first half of the 20th century.
30.9.12
Onsen and Rotenburo
An onsen (温泉) is a term for hot springs
in the Japanese language, though the term is often used to describe the
bathing facilities and inns around the hot springs.
As a volcanically active country, Japan has thousands of onsen scattered along its length and breadth. Onsen were traditionally used as public bathing places and today play a central role in directing Japanese domestic tourism.
Onsen come in many types and shapes, including outdoor (露天風呂 or 野天風呂 roten-buro or noten-buro) and indoor baths. Baths may be either public run by a municipality or private (内湯 uchiyu) often run as part of a hotel, ryokan or bed and breakfast (民宿 minshuku).
Onsen are a central feature of Japanese tourism often found out in the countryside but there are a number of popular establishments still found within major cities. They are a major tourist attraction drawing Japanese couples, families or company groups who want to get away from the hectic life of the city to relax. Japanese often talk of the virtues of "naked communion" (裸の付き合い hadaka no tsukiai)[1] for breaking down barriers and getting to know people in the relaxed homey atmosphere of a ryokan with an attached onsen. Japanese television channels often feature special programs about local onsens.
The presence of an onsen is often indicated on signs and maps by the symbol ♨ or the kanji, 湯 (yu, meaning "hot water"). Sometimes the simpler hiragana character ゆ (yu) is used, to be understandable to younger children.
Traditionally, onsen were located outdoors, although a large number of inns have now built indoor bathing facilities as well. Onsen by definition use naturally hot water from geothermally heated springs. Onsen should be differentiated from sentō, indoor public bath houses where the baths are filled with heated tap water.
Onsen water is believed to have healing powers derived from its mineral content. A particular onsen may feature several different baths, each with water with a different mineral composition.
Traditionally, men and women bathed together at the onsen and sentō but single-sex bathing has become legalized as the norm since the opening of Japan to the West during the Meiji period. Mixed bathing (混浴 kon'yoku) persists at some special onsen in the rural areas of Japan, which usually also provide the option of separate "women-only" baths or different hours for the two sexes. Children of either sex may be seen in both the men's and the women's baths.
People often travel to onsen with work colleagues, friends, couples or their families.
Risks of Onsen use
As a volcanically active country, Japan has thousands of onsen scattered along its length and breadth. Onsen were traditionally used as public bathing places and today play a central role in directing Japanese domestic tourism.
Onsen come in many types and shapes, including outdoor (露天風呂 or 野天風呂 roten-buro or noten-buro) and indoor baths. Baths may be either public run by a municipality or private (内湯 uchiyu) often run as part of a hotel, ryokan or bed and breakfast (民宿 minshuku).
Onsen are a central feature of Japanese tourism often found out in the countryside but there are a number of popular establishments still found within major cities. They are a major tourist attraction drawing Japanese couples, families or company groups who want to get away from the hectic life of the city to relax. Japanese often talk of the virtues of "naked communion" (裸の付き合い hadaka no tsukiai)[1] for breaking down barriers and getting to know people in the relaxed homey atmosphere of a ryokan with an attached onsen. Japanese television channels often feature special programs about local onsens.
The presence of an onsen is often indicated on signs and maps by the symbol ♨ or the kanji, 湯 (yu, meaning "hot water"). Sometimes the simpler hiragana character ゆ (yu) is used, to be understandable to younger children.
Traditionally, onsen were located outdoors, although a large number of inns have now built indoor bathing facilities as well. Onsen by definition use naturally hot water from geothermally heated springs. Onsen should be differentiated from sentō, indoor public bath houses where the baths are filled with heated tap water.
Onsen water is believed to have healing powers derived from its mineral content. A particular onsen may feature several different baths, each with water with a different mineral composition.
Traditionally, men and women bathed together at the onsen and sentō but single-sex bathing has become legalized as the norm since the opening of Japan to the West during the Meiji period. Mixed bathing (混浴 kon'yoku) persists at some special onsen in the rural areas of Japan, which usually also provide the option of separate "women-only" baths or different hours for the two sexes. Children of either sex may be seen in both the men's and the women's baths.
People often travel to onsen with work colleagues, friends, couples or their families.
Risks of Onsen use
29.9.12
Inari Jinja and Inari Ōkami
An Inari shrine (稲荷神社 Inari Jinja) is a shinto shrine to worship the god Inari. There are many Inari shrines in Japan. The deity is worshiped also in some Buddhist temples. Inari is a popular deity with shrines and temples located throughout most of Japan.
Inari Ōkami (稲荷大神, also Oinari) is the Japanese kami of fertility, rice, agriculture, foxes, industry, and worldly success and one of the principal kami of Shinto. Represented as male, female, or androgynous, Inari is sometimes seen as a collective of three or five individual kami.
Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 AD, although some scholars believe that worship started in the late 5th century.
Worship of Inari spread across Japan in the Edo period, and by the 16th century Inari had become the patron of blacksmiths and the protector of warriors. Inari is a popular figure in both Shinto and Buddhist beliefs in Japan. More than one-third (32,000) of the Shinto shrines in Japan are dedicated to Inari. Modern corporations, such as cosmetic company Shiseido, continue to revere Inari as a patron kami, with shrines atop their corporate headquarters.[1]
Inari's foxes, or kitsune, are pure white and act as his/her messengers.
The most popular representations of Inari, according to scholar Karen Ann Smyers, are a young female food goddess, an old man carrying rice, and an androgynous bodhisattva.[2] No one view is correct; the preferred gender of depiction varies according to regional traditions and individual beliefs.[2] Because of his/her close association with kitsune, Inari is often believed to be a fox; though this belief is widespread, both Shinto and Buddhist priests discourage it.[2] Inari also appears in the form of a snake or dragon, and one folktale has Inari appear to a wicked man in the shape of a monstrous spider as a way of teaching him a lesson.
Inari Ōkami (稲荷大神, also Oinari) is the Japanese kami of fertility, rice, agriculture, foxes, industry, and worldly success and one of the principal kami of Shinto. Represented as male, female, or androgynous, Inari is sometimes seen as a collective of three or five individual kami.
Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 AD, although some scholars believe that worship started in the late 5th century.
Worship of Inari spread across Japan in the Edo period, and by the 16th century Inari had become the patron of blacksmiths and the protector of warriors. Inari is a popular figure in both Shinto and Buddhist beliefs in Japan. More than one-third (32,000) of the Shinto shrines in Japan are dedicated to Inari. Modern corporations, such as cosmetic company Shiseido, continue to revere Inari as a patron kami, with shrines atop their corporate headquarters.[1]
Inari's foxes, or kitsune, are pure white and act as his/her messengers.
