Hayachine Iwate

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Iwate Folk Art - 岩手県　 - Introduction .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

The Hayachine region of Iwate 早池峰



Mount Hayachine (早池峰山 Hayachine-san), at 1,917 m (6,289 ft), is the highest mountain in the Kitakami Range and the second highest in Iwate Prefecture after Mount Iwate.
Mt. Hayachine is unusual in that it lies farther east than other large mountains on Honshu and the land in this area is the oldest in Japan. As such there are flower species that are unique to this mountain.
- source : wikipedia -


. Mt. Hayachine – mountain of the gods .
Hayachine Jinja 早池峰神社 Hayachine Shrine

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Kagura Dance and Music are part of the Shinto Rituals for the Gods, relating to ancient legends and were performed by priests and shrine maidens.
Now in some rural areas it is counted as a form of local art (minzoku geinoo) and preformed by the villagers themselves during the annual shrine festival.
. Kagura Dance　神楽 .
- Introduction -



CLICK for more photos !

quote
World Intangible Cultural Heritage Hayachine Kagura 早池峰神楽 ( Hanamaki City )
Kagura, or “god-entertainment,” is a type of Shinto theatrical dance found throughout Japan. Kagura dancers are not professional performers; rather, they are local residents with other full time jobs, such as public employees, business owners, farmers, and carpenters. They would visit local homes and perform to pray for an abundant harvest, peace, and prosperity.

There are many versions of kagura in Iwate; the two of the most famous are Take Kagura and Otsugunai Kagura. Take Kagura, performed in the Take region where Hayachine Shrine is located, and Otsugunai Kagura, performed in the Otsugunai region, are together referred to as “Hayachine Kagura.” With a history of over 500 years, Hayachine Kagura is designated as a national important intangible folk cultural property; in 2009, it was also inscribed on the UNESCO Intangible Cultural Heritage list.

The two kagura are very similar, though with minor differences in program names. Both contain about 40 programs, and end with a dance called Gongen Mai ( Buddha Avatar Dance ) . Take Kagura Gongen Mai is performed at the top of Mt. Hayachine on the opening day of the mountain's hiking season.

In the Ohasama region of Hanamaki City, Hayachine Kagura is performed 8 times a year at events such as shrine festivals. In addition, Take Kagura, Otsugunai Kagura, and Yagimaki Kagura are performed on the 2nd Sunday of each month at the Hanamaki City Ohasama Exchange Vitalization Center ( admission charged ) . Hayachine Kagura is also often invited to perform in other areas; it has enjoyed several successful overseas performances as well.

Shiki Mai
Shiki Mai is the first six dances of a kagura performance: Tori Mai ( Chicken Dance ) , Okina Mai or Shiro Okina no Mai ( White-Faced Old Man's Dance ) , Sanbaso or Kuro Okina no Mai ( Black-Faced Old Man's Dance ) , Hachiman Mai, Yama no Kami Mai ( Mountain God's Dance ) , and Iwatobiraki no Mai ( Rock Door Opening Dance ) .

Shikigai no Mai
Shikigai no Mai includes: a dance reenacting Japanese mythology; a dynamic dance for the repose of the deceased and to drive away evil spirits; a dance representing war and vengeance; a narrative dance embodying a woman's emotions and an ascetic who provides salvation for her; a unique kyogen comedy involving ad-lib interactions with the audience; and finally, the Gongen Mai Dance.
source : japan-iwate.info/app


Kagura Dance Masks from Hayachine 早池峰神楽面



大迫郷土文化保存伝習館（愛称：早池峯岳神楽伝承館）
- reference and more photos : city.hanamaki.iwate.jp/bunkasports -


. 円万寺の観音堂 Temple Enman-Ji and the Kannon Hall .
This temple is also famous for it Hayachine Kagura dance.