The most popular representations of Inari, according to scholar Karen Ann Smyers, are a young female food goddess, an old man carrying rice, and an androgynous bodhisattva.[2] No one view is correct; the preferred gender of depiction varies according to regional traditions and individual beliefs.[2] Because of his/her close association with kitsune, Inari is often believed to be a fox; though this belief is widespread, both Shinto and Buddhist priests discourage it.[2] Inari also appears in the form of a snake or dragon, and one folktale has Inari appear to a wicked man in the shape of a monstrous spider as a way of teaching him a lesson.
Zaru, Mori Soba and Zaru Soba
A zaru (笊, ざる) is a draining basket made from bamboo used in the preparation and presentation of Japanese cuisine. It can be used in a similar fashion to a sieve or colander, both of which are common in western cooking.
Additionally, well-designed zaru are used to present food directly, as for example zarusoba.
Plastic and metal versions of the zaru have also come into use, but are rarely used to present food.
Similar to the makisu, zaru are dried and stored after use to extend the lifespan of the tool and prevent the growth of bacteria and fungi on the mat. However, drying in harsh sunlight can cause the bamboo of the zaru to crack.
Reflecting the zaru's capacity to soak up liquid, this term is also used as slang for a person who can drink a lot of alcohol without showing signs of inebriation.
Chilled soba is often served on a sieve-like bamboo tray called a zaru, sometimes garnished with bits of dried nori seaweed, with a dipping sauce known as soba tsuyu on the side.
In Japanese cooking, a makisu (巻き簾) is a mat woven from bamboo and cotton string that is used in food preparation.
Additionally, well-designed zaru are used to present food directly, as for example zarusoba.
Plastic and metal versions of the zaru have also come into use, but are rarely used to present food.
Similar to the makisu, zaru are dried and stored after use to extend the lifespan of the tool and prevent the growth of bacteria and fungi on the mat. However, drying in harsh sunlight can cause the bamboo of the zaru to crack.
Reflecting the zaru's capacity to soak up liquid, this term is also used as slang for a person who can drink a lot of alcohol without showing signs of inebriation.
Chilled soba is often served on a sieve-like bamboo tray called a zaru, sometimes garnished with bits of dried nori seaweed, with a dipping sauce known as soba tsuyu on the side.
- Mori soba (盛り蕎麦): Basic chilled soba noodles served on a flat basket or a plate.
- Zaru soba (笊蕎麦): Mori soba topped with shredded nori seaweed.
In Japanese cooking, a makisu (巻き簾) is a mat woven from bamboo and cotton string that is used in food preparation.
Dango
Dango (団子) is a Japanese dumpling made from mochiko (rice flour), related to mochi. It is often served with green tea.
Dango is eaten year-round, but the different varieties are traditionally eaten in given seasons.
Three to four dango are often served on a skewer.
There are many different varieties of dango which are usually named after the various seasonings served on or with it. [1]
A common Japanese proverb “Hana yori dango” (花より団子, literally, “dumplings rather than flowers”) refers to a preference for practical things rather than aesthetics.
Dango is used internationally amongst Go players as a derogatory term for an inefficient, dumpling-like cluster of stones in a Go game. It is also the name of a go variant invented in 1991.
A hairstyle consisting of dango-like buns on either side of the head is sometimes known as odango.
Dango is eaten year-round, but the different varieties are traditionally eaten in given seasons.
Three to four dango are often served on a skewer.
There are many different varieties of dango which are usually named after the various seasonings served on or with it. [1]
- Chadango: Green-tea flavored Dango.[1]
- Bocchan dango: Dango that has three colors. One is colored by red beans, the second by eggs, and the third by green tea.
- Hanami dango: Also has three colors, Hanami dango is traditionally made during Sakura-viewing season. Hence the name Hanami (Hanami means "flower viewing"; hana meaning "flower", and mi meaning "to see").
- Kibi dango: Dango made with millet flour.
- Kushi dango: Dango held by a skewer
- Mitarashi: Covered with a syrup made from shouyu (soy sauce), sugar and starch.
A common Japanese proverb “Hana yori dango” (花より団子, literally, “dumplings rather than flowers”) refers to a preference for practical things rather than aesthetics.
Dango is used internationally amongst Go players as a derogatory term for an inefficient, dumpling-like cluster of stones in a Go game. It is also the name of a go variant invented in 1991.
A hairstyle consisting of dango-like buns on either side of the head is sometimes known as odango.
28.9.12
Names of Japan
There are many names of Japan in the English, Japanese, and other languages. The word "Japan" (or "Japon") is an exonym, and is used (in one form or another) by a large number of languages.
The Japanese names for Japan are Nippon (にっぽん
listen (help·info)) and Nihon (にほん listen (help·info)). They are both written in Japanese using the kanji 日本. The Japanese name Nippon is used for most official purposes, including on Japanese money, postage stamps, and for many international sporting events. Nihon is a more casual term and the most frequently used in contemporary speech.
Both Nippon and Nihon literally mean "the sun's origin", that is, where the sun originates,[1] and are often translated as the Land of the Rising Sun. This nomenclature comes from Imperial correspondence with Chinese Sui Dynasty and refers to Japan's eastward position relative to China.
Before Nihon came into official use, Japan was known as Wa (倭) or Wakoku (倭国).[2] Wa was a name early China used to refer to an ethnic group living in Japan around the time of the Three Kingdoms Period.
Nippon is used always or most often in the following constructions:[10]
The Japanese names for Japan are Nippon (にっぽん
listen (help·info)) and Nihon (にほん listen (help·info)). They are both written in Japanese using the kanji 日本. The Japanese name Nippon is used for most official purposes, including on Japanese money, postage stamps, and for many international sporting events. Nihon is a more casual term and the most frequently used in contemporary speech.Both Nippon and Nihon literally mean "the sun's origin", that is, where the sun originates,[1] and are often translated as the Land of the Rising Sun. This nomenclature comes from Imperial correspondence with Chinese Sui Dynasty and refers to Japan's eastward position relative to China.
Before Nihon came into official use, Japan was known as Wa (倭) or Wakoku (倭国).[2] Wa was a name early China used to refer to an ethnic group living in Japan around the time of the Three Kingdoms Period.
Nippon is used always or most often in the following constructions:[10]
- Nippon-koku kenpō (Constitution of Japan)[11]
- Ganbare Nippon! (A sporting cheer used at international sporting events, roughly, 'do your best, Japan!')
- Zen Nippon Kūyu (All Nippon Airways)
- Nippon-bashi (日本橋) (a shopping district in Osaka)
- Nihon-bashi (日本橋) (a bridge in Tokyo)
- Nihon Daigaku (Nihon University)[13]
- Nihon-go (Japanese language)
- Nihon-jin (Japanese people)[9]
- Nihon-kai (Sea of Japan)[14]
- Nihon Kōkū (Japan Airlines)
- Nihon-shoki (an old history book, never Nippon shoki)[15]
Hirayachi
Hirayachi (Okinawan: ヒラヤーチー Hirayaachii) is an Okinawan very simple pancake-like dish based on eggs, flour, salt, pepper and green onions, fried with a little oil in a pan. It is similar to a very simple type of okonomiyaki.
Happi
Happi (法被, 半被) is a traditional Japanese straight-sleeved coat usually made of indigo or brown cotton and imprinted with a distinctive mon
(crest).
They are usually worn only to festivals.
Originally, these represented the crest of a family, as happi were worn by house servants. Later, the coats commonly began to display the crests of shops and organisations.
Firefighters in the past also used to wear happi; the symbol on their backs referred to the group with which they were associated.[1]
In English, "happi" is most often translated as "happi coat" or "happy coat".
They are usually worn only to festivals.
Originally, these represented the crest of a family, as happi were worn by house servants. Later, the coats commonly began to display the crests of shops and organisations.
Firefighters in the past also used to wear happi; the symbol on their backs referred to the group with which they were associated.[1]
In English, "happi" is most often translated as "happi coat" or "happy coat".
Nanboku-chō period
The Nanboku-chō period (南北朝時代 Nanboku-chō jidai, "South and North courts period", also known as the Northern and Southern Courts period), spanning from 1336 to 1392, was a period that occurred during the formative years of the Muromachi bakufu of Japan's history.
During this period, there existed a Northern Imperial Court, established by Ashikaga Takauji in Kyoto, and a Southern Imperial Court, established by Emperor Go-Daigo in Yoshino.
Ideologically, the two courts fought for fifty years, with the South giving up to the North in 1392. However, in reality the Northern line was under the power of the Ashikaga shoguns and had little real independence.
Since the 19th century the Emperors of the Southern Imperial Court have been considered the legitimate Emperors of Japan. Other contributing factors were the Southern Court's control of the Japanese imperial regalia, and Kitabatake Chikafusa's work Jinnō Shōtōki, which legitimized the South's imperial court despite their defeat.
The consequences of events in this period continue to be influential in modern Japan's conventional view of the Tennō Seika (Emperor system).
The term bakufu originally meant the dwelling and household of a shogun, but in time it came to be generally used for the system of government of a feudal military dictatorship, exercised in the name of the shogun; and this is the meaning that has been adopted into English through the term 'shogunate'.
During this period, there existed a Northern Imperial Court, established by Ashikaga Takauji in Kyoto, and a Southern Imperial Court, established by Emperor Go-Daigo in Yoshino.
Ideologically, the two courts fought for fifty years, with the South giving up to the North in 1392. However, in reality the Northern line was under the power of the Ashikaga shoguns and had little real independence.
Since the 19th century the Emperors of the Southern Imperial Court have been considered the legitimate Emperors of Japan. Other contributing factors were the Southern Court's control of the Japanese imperial regalia, and Kitabatake Chikafusa's work Jinnō Shōtōki, which legitimized the South's imperial court despite their defeat.
The consequences of events in this period continue to be influential in modern Japan's conventional view of the Tennō Seika (Emperor system).
The term bakufu originally meant the dwelling and household of a shogun, but in time it came to be generally used for the system of government of a feudal military dictatorship, exercised in the name of the shogun; and this is the meaning that has been adopted into English through the term 'shogunate'.
Gekiga
Gekiga (劇画) is Japanese for "dramatic pictures." The term was coined by Yoshihiro Tatsumi and adopted by other more serious Japanese cartoonists who did not want their trade to be known as manga or "whimsical drawings".
It's akin to Americans who started using the term "graphic novel" as opposed to "comic book".
Not only was the storytelling in gekiga more serious but also the style was more realistic.
Tatsumi began publishing "gekiga" in 1957. Gekiga was vastly different from most manga at the time, which were aimed at children. These "dramatic pictures" emerged not from the mainstream manga publications in Tokyo headed by Osamu Tezuka but from the lending libraries based out of Osaka. The lending library industry tolerated more experimental and offensive works to be published than the mainstream "Tezuka camp" during this time period.
By the late 1960s and early 1970s the children who grew up reading manga wanted something aimed at older audiences and gekiga provided for that niche.
In addition this particular generation came to be known as the "manga generation" and read manga as a form of rebellion (which was similar to the role rock and roll played for hippies in the United States).
Because of the growing popularity of these originally underground comics, even Osamu Tezuka began to display the influence of gekiga cartoonists in works such as Hi no Tori (Phoenix), produced in the early 1970s.
These kinds of works are now found in slightly more underground publications (usually seinen magazines).
It's akin to Americans who started using the term "graphic novel" as opposed to "comic book".
Not only was the storytelling in gekiga more serious but also the style was more realistic.
Tatsumi began publishing "gekiga" in 1957. Gekiga was vastly different from most manga at the time, which were aimed at children. These "dramatic pictures" emerged not from the mainstream manga publications in Tokyo headed by Osamu Tezuka but from the lending libraries based out of Osaka. The lending library industry tolerated more experimental and offensive works to be published than the mainstream "Tezuka camp" during this time period.
By the late 1960s and early 1970s the children who grew up reading manga wanted something aimed at older audiences and gekiga provided for that niche.
In addition this particular generation came to be known as the "manga generation" and read manga as a form of rebellion (which was similar to the role rock and roll played for hippies in the United States).
Because of the growing popularity of these originally underground comics, even Osamu Tezuka began to display the influence of gekiga cartoonists in works such as Hi no Tori (Phoenix), produced in the early 1970s.
These kinds of works are now found in slightly more underground publications (usually seinen magazines).
27.9.12
Maki-e
Maki-e (蒔絵, literally sprinkled picture) is Japanese lacquer sprinkled with gold or silver powder as a decoration using a makizutsu or a kebo brush.
The technique was developed mainly in the Heian Period (794–1185) and blossomed in the Edo Period (1603–1868).
Maki-e objects were initially designed as household items for court nobles, they soon gained more popularity and were adopted by royal families and military leaders as an indication of power.
To create different colours and textures, maki-e artists use a variety of metal powders including gold, silver, copper, brass, lead, aluminum, platinum, pewter, as well as their alloys. Bamboo tubes and soft brushes of various sizes are used for laying powders and drawing fine lines.
As it requires highly-skilled craftsmanship to produce a maki-e painting, young artists usually go through many years of training to develop the skills and to ultimately become maki-e masters.
Kouami Douchou (1410–1478) was the first lacquer master linked to specific works. His maki-e works used designs from various Japanese contemporary painters. Kouami and another maki-e master, Igarashi Shinsai, were originators of the two major schools of lacquer-making in the history of Japan.
Takamakie (or "raised maki-e") is one of the three major techniques in maki-e making. Developed in the Muromachi Period (1336–1573), the technique of takamakie involves building up design patterns above the surface through a mixture of metal powder, lacquer and charcoal or clay dust.