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



source :　folkcraft.samurai47.com

Gongen Mai Statue 権現舞　
This statue, known as “Gongen San”, is displayed in homes in the hope that wishes will be granted. They are carved from Ohasama-grown wood using only one chisel. The chisel is called “Tsuki Nomi”.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Seiroku Tengu 清六天狗　
from Mount Hayachine 早池峰山 (遠野物語 Tono monogatari)

He lived on the border of Hanamaki and Kawai village. 岩手県花巻市と川井村/

- quote -
One house in Tono is said to have the jacked of a tengu.
it is like an undershirt with short sleeves, and it is made from a thin, loosely woven fabric. There is an imperial family crest of sixteen-petal chrysanthemums emproidered on the sleeves, suggesting an association with political power and authority. On the body of the jacket 「天狗の衣」, there are gourd-shaped designs with the same chrysanthemum pattern in the center. The jacket is blue.
Seiroku Tengu, with whom the head of the household was once friends, wore the jacket. According to what is said, Seiroku Tengu was from the Hanamaki area. He was fond of saying that he was “The King of All Creatures”.

Seiroku Tengu would always walk behind people climbing Mt. Hayachine, but surprisingly he would always get to the top of the mountain ahead of them.
He would laugh and greet the climbers at the top, saying: "How come you are all so slow?"
He liked sake (rice wine) and would usually walk around with a small gourd that was used as a sake flask. No matter how much sake was put into the gourd, it never filled up. It is said he paid for his sake with some small rusty coins that he always carried around.

In addition to the tengu’s jacket, this family had also received his wooden walking clogs, which they considered valuable. The youngest grandchild of Seiroku Tengu lives in a village near Hanamaki, and people call his home “Tengu House”. A girl in the house recently became a prostitute and was living in a teahouse in Tono. In the evening, no matter how tightly the doors to the house were locked, she was out walking about the town. She seemed to take great pleasure in going into people’s apple orchards and eating their fruit. It is said she went to Ichinoseki and is living there now.

Folk Legends from Tono: Japan's Spirits, Deities, and Phantastic Creatures
- source : books.google.co.jp -


source : toki.moo.jp/gaten/ gate427


. Tengupedia - ABC-List .

. Tōno monogatari 遠野物語 Tono Monogatari - Legends of Tono .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Hayachine yaki 早池峰焼 Hayachine Pottery



Hayachine Pottery is well-known for its lampshades and finely decorated lanterns.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


早池峰のつるべ落しや神の声
Hayachine no tsurube otoshi ya kami no koe

autumn sunset
in the Hayachine mountains -
voice of the Kami / voice of the Gods

下田靜子 Shimoda Shizuko
.
kami no koe 神の声 - the voice of the Japanese Kami deities, lit. voice of "God"



:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


. Join the MINGEI group on facebook ! .  



. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


. Tohoku after the BIG earthquake March 11, 2011

[ . BACK to WORLDKIGO . TOP . ]
[ . BACK to DARUMA　MUSEUM　TOP . ]
- - - #hayachine #hayachineiwate #hanamaki #hayachinekagura - - - - -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

tansu chest of drawers

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Artisans and craftsmen in Edo 江戸の職人 .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

tansu 箪笥 / 簞笥 -- たんす chest of drawers, Kommode
Tansu Storage Chest, cabinet
sashimono 指物 joinery and furniture



Tansu: Traditional Japanese Cabinetry
Ty Heineken, Kiyoko Heineken - 2004
- to read online : books.google.co.jp -

The Japanese and English wikipedia features most of the items of this book.
- quote -
Tansu is the traditional mobile storage cabinetry indigenous to Japan. Tansu was first recorded in the Genroku era of the Edo Period (1688–1704). The two characters, TAN and SU, appear to have initially represented objects with separate functions: the storage of food and the carrying of firewood. Since the radical for bamboo appears in each of these characters, it may be conjectured that wood was not as yet used.

During the time period in which tansu gradually became a feature of Japanese culture and daily life, 1657–1923, both hard and softwoods were used by Tansuya (tansu craftsmen), often in practical combination for a single chest.
Woods commonly used in tansu included Keyaki (elm), Kuri (chestnut), Ezo matsu (pine), Sugi (cedar), Kiri (paulownia) and Hinoki (cypress).