Another special kind of maki-e is togidashi maki-e, where a black lacquer without oil is put on the metal decoration as an additional coat.
The technique was developed mainly in the Heian Period (794–1185) and blossomed in the Edo Period (1603–1868).
Maki-e objects were initially designed as household items for court nobles, they soon gained more popularity and were adopted by royal families and military leaders as an indication of power.
To create different colours and textures, maki-e artists use a variety of metal powders including gold, silver, copper, brass, lead, aluminum, platinum, pewter, as well as their alloys. Bamboo tubes and soft brushes of various sizes are used for laying powders and drawing fine lines.
As it requires highly-skilled craftsmanship to produce a maki-e painting, young artists usually go through many years of training to develop the skills and to ultimately become maki-e masters.
Kouami Douchou (1410–1478) was the first lacquer master linked to specific works. His maki-e works used designs from various Japanese contemporary painters. Kouami and another maki-e master, Igarashi Shinsai, were originators of the two major schools of lacquer-making in the history of Japan.
Takamakie (or "raised maki-e") is one of the three major techniques in maki-e making. Developed in the Muromachi Period (1336–1573), the technique of takamakie involves building up design patterns above the surface through a mixture of metal powder, lacquer and charcoal or clay dust.
Another special kind of maki-e is togidashi maki-e, where a black lacquer without oil is put on the metal decoration as an additional coat.
Sabakoyu Onsen
The Sabakoyu Onsen (鯖湖湯 or "Mackerel Lake Hot Spring") in Iizaka, Fukushima Prefecture, Japan is the oldest community onsen in the country.[1]
Sabakoyu Onsen was originally spelled 佐波来湯 when, according to legend, Yamato Takeru, prince of the Yamato dynasty and son of Keikō of Yamato, the 12th Emperor of Japan, visited the area and bathed in the hot springs. In doing so, his sickness was cured.
Matsuo Bashō, a famous Edo period poet, visited Sabakoyu onsen in 1689.
The original building was constructed in 1890 and the present day structure was built in 1993.
Sabakoyu Onsen was originally spelled 佐波来湯 when, according to legend, Yamato Takeru, prince of the Yamato dynasty and son of Keikō of Yamato, the 12th Emperor of Japan, visited the area and bathed in the hot springs. In doing so, his sickness was cured.
Matsuo Bashō, a famous Edo period poet, visited Sabakoyu onsen in 1689.
The original building was constructed in 1890 and the present day structure was built in 1993.
Iga Ueno NINJA Festa and Ninja Congress
Iga Ueno NINJA Festa (Jap. 伊賀上野 NINJA フェスタ) is the annual five-week ninja-themed festival in the Japanese city of Iga (in the former province of Iga), from April 1 to May 6.[1]
Almost 30,000 ninja fans travel to Iga (pop. 100,000) for ninja-inspired performances, competitions, and opportunities to practice ninja skills, organized to promote the city.
During the family-friendly festival, passengers on Iga train lines dressed in ninja costumes are given free rides.[2][3]
Since 2001, the mayor of Iga and the city council also hold an annual session while dressed up as ninja, called the Ninja Congress (忍者議会).[4]
Almost 30,000 ninja fans travel to Iga (pop. 100,000) for ninja-inspired performances, competitions, and opportunities to practice ninja skills, organized to promote the city.
During the family-friendly festival, passengers on Iga train lines dressed in ninja costumes are given free rides.[2][3]
Since 2001, the mayor of Iga and the city council also hold an annual session while dressed up as ninja, called the Ninja Congress (忍者議会).[4]
Saikei and Bonkei
Saikei (栽景) literally translates as "planted landscape".[1][2]
It is the art of creating tray landscapes that combine miniature living
trees with soil, rocks, water, and related vegetation (like ground
cover) in a single tray or similar container.[3]
A saikei landscape will remind the viewer of a natural location through its overall topography, choice of ground materials, and the species used in its plantings.
Saikei is a descendant of the Japanese arts of bonsai, bonseki, and bonkei, and is related less directly to similar miniature-landscape arts like the Chinese penjing and the Vietnamese hòn non bộ.
Saikei differs from the related Japanese arts forms in some key ways. According to Lew Buller, Toshio Kawamoto (the founder of the saikei form) "was adamant that his living landscapes were not bonsai",[4] citing saikei rules such as the mandatory use of stones, and the placement of trees and roots above the rim of the tray. Bonsai uses stones as the base for a tree or trees in the root-over-rock style (Sekijoju) and growing-in-a-rock (Ishizuke) styles, but does not form landscapes from mixed stones and soil. The shape of the ground is very important in saikei, where it is of reduced or non-existent importance in bonsai. In general, saikei concentrates on the evocation of a natural living landscape, rather than on the character of individual trees as emphasized in bonsai.
Bonkei (盆景) is Japanese for "tray landscape".[1] A bonkei is a three-dimensional depiction of a landscape in miniature, portrayed using mainly dry materials like rock, papier-mâché or cement mixtures, and sand in a shallow tray. Although bonkei materials are usually dry, flowing water and seasides are often depicted, with varying colors of gravel or sand making up the land and the water elements. A bonkei may also contain miniature figures of people, animals, buildings, bridges, and other common outdoor items.
The goal of the form is to provide an aesthetically pleasing miniature landscape for display and contemplation.
Robert Behme says that bonkei differs from saikei in that a bonkei "is essentially a dry landscape, and living plants are rarely used; a saikei depends exclusively on living plants for effect." [2] As a result of this key difference, many bonkei specimens can last a long time with no maintenance, where a saikei requires frequent tending and a favorable environment for growth of the trees it contains.
A saikei landscape will remind the viewer of a natural location through its overall topography, choice of ground materials, and the species used in its plantings.
Saikei is a descendant of the Japanese arts of bonsai, bonseki, and bonkei, and is related less directly to similar miniature-landscape arts like the Chinese penjing and the Vietnamese hòn non bộ.
Saikei differs from the related Japanese arts forms in some key ways. According to Lew Buller, Toshio Kawamoto (the founder of the saikei form) "was adamant that his living landscapes were not bonsai",[4] citing saikei rules such as the mandatory use of stones, and the placement of trees and roots above the rim of the tray. Bonsai uses stones as the base for a tree or trees in the root-over-rock style (Sekijoju) and growing-in-a-rock (Ishizuke) styles, but does not form landscapes from mixed stones and soil. The shape of the ground is very important in saikei, where it is of reduced or non-existent importance in bonsai. In general, saikei concentrates on the evocation of a natural living landscape, rather than on the character of individual trees as emphasized in bonsai.
Bonkei (盆景) is Japanese for "tray landscape".[1] A bonkei is a three-dimensional depiction of a landscape in miniature, portrayed using mainly dry materials like rock, papier-mâché or cement mixtures, and sand in a shallow tray. Although bonkei materials are usually dry, flowing water and seasides are often depicted, with varying colors of gravel or sand making up the land and the water elements. A bonkei may also contain miniature figures of people, animals, buildings, bridges, and other common outdoor items.
The goal of the form is to provide an aesthetically pleasing miniature landscape for display and contemplation.
Robert Behme says that bonkei differs from saikei in that a bonkei "is essentially a dry landscape, and living plants are rarely used; a saikei depends exclusively on living plants for effect." [2] As a result of this key difference, many bonkei specimens can last a long time with no maintenance, where a saikei requires frequent tending and a favorable environment for growth of the trees it contains.
26.9.12
Gama
The Japanese common toad or Japanese toad (Bufo japonicus) is a species of toad in the Bufonidae family.
It is endemic to Japan.
Its natural habitats are subarctic forests, temperate forests, temperate shrubland, swamps, freshwater marshes, intermittent freshwater marshes, freshwater springs, arable land, rural gardens, urban areas, ponds, and irrigated land.
It is threatened by habitat loss.
It is endemic to Japan.
Its natural habitats are subarctic forests, temperate forests, temperate shrubland, swamps, freshwater marshes, intermittent freshwater marshes, freshwater springs, arable land, rural gardens, urban areas, ponds, and irrigated land.
It is threatened by habitat loss.
Edo-jō and Kōkyo
Edo Castle (江戸城 Edo-jō), also known as Chiyoda Castle (千代田城 Chiyoda-jō), is a flatland castle that was built in 1457 by Ōta Dōkan. It is located in Chiyoda in Tokyo, then known as Edo, Toshima District, Musashi Province.
Tokugawa Ieyasu established the Tokugawa shogunate here.
It was the residence of the shogun and location of the shogunate, and also functioned as the military capital during the Edo period of Japanese history.
After the vacation of the shogun and the Meiji Restoration, it became the Tokyo Imperial Palace.
Some moats, walls and ramparts of the castle survive to this day. However, the grounds were more extensive during the Edo period, with Tokyo Station and the Marunouchi section of the city lying within the outermost moat. It also encompassed Kitanomaru Park, the Nippon Budokan Hall and other landmarks of the surrounding area.
Tokyo Imperial Palace (皇居 Kōkyo; literally, "Imperial Residence") is the main residence of the Emperor of Japan. It is a large park-like area located in the Chiyoda area of Tokyo close to Tokyo Station and contains several buildings including the main palace (Kyūden (宮殿), the private residences of the imperial family, an archive, museum and administrative offices.
It is built on the site of the old Edo castle.
The total area including the gardens is 3.41 square kilometres (1.32 sq mi). During the height of the 1980s Japanese property bubble, the palace grounds were valued by some as more than the value of all the real estate in the state of California.[1][2]
Tokugawa Ieyasu established the Tokugawa shogunate here.
It was the residence of the shogun and location of the shogunate, and also functioned as the military capital during the Edo period of Japanese history.
After the vacation of the shogun and the Meiji Restoration, it became the Tokyo Imperial Palace.
Some moats, walls and ramparts of the castle survive to this day. However, the grounds were more extensive during the Edo period, with Tokyo Station and the Marunouchi section of the city lying within the outermost moat. It also encompassed Kitanomaru Park, the Nippon Budokan Hall and other landmarks of the surrounding area.
Tokyo Imperial Palace (皇居 Kōkyo; literally, "Imperial Residence") is the main residence of the Emperor of Japan. It is a large park-like area located in the Chiyoda area of Tokyo close to Tokyo Station and contains several buildings including the main palace (Kyūden (宮殿), the private residences of the imperial family, an archive, museum and administrative offices.
It is built on the site of the old Edo castle.
The total area including the gardens is 3.41 square kilometres (1.32 sq mi). During the height of the 1980s Japanese property bubble, the palace grounds were valued by some as more than the value of all the real estate in the state of California.[1][2]
Getsuku and Kakku
Getsuku (月９ getsuku) is a Japanese abbreviation for Getsuyō kuji (月曜９時 getsuyō kuji, Monday at 9 pm). This is traditionally the time when the most popular TV dramas air in Japan.
Kakku (火9) is a Japanese abbreviation for Kayō Ku-ji (火曜9時), meaning Tuesday at 9PM.
This is a popular time-slot which airs Japanese television dramas.
Kakku is Fuji TV's second best-rated time-slot for TV dramas, behind Getsuku (Monday at 9PM).
Prior to airing dramas, the time-slot was occupied by the popular quiz show Naruhodo! The World, which ran for a period of fourteen years.
The first drama to air on this time-slot was Minikui Ahiru no Ko (1996), starring Goro Kishitani and Takako Tokiwa.
Kakku (火9) is a Japanese abbreviation for Kayō Ku-ji (火曜9時), meaning Tuesday at 9PM.
This is a popular time-slot which airs Japanese television dramas.
Kakku is Fuji TV's second best-rated time-slot for TV dramas, behind Getsuku (Monday at 9PM).
Prior to airing dramas, the time-slot was occupied by the popular quiz show Naruhodo! The World, which ran for a period of fourteen years.
The first drama to air on this time-slot was Minikui Ahiru no Ko (1996), starring Goro Kishitani and Takako Tokiwa.
Kaijū
Kaiju (怪獣 kaijū?) is a Japanese word that means "strange beast",
but often translated in English as "monster". Specifically, it is used
to refer to a genre of tokusatsu entertainment.
The most famous kaiju is Godzilla. Other well-known kaiju include Mothra, Anguirus, Rodan, Gamera and King Ghidorah. The term ultra-kaiju is short-hand for monsters in the Ultra Series.
Tokusatsu is a Japanese term that applies to any live-action film or television drama that usually features superheroes and makes considerable use of special effects (tokusatsu literally translates as "special filming" in Japanese).
The most famous kaiju is Godzilla. Other well-known kaiju include Mothra, Anguirus, Rodan, Gamera and King Ghidorah. The term ultra-kaiju is short-hand for monsters in the Ultra Series.
Tokusatsu is a Japanese term that applies to any live-action film or television drama that usually features superheroes and makes considerable use of special effects (tokusatsu literally translates as "special filming" in Japanese).
Musashi Province
Musashi Province (武蔵国 Musashi no kuni) was a province of Japan, which today comprises Tokyo Prefecture, most of Saitama Prefecture and part of Kanagawa Prefecture.[1]
It was sometimes called Bushū (武州).
The province encompassed Kawasaki and Yokohama.
Musashi bordered on Kai, Kōzuke, Sagami, Shimōsa, and Shimotsuke Provinces.
Musashi was the largest province in the Kantō region.