Many collectors focus on finding genuine antique Tansu. There are few workshops producing Tansu in imitation of the classic antiques due to the high cost of materials and the very low prices of secondhand Tansu. Larger chests are sometimes reduced in size, particularly Futon chests, Step chests and other chests with deep drawers . Some reproduction Tansu have been reproduced in Korea using Keyaki veneer.

Thanks to the wikipedia - I will just add a list of special terms
- - - More in the WIKIPEDIA !

. keyaki 欅 伝説 Legends about the Zelkova tree .

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


CLICK for more photos !

だるま箪笥 /ダルマ戸棚 Daruma Tansu

So called because they were used to decorate Daruma figures in them.
OR
Because the top and bottom chest have a tapering thin part (くびれ kubire) in the middle.

発祥としてダルマを飾るため、または職人がダルマを作る過程で使った戸棚という説と、戸棚の形が上下にくびれているため外観がダルマに似ているからという説がある.
- source : tochigiji.or.jp -

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

- - - - - Types of tansu (...dansu in word combinations)
Choba-dansu, choo dansu 帳簞笥 for merchants registry
Ishoo-dansu 衣装簞笥 for Japanese robes
Karakuri-dansu からくり簞笥, karakuri Tansu, difficult to open, with a trick lock
Kusuri-dansu 薬簞笥 - 百味簞笥 apothecary chest, medicine chest
Katana-dansu 刀簞笥 for storing sword blades
Kaidan-dansu 階段箪笥 Kaidan tansu, step chest
Konrei-dansu 婚礼簞笥 wedding chest
Kuruma-dansu 車簞笥 chest with wheels
Nagamochi Kuruma-dansu - coffers on wheels
Ryobiraki Kasane-dansu - chest on chest tansu
Seiri-dansu 整理簞笥 to organize robes

- - - - - Meiji Period - Regional Diversification
Hikone Mizuya-dansu - Kitchen cabinet
Kuruma Choba-dansu
Kyoto Isho-dansu
. Sado Shima-dansu 佐渡島　Tansu from Sado Island .
Sakai Choba-dansu
Sendai Isho-dansu
Yonezawa Isho-dansu

Funa-dansu, Funadansu ship’s chests
- - - Cho-bako- accounting and writing related materials
Dezura hikidashi
Hiki-do
Kendon-buta 倹飩蓋 drop-fit door
Kobiraki-do
Ryobiraki-do
Zuri-do
- - - Hangai
- - - Kakesuzuri

- - - - - Types of hardware kanagu
Bo : Vertical locking bar
Choban : Hinge
Herikanagu
Hikite : Drawer pull
Kasugai
Meita
Mochiokuri
Obikanagu
Omotejo : A single-action lock
Sao-toshi
Sashikomijo
Sumikanagu
Urajo : A double-action lock
Zagane / Toshi-zagane



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

- quote -
Karakuri tansu (Karakuri Chest)
is a traditional Japanese craft which has been rediscovered in modern times. The chest of drawers (tansu in Japanese) might look like ordinary Japanese furniture. However, you will be astonished to see what it can do. Put something inside the drawer. Once you close the drawer, the item will disappear as if by magic. It has a trick drawer that turns 180 degrees around, too! The purpose of both tricks is security, to keep valuables safe. Nevertheless, you still feel the touch of Japanese beauty.

It took enormous amounts of time and effort to develop and manufacture these chests. Teruaki Nakashima, the inventor of karakuri tansu, liked playing with machines and thinking up new mechanical devices even as a child. It is said that he was influenced by Hisashige Tanaka, the founder of the Tanaka factory which later became Toshiba Corporation. Nakashima began studying karakuri and drawing his own sketches. By devoting his profound knowledge to karakuri, he invented many new tricks.
Karakuri tansu resulted from the fusion of Nakashima's profound knowledge of karakuri, the magnificent furniture production legacy of Fukuoka Prefecture, and the funa-dansu - a chest for keeping valuables on board ship, which was a crystallization of Edo-Period knowledge and craft.