Musashi had its ancient capital in modern Fuchu, Tokyo and its provincial temple in what is now Kokubunji, Tokyo. By the Sengoku period, the main city was Edo, which became the dominant city of eastern Japan. Edo Castle was the headquarters of Tokugawa Ieyasu before the Battle of Sekigahara and became the dominant city of Japan during the Edo period, being renamed Tokyo during the Meiji Restoration.
The name Musashi, recorded in early records as 牟射志 munzasi, appears to be of Ainu origin. It has no meaning in Japanese, but mún-sa-hi (grass-plain-POSS)[2] means "grass plain" in Ainu, and Musashi sits in the middle of the Kanto plain.[3]
It was sometimes called Bushū (武州).
The province encompassed Kawasaki and Yokohama.
Musashi bordered on Kai, Kōzuke, Sagami, Shimōsa, and Shimotsuke Provinces.
Musashi was the largest province in the Kantō region.
Musashi had its ancient capital in modern Fuchu, Tokyo and its provincial temple in what is now Kokubunji, Tokyo. By the Sengoku period, the main city was Edo, which became the dominant city of eastern Japan. Edo Castle was the headquarters of Tokugawa Ieyasu before the Battle of Sekigahara and became the dominant city of Japan during the Edo period, being renamed Tokyo during the Meiji Restoration.
The name Musashi, recorded in early records as 牟射志 munzasi, appears to be of Ainu origin. It has no meaning in Japanese, but mún-sa-hi (grass-plain-POSS)[2] means "grass plain" in Ainu, and Musashi sits in the middle of the Kanto plain.[3]
25.9.12
Kofun: Zenpō-kōenfun
Kofun (古墳, from Sino-Japanese "ancient grave") are megalithic tombs or tumuli in Japan, constructed between the early 3rd century and the early 7th century AD.
They gave their name to the Kofun period (middle 3rd century - early-middle 6th century).
Many of the Kofun have distinctive keyhole-shaped mounds (zenpo-koenfun (前方後円墳)), which are unique to ancient Japan.
The kofun tumuli have assumed various shapes throughout history. The most common type of kofun is known as a zempō-kōenfun (前方後円墳), which is shaped like a keyhole, having one square end and one circular end, when viewed from above. There are also circular-typed (empun (円墳)), "two conjoined rectangles" typed (zempō-kōhō-fun (前方後方墳)), and square-typed (hōfun (方墳)) kofun.
Kofun range from several meters to over 400m long. The largest, which has been attributed to Emperor Nintoku, is Daisen kofun in Sakai City, Osaka Prefecture,
The Mozu-Furuichi kofungun or tumuli clusters have been proposed for inscription on the UNESCO World Heritage List, while Ishibutai Kofun is one of a number in Asuka-Fujiwara similarly residing on the Tentative List.[1][2]
They gave their name to the Kofun period (middle 3rd century - early-middle 6th century).
Many of the Kofun have distinctive keyhole-shaped mounds (zenpo-koenfun (前方後円墳)), which are unique to ancient Japan.
The kofun tumuli have assumed various shapes throughout history. The most common type of kofun is known as a zempō-kōenfun (前方後円墳), which is shaped like a keyhole, having one square end and one circular end, when viewed from above. There are also circular-typed (empun (円墳)), "two conjoined rectangles" typed (zempō-kōhō-fun (前方後方墳)), and square-typed (hōfun (方墳)) kofun.
Kofun range from several meters to over 400m long. The largest, which has been attributed to Emperor Nintoku, is Daisen kofun in Sakai City, Osaka Prefecture,
The Mozu-Furuichi kofungun or tumuli clusters have been proposed for inscription on the UNESCO World Heritage List, while Ishibutai Kofun is one of a number in Asuka-Fujiwara similarly residing on the Tentative List.[1][2]
Man'yōgana and Inariyama sword
Man'yōgana (万葉仮名) is an ancient writing system that employs Chinese characters to represent the Japanese language. The date of the earliest usage of this type of kana is not clear, but it was in use since at least the mid seventh century. The name "man'yōgana" is from the Man'yōshū, a Japanese poetry anthology from the Nara period written in man'yōgana.
A possible oldest example of Man'yōgana is the iron Inariyama Sword that was excavated at the Inariyama Kofun in 1968. In 1978, X-ray analysis revealed a gold-inlaid inscription consisting of more than 115 Chinese characters and this text, written in Chinese, included Japanese personal names which were supposedly phonetically written.
The iron Inariyama burial-mound sword (稲荷山古墳出土鉄剣 inariyama kofun shutsudo tekken) or kinsakumei tekken (金錯銘鉄剣) was excavated at the Inariyama Kofun in 1968. Inariyama Kofun is located in Saitama Prefecture. In 1978, X-ray analysis revealed a gold-inlaid inscription that comprises more than 115 Chinese characters. This sword was described as the discovery of the century for the study of ancient-Japanese history. The sword is designated a national treasure of Japan.
Read the inscription
| Man'yōgana | 之乎路可良 | 多太古要久礼婆 | 波久比能海 | 安佐奈藝思多理 | 船梶母我毛 |
|---|---|---|---|---|---|
| Katakana | シヲヂカラ | タダコエクレバ | ハクヒノウミ | アサナギシタリ | フネカヂモガモ |
| Modern | 志雄路から | ただ越え来れば | 羽咋の海 | 朝凪したり | 船梶もがも |
| Romanized | Shiojikara | Tadakoekureba | Hakuhinoumi | Asanagishitari | Funekajimogamo |
A possible oldest example of Man'yōgana is the iron Inariyama Sword that was excavated at the Inariyama Kofun in 1968. In 1978, X-ray analysis revealed a gold-inlaid inscription consisting of more than 115 Chinese characters and this text, written in Chinese, included Japanese personal names which were supposedly phonetically written.
The iron Inariyama burial-mound sword (稲荷山古墳出土鉄剣 inariyama kofun shutsudo tekken) or kinsakumei tekken (金錯銘鉄剣) was excavated at the Inariyama Kofun in 1968. Inariyama Kofun is located in Saitama Prefecture. In 1978, X-ray analysis revealed a gold-inlaid inscription that comprises more than 115 Chinese characters. This sword was described as the discovery of the century for the study of ancient-Japanese history. The sword is designated a national treasure of Japan.
Read the inscription
Iroha
The Iroha (いろは) is a Japanese poem, probably written in the Heian era (AD 794–1179).
It is famous because it is a perfect pangram, containing each character of the Japanese syllabary exactly once. Because of this, it is also used as an ordering for the syllabary.
Originally the poem was attributed to the founder of the Shingon Esoteric sect of Buddhism in Japan, Kūkai, but more modern research has found the date of composition to be later in the Heian Period.[1]
The first record of its existence dates from 1079. It is famous because it is a perfect pangram, containing each character of the Japanese syllabary exactly once. Because of this, it is also used as an ordering for the syllabary.
Read the Iroha
A pangram (Greek: παν γράμμα, pan gramma, "every letter") or holoalphabetic sentence for a given alphabet is a sentence using every letter of the alphabet at least once. Pangrams have been used to display typefaces, test equipment, and develop skills in handwriting, calligraphy, and keyboarding. Some examples:
It is famous because it is a perfect pangram, containing each character of the Japanese syllabary exactly once. Because of this, it is also used as an ordering for the syllabary.
Originally the poem was attributed to the founder of the Shingon Esoteric sect of Buddhism in Japan, Kūkai, but more modern research has found the date of composition to be later in the Heian Period.[1]
The first record of its existence dates from 1079. It is famous because it is a perfect pangram, containing each character of the Japanese syllabary exactly once. Because of this, it is also used as an ordering for the syllabary.
Read the Iroha
A pangram (Greek: παν γράμμα, pan gramma, "every letter") or holoalphabetic sentence for a given alphabet is a sentence using every letter of the alphabet at least once. Pangrams have been used to display typefaces, test equipment, and develop skills in handwriting, calligraphy, and keyboarding. Some examples:
- in English, "The quick brown fox jumps over the lazy dog" (all 26 letters).
Shigakogen: Jigokudani Monkey Park
Jigokudani Monkey Park (地獄谷野猿公苑 Jigokudani Yaen Kōen) is in Yamanouchi, Shimotakai District, Nagano Prefecture, Japan at 36°43′58″N 138°27′46″E.
It is part of the Joshinetsu Kogen National Park (locally known as Shigakogen), and is located in the valley of the Yokoyu-River, in the northern part of the prefecture. The name Jigokudani, meaning "Hell's Valley", is due to the steam and boiling water that bubbles out of small crevices in the frozen ground, surrounded by steep cliffs and formidably cold and hostile forests.
The heavy snowfalls (snow covers the ground for 4 months a year), an elevation of 850 metres, and being only accessible via a narrow two kilometre footpath through the forest, keep it uncrowded despite being relatively well-known.
It is famous for its large population of wild Japanese Macaques (Macaca fuscata), more commonly referred to as Snow Monkeys, that go to the valley during the winter, foraging elsewhere in the national park during the warmer months. Starting in 1963, the monkeys descend from the steep cliffs and forest to sit in the warm waters of the onsen (hotsprings), and return to the security of the forests in the evenings.
Jigokudani is not the farthest north that Japanese monkeys live. The Shimokita Peninsula is at the northern part of the Honshū island and the northwest area of this peninsula, latitude +41°31' longitude +140°56', approximately 500 km or 310 miles north from Jigokudani is the northern limit of Japanese Macaque habitat. No (non-human) primate is known to live in a colder climate.[1][2]
It is part of the Joshinetsu Kogen National Park (locally known as Shigakogen), and is located in the valley of the Yokoyu-River, in the northern part of the prefecture. The name Jigokudani, meaning "Hell's Valley", is due to the steam and boiling water that bubbles out of small crevices in the frozen ground, surrounded by steep cliffs and formidably cold and hostile forests.
The heavy snowfalls (snow covers the ground for 4 months a year), an elevation of 850 metres, and being only accessible via a narrow two kilometre footpath through the forest, keep it uncrowded despite being relatively well-known.
It is famous for its large population of wild Japanese Macaques (Macaca fuscata), more commonly referred to as Snow Monkeys, that go to the valley during the winter, foraging elsewhere in the national park during the warmer months. Starting in 1963, the monkeys descend from the steep cliffs and forest to sit in the warm waters of the onsen (hotsprings), and return to the security of the forests in the evenings.
Jigokudani is not the farthest north that Japanese monkeys live. The Shimokita Peninsula is at the northern part of the Honshū island and the northwest area of this peninsula, latitude +41°31' longitude +140°56', approximately 500 km or 310 miles north from Jigokudani is the northern limit of Japanese Macaque habitat. No (non-human) primate is known to live in a colder climate.[1][2]
Donburi: 6 types
Donburi:
A one-bowl dish, consisting of a donburi (どんぶり, 丼, big bowl) full of hot steamed rice with various savory toppings:- Katsudon: donburi topped with deep-fried breaded cutlet of pork (tonkatsudon), chicken (chickendon)
- Tekkadon: donburi topped with tuna sashimi
- Oyakodon (Parent and Child): donburi topped with chicken and egg (or sometimes salmon and salmon roe)
- Gyūdon: donburi topped with seasoned beef
- Tendon: donburi topped with tempura (battered shrimp and vegetables).
- Unadon: donburi topped with broiled eel with vegetables.
24.9.12
Shakuhachi and Suizen
The shakuhachi (尺八, pronounced [ɕakɯhatɕi]) is a Japanese end-blown flute.
It was originally introduced from China into Japan in the 6th century and underwent a resurgence in the early Edo Period.
The shakuhachi is traditionally made of bamboo, but versions now exist in ABS and hardwoods.
It was used by the monks of the Fuke school of Zen Buddhism in the practice of suizen (吹禅, Zen blowing meditation).
Its soulful sound made it popular in 1980s pop music in the English-speaking world.
The instrument is normally tuned to the minor pentatonic scale.
The name shakuhachi means "1.8 shaku", referring to its size. It is a compound of two words:
Suizen (吹禅) is a Zen practice consisting of playing the shakuhachi bamboo flute as a means of attaining self-realization. The monks from the Fuke sect of Zen who practiced suizen were called komusō (虚無僧; literally "emptiness monks").
It was originally introduced from China into Japan in the 6th century and underwent a resurgence in the early Edo Period.
The shakuhachi is traditionally made of bamboo, but versions now exist in ABS and hardwoods.
It was used by the monks of the Fuke school of Zen Buddhism in the practice of suizen (吹禅, Zen blowing meditation).
Its soulful sound made it popular in 1980s pop music in the English-speaking world.
The instrument is normally tuned to the minor pentatonic scale.
The name shakuhachi means "1.8 shaku", referring to its size. It is a compound of two words:
- shaku (尺) means "shaku", an archaic unit of length equal to 30.3 centimeters (0.994 English foot) and subdivided in ten subunits.
- hachi (八) means "eight", here eight sun, or tenths of a shaku.
Suizen (吹禅) is a Zen practice consisting of playing the shakuhachi bamboo flute as a means of attaining self-realization. The monks from the Fuke sect of Zen who practiced suizen were called komusō (虚無僧; literally "emptiness monks").
Nihonzaru
The Japanese macaque ( /məˈkɑːk/;[2] Macaca fuscata), historically known as saru ("monkey"), but now known as Nihonzaru (Nihon "Japan" + saru) to distinguish it from other primates, is a terrestrial Old World monkey species native to Japan.
The Japanese macaque is a very intelligent species.