Nakashima created the karakuri tansu based on an adaptation of the funa-tansu. Needless to say, it wasn't easy, because most of the precise and delicate operation had to be done by hand.



Security Chest!
Now we can experience traditional craftsmanship just as it used to be, with karakuri tansu. It uses a classic technique of timbering, tsutsumi-ari (a sturdy method that joins the side board of drawers to the front) and a stunning processing method (repeating polish, coating and drying) which takes advantage of the beautiful wooden texture. As for the exterior, it has metal fittings with exquisite decorations which contribute to a strong structure, and the smooth and elegant texture of zelkova trees can be seen on the surface. The interior uses paulownia wood, an excellent choice. Finally, it includes a high security system and playful touches, making it ideal for practical use. Since the chest is all handmade, it takes two months to complete construction.

A great fusion of culture, knowledge, and traditional techniques occurred to bring us the karakuri tansu we have today. Their tasteful style and elegance captivates people all over the world. From all over Asia to Germany, the Netherlands and Russia, karakuri tansu are highly regarded for security, and appreciated for their beauty. - source : karakuriya.com/english -

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

kaidan-dansu 階段箪笥 Kaidan tansu, step chest, step cabinet
staircase chest
hakokaidan 箱階段 "staircase made of boxes" / 階段タンス



They were practical in town houses as a staircase to the upper rooms, with the function to store things in the "step boxes". Since they are usually propped up against a wall, there a no double-sided Kaidan-dansu.
- reference -

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



Traditional Japanese Chests: A Definitive Guide
by Kazuko Koizumi and Gavin Frew

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

tansuya 箪笥屋 Tansu maker in Edo
sashimonoshi, sashimono shi 指物師
"Sashimono" is a term derived from the traditional practice of using a woodwork ruler (or a "monosashi" in Japanese) to carefully measure timber materials in order to create box-shaped items of furniture, such being equipped with precise-fitting lids and drawers.

. Edo Sashimono 江戸指物 Wood Joinery Furniture - Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

In the early Edo period Tansu were also called
kosodebitsu　小袖櫃　(hitsu 櫃 is a wooden container)
or spelled with the Chinese characters for zushi　厨子. (Now the term zushi is used for Buddhist tabernacles.)
The early Tansu had only hikidashi 引き出し drawers and no hikido 引き戸 sliding doors.
Many townspeople in Edo did not have enough robes to fill a Tansu, just a few to wrap in a Furoshiki or a koori 行李 small woven luggage box.

The Tansu from Edo were quite simple and had to be cheap. They often burned in the many fires and had to be replaced often. Many Tansu were made of the light kiri　桐　paulownia wood.

To make a Tansu there was the craftsan for the wood work, but also one to make the metal fittings and another one to make the special nails to hold it all together.

kajiya 鍛冶屋 blacksmith
kugi kajiya 釘鍛冶屋 special blacksmith for nails

- - - - - In Edo, the Kajiya lived in
. Chiyoda Kanda Kajichoo, Kajimachi 千代田区 神田 鍛冶町 .
Kajiyamachi 神田鍛冶屋町 in Kanda


. kajiya 鍛冶屋 blacksmith in all seasons .
takadono tatara 高殿鑪, fuigo bellows and more


. Kyo sashimono 京指物 Kyoto joinery and furniture .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

- ABC - List of Tansu from the Prefectures

..............................................................................................................................................
. . . . . . . . . . Fukui

Echizen tansu 越前箪笥 chests from Echizen



- quote -
Echizen Traditional Tansu Craft
First recorded in the Genroku era of the Edo period, tansu is the traditional mobile storage cabinetry that is indigenous to Japan. Tansuyas (tansu craftsmen) would utilise both hard and softwoods to fashion these amazing cabinets. Antique tansus are highly prized by collectors, and can be worth an astronomical price. Due to that, many tansu workshops produce imitation pieces of antiques, using the same kind of wood and metallic fittings, giving it that aged look, and the only way to be able to tell them apart is through careful documentation and and personal physical examination by scholars.

Echizen city is famous for its tansu history, and I got the opportunity to visit an expert in the preservation and refurbishment of antique tansus, Mr Naito Yoshio. A collector of many tansu pieces around Echizen city and in Japan, Mr Yoshio's shop houses a huge collection of these cabinets, ranging from pieces which are used as a wardrobe, one for storing kimonos and even one particular piece which was both a climbing apparatus and a storage unit at the same time! Mr Yoshio also explained that one of the ways to tell whether a tansu was made in Echizen city was to look at its metallic fittings, and Echizen city's signature has two hearts facing sideways on it. His impressive collection of many antique cabinets all had it, and due to its long history, most of his collection are now worth a fortune.
- - - snip - - -
The last stop of the day was visiting a tansu factory, where a tansuya was making a Kuruma Choba-dansu (chest on wheels), once a status symbol of merchant families during the Meiji period, for a customer. The tansuya explained that a person in his occupation must have at least 10 years of experience in crafting a tansu for a customer to have confidence in his abilities. This only goes to show the dedication of the Japanese to their craft, and it'll be a long time before I can afford to own a piece of Echizen's cultural craftsmanship.
- source : en.japantravel.com Jerome Lee -


..............................................................................................................................................
. . . . . . . . . . Iwate

Iwayadoo tansu 岩谷堂箪笥 Tansu from Iwayado



- quote -
he history of the famous IWAYADO furniture dates back to the age of the Fujiwara family, a family which had signified the cultural and political character of Japanese heritage in the 1100's. One of the rulers among the Fujiwara family, Kiyohira, encouraged his people to develop the industry of handicrafts. The main products at that time were trunks (Nagamochi, in Japanese), not quite the same as today's drawers or chests.

In the feudal age in Japan, Lord Muramasa Iwaki, the ruler of the Iwayado area decided to inspire the manufacturing industry for the advancing economic structure which had previously been dependend on rice-centered agriculture. He ordered a member of his staff, Mozaemon Mishina, to create a new style of drawers with casters and fine furnishing with lacquer painting and metal ornaments in the 1780's. Two craftsmen, Kihei and Daikichi mastered iron work in order to realize this goal. The most valuable contribution to the development of Iwayado furniture was the creation of elaborately engraved metal fittings by Tokubei in the 1820's. As these arts and skills became a good tradition among the craftsmen, Iwayado furniture production became more widespread.

Read the details of the homepage:
- source : iwayado-tansu.jp -


..............................................................................................................................................
. . . . . . . . . . Miyagi

Sendai tansu 仙台箪笥 Tansu from Sendai



- quote -
Sendai tansu chests were devised for samurai about 400 years ago. They are made of firm zelkova wood with ornamental iron metals and finished with kijiro-nuri, a lacquer coating to enhance the grains of the wood.
- source : sentabi.jp/en -

..............................................................................................................................................
. . . . . . . . . . Yamagata

Sakata funa-dansu, Sakata fune tansu 坂田船箪笥 / 舟箪笥 ship chest from Sakata



They are made of keyaki　欅 zelkova wood outside and kiri paolownia inside.
The doors are of the kendon type 倹飩蓋 (drop-fit door). The lock plates are made of iron.

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

Shoonaidansu, Shōnai tansu 庄内箪笥 chest from Shonai
The black laquer Tansu 黒漆 from the Shonai region are most famous.
Shonai kasane kiritansu
- (photo see below).

Mostly made from sugi 杉 cedar wood outside and kiri paulownia inside.
The metal parts are made from copper or iron.



Handles made in the warabite　蕨手 (warabi-te) style, named after the mountain fern warabi.

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

Yamagata sashimono 山形指物　cabinetry form Yamagata city



Modern chest of drawers from Yamagata

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

Yonezawa tansu 米沢箪笥　chest of drawers from Yonezawa



Yonezawa Isho-dansu
Tucked remotely into the snowy mountains of the Tohoku region, the castle town of Yonezawa developed a chest on chest style for clothing storage strongly influenced by the refined lacquer finishing techniques of the Mikune area of the Japan Sea coast.
The distinctive five petal cherry blossom with an arabesque of ivy engraved lock plate motif and the placement of the kobirakido (hinged door compartment) in the top chest rather than the lower, help to distinguish Yonezawa provenance.
- (wikipedia) -


. Yamagata imono　山形鋳物 ironware, cast iron, metal art .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::



Japanese Cabinetry: The Art & Craft of Tansu
David Jackson

. Reference .


- - - #tansu #chestofdrawers - - - - -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

- - - - - Haiku and Senryu　俳句　川柳　- - - - -

chadansu 茶箪笥 chest for tea ceremony utensils



啓蟄の茶箪笥の戸の半開き 佐々木六戈 百韻反故
茶箪笥へ射す日が折れて春立ちぬ 菖蒲あや
茶箪笥や椿の枝の活けてある 長谷川櫂 Hasegawa Kai
蓮見茶屋箪笥の鐶に手紙さし 星野立子 Hoshino Tatsuko

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

funadansu 船箪笥 / 舟箪笥 ship's chest



あいの風酒田旧家に船箪笥 詫摩まつ子
お年玉船箪笥より取りいだす 林佑子
亀巣忌や潮錆び古ぶ船箪笥 神尾うしほ
春愁や船霊抜けし船箪笥 磯貝碧蹄館
貝寄風や祖父の匂ひの船箪笥 脇本千鶴子

しぐれ来て鉄の匂ひの舟箪笥 脇本千鶴子
水夫町や晩菊と照る舟箪笥 野沢節子
炉ふさぎの商家に残る舟箪笥 新家ひで子
繭玉の影ゆらゆらと舟箪笥 加藤三七子

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

furudansu 古箪笥 "old chest"



元日や啓吉も世に古箪笥 芥川龍之介
残暑めく夜の古箪笥きしみ入り 横光利一
青北風に据ゑてくらしの古箪笥 稲垣きくの

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

hinadansu 雛箪笥 chest to store the Hina dolls



二棹はほしき雛の箪笥かな 後藤比奈夫
小箪笥に雛ぽちとある叔母訪ヘり 久米正雄
裏店(うらだな)や箪笥の上の雛まつり 高井几菫
豆雛が箪笥の上に忘られて 臼田亞浪
雛壇の箪笥を開けて衣装なし 南上加代子
雛箪笥あくやふくらみでる縮緬 澁谷道


. hina matsuri 雛祭り Hina doll festival .
March 3 (the double three date)

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

ishoodansu, ishô-dansu 　衣装簞笥　chest for Japanese robes



入れかへて箪笥ゆるやか夏衣 小原寿女
去年今年箪笥にあまる形見の衣 詫摩まつ子
涅槃衣も衣箪笥や虫払 喜谷六花
秋蛍母の箪笥よりわが産衣 奥磯照子

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

obidansu, obi tansu 帯箪笥 chest for Obi belts



帯箪笥はみ出て長き春の帯 長谷川かな女

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

katanadansu 刀箪笥 -- 刀簞笥 chest for sword blades



刀箪笥掛物箪笥五月闇
中戸川朝人

. katana 日本刀 the Japanese Sword .

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

kiridansu, kiri tansu 桐箪笥 chest from paulownia wood
They were especially light and watertight in the rainy season.
This one has many low chests for ladie's kimonos. They are part of a woman’s dowry and are passed on in the family.
The town of Kamo in Niigata is a famous center for kiri tansu.

. kiri 桐 paulowna wood art .




うすものや共に古びし桐箪笥
usumono ya tomo ni furubishi kiritansu

my thin robes -
the paulownia chest is getting old
with them

Mori Takeko 森たけ子


. usumono 羅 うすもの thin robes for summer .

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


へその緒は母の箪笥に桐の花
heso no o wa haha no tansu ni kiri no hana

my umbilical cord
in the chest of my mother -
paulownia blossoms

Sakamoto Kyoko 坂本杏子


. kotobukibako へその緒寿箱 box for the umbilical cord .

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

桐箪笥奥にひらけし芒原 坂本宮尾
桐箪笥野晒しのごと家にあり 宇田蓋男

うすらひや桐の匂はぬ桐箪笥 神尾久美子
余花の雨琴糸収む桐箪笥 内山美智子
母の背の若く涼しき桐箪笥 猪俣千代子
玉虫もたたうも古りぬ桐箪笥 小林宏
青鬼灯母の詰まりし桐箪笥 清水山菜子


. kiri 桐 paolownia .
kigo for various seasons

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

kurodansu, kuro tansu 黒箪笥 black chest



母ならむ鶴引く頃の黒箪笥 栗林千津
雨はげし花冷えはげし黒箪笥 柴田白葉女

The black laquer Tansu from the Shōnai 庄内 Shonai region of Yamagata are most famous.
庄内箪笥 黒漆, see above.

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


wadansu 和箪笥 "Japanese chest of drawers"



和箪笥に傷を見つけし風邪寝かな 木村光代
和箪笥の何段目かな癌細胞 土田武人
和箪笥の軽き軋みや更衣 横田澄江

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

yakudansu, kusuridansu 薬箪笥 chest for Chinese medicine



古民家の薬箪笥や小鳥来る 渡辺光江
梅雨晴間薬草箪笥に残りし香 濱田未過去
百千鳥薬種箪笥に岩絵具 甲士三郎
薬箪笥の薬匂へり小六月 松本 旭
黐の花に薬箪笥をならべけり 長谷川かな女


. Kanpoyaku 漢方薬 Chinese Medicine .

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

畳替すみたる箪笥据わりけり
久保田万太郎 Kubota Mantaro

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

春立つやぶらり牛込箪笥町 Ushigome Tansumachi
赤瀬川昌彦

. Ushigome 牛込 .

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

しまい込む箪笥預金や梅の日々 高澤良一
竜淵に潜む箪笥のナフタリン 高澤良一


箪笥からはみだす姉のはらわたも春 西川徹郎
箪笥から汽罐車一語発したり 大沢輝一
箪笥のなか掻き回したる冬支度 油井和子
箪笥より樟の木つ端や夏期賞与 鈴木恵美子「
箪笥憂し服に外套にわが歴史 林翔 和紙
箪笥運び入れたるあとの冬木立 友岡子郷

ぼろ市の路をせばめし箪笥かな 植木美枝子
一つある箪笥の齢庵の秋 島村元句集
三十年の箪笥軋める冬銀河 鍵和田[ゆう]子
梯子箪笥きしませ上る雲の峰 鍵和田[ゆう]子
下駄買うて箪笥の上や年の暮 荷風
久々に母の箪笥に虹が立ち 渡辺誠一郎
冷まじや箪笥に納む明治の緋 相澤いさを
千鳥鳴くやかほどの華奢も箪笥鍵 久米正雄
在りし日の箪笥の闇も享けしかな 河原珠美
子へ贈る本が箪笥に聖夜待つ 大島民郎
巴里の香水箪笥に仕舞ふ薄暑かな 及川貞
底深き箪笥覗かる蟷螂に 石川文子
懸想文箪笥にしまひ置くことに 福井圭児
把手大き祖母の箪笥や午祭 古賀まり子
新涼の母の箪笥に男帯 大木あまり 火球

春の灯や一つ上向く箪笥鐶 風生
春ソウル箪笥の中のテレビジヨン 夏石番矢
春暁をさめて箪笥のもとにかな 太田鴻村
春蘭は箪笥を閉めるやうにあり 中井洋子
桜貝箪笥の隅に眠