It is also sometimes known as the snow monkey because it lives in areas where snow covers the ground for months each year — no primate, with the exception of humans, is more northern-living, nor lives in a colder climate.[3][4]
Individuals have brown-grey fur, red faces, and short tails. There are two subspecies.[5]
The Japanese macaque is the northernmost-living nonhuman primate. It is found on three of the four main Japanese islands: Honshu, Shikoku, and Kyushu.[6] The northernmost populations live on the Shimokita Peninsula, the northernmost point of Honshu.[12] Several of Japan’s smaller islands are also inhabited by macaques.[6]
The Japanese macaque has featured prominently in the religion, folklore, and art of Japan, as well as in proverbs and idiomatic expressions in the Japanese language. In Shinto belief, mythical beasts known as raijū sometimes appeared as monkeys and kept Raijin, the god of lightning, company. The "three wise monkeys", which warn people to "see no evil, hear no evil, and speak no evil", are carved in relief over the door of the famous Tōshō-gū shrine in Nikkō. The Japanese macaque is a feature of several fairy tales, such as the tale of Momotaro and the fable about the The Crab and the Monkey.[63][64]
/məˈkɑːk/;[2] Macaca fuscata), historically known as saru ("monkey"), but now known as Nihonzaru (Nihon "Japan" + saru) to distinguish it from other primates, is a terrestrial Old World monkey species native to Japan.The Japanese macaque is a very intelligent species.
It is also sometimes known as the snow monkey because it lives in areas where snow covers the ground for months each year — no primate, with the exception of humans, is more northern-living, nor lives in a colder climate.[3][4]
Individuals have brown-grey fur, red faces, and short tails. There are two subspecies.[5]
The Japanese macaque is the northernmost-living nonhuman primate. It is found on three of the four main Japanese islands: Honshu, Shikoku, and Kyushu.[6] The northernmost populations live on the Shimokita Peninsula, the northernmost point of Honshu.[12] Several of Japan’s smaller islands are also inhabited by macaques.[6]
The Japanese macaque has featured prominently in the religion, folklore, and art of Japan, as well as in proverbs and idiomatic expressions in the Japanese language. In Shinto belief, mythical beasts known as raijū sometimes appeared as monkeys and kept Raijin, the god of lightning, company. The "three wise monkeys", which warn people to "see no evil, hear no evil, and speak no evil", are carved in relief over the door of the famous Tōshō-gū shrine in Nikkō. The Japanese macaque is a feature of several fairy tales, such as the tale of Momotaro and the fable about the The Crab and the Monkey.[63][64]
Niō (Kongōrikishi): Agyō and Ungyō
Kongōrikishi (金剛力士) or Niō (仁王) are two wrath-filled and muscular guardians of the Buddha, standing today at the entrance of many Buddhist temples all across Asia including China, Japan and Korea in the form of frightening wrestler-like statues.
They are manifestations of the Bodhisattva Vajrapāṇi protector deity and the oldest and most powerful of the Mahayana pantheon.
According to Japanese tradition, they travelled with the historical Buddha to protect him and there are references to this in the Theravada Scriptures as well including the Ambatta Sutta.
Within the generally pacifist tradition of Buddhism, stories of Niō guardians like Kongōrikishi justified the use of physical force to protect cherished values and beliefs against evil.
Nio-Vajrapani is also seen as a manifestation of Mahasthamaprapta or the Bodhisattva of Power that flanks Amida in the Pure Land Tradition and as Vajrasattva, the Dharmapala of the Tibetan tradition.[1]
Kongōrikishi are usually a pair of figures that stand under a separate temple entrance gate usually called Niōmon (仁王門) in Japan, Heng Ha Er Jiang (哼哈二将) in China and Geumgangmun (金剛門) in Korea. The right statue is called Misshaku Kongō (密迹金剛) or Agyō and has his mouth open, representing the vocalization of the first grapheme of Sanskrit Devanāgarī (अ) which is pronounced "a". The left statue is called Naraen Kongō (那羅延金剛) or Ungyō and has his mouth closed, representing the vocalization of the last grapheme of Devanāgarī (ह [ɦ]) which is pronounced "ɦūṃ" (हूँ). These two characters together symbolize the birth and death of all things. (Men are supposedly born speaking the "a" sound with mouths open and die speaking an "ɦūṃ" and mouths closed.) Similar to Alpha and Omega in Christianity, they signify "everything" or "all creation". The contraction of both is Aum (ॐ), which is Sanskrit for The Absolute.
A manifestation of Kongōrikishi that combines the Naraen (Ungyō) and Misshaku (Agyō) Kongōs into one figure is the Shukongōshin at Tōdai-ji in Nara, Japan.
The niōmon (仁王門 lit. Niō gate) is the Japanese name of a Buddhist temple gate guarded by two wooden warriors called Niō (lit. Two Kings).
They are manifestations of the Bodhisattva Vajrapāṇi protector deity and the oldest and most powerful of the Mahayana pantheon.
According to Japanese tradition, they travelled with the historical Buddha to protect him and there are references to this in the Theravada Scriptures as well including the Ambatta Sutta.
Within the generally pacifist tradition of Buddhism, stories of Niō guardians like Kongōrikishi justified the use of physical force to protect cherished values and beliefs against evil.
Nio-Vajrapani is also seen as a manifestation of Mahasthamaprapta or the Bodhisattva of Power that flanks Amida in the Pure Land Tradition and as Vajrasattva, the Dharmapala of the Tibetan tradition.[1]
Kongōrikishi are usually a pair of figures that stand under a separate temple entrance gate usually called Niōmon (仁王門) in Japan, Heng Ha Er Jiang (哼哈二将) in China and Geumgangmun (金剛門) in Korea. The right statue is called Misshaku Kongō (密迹金剛) or Agyō and has his mouth open, representing the vocalization of the first grapheme of Sanskrit Devanāgarī (अ) which is pronounced "a". The left statue is called Naraen Kongō (那羅延金剛) or Ungyō and has his mouth closed, representing the vocalization of the last grapheme of Devanāgarī (ह [ɦ]) which is pronounced "ɦūṃ" (हूँ). These two characters together symbolize the birth and death of all things. (Men are supposedly born speaking the "a" sound with mouths open and die speaking an "ɦūṃ" and mouths closed.) Similar to Alpha and Omega in Christianity, they signify "everything" or "all creation". The contraction of both is Aum (ॐ), which is Sanskrit for The Absolute.
A manifestation of Kongōrikishi that combines the Naraen (Ungyō) and Misshaku (Agyō) Kongōs into one figure is the Shukongōshin at Tōdai-ji in Nara, Japan.
The niōmon (仁王門 lit. Niō gate) is the Japanese name of a Buddhist temple gate guarded by two wooden warriors called Niō (lit. Two Kings).
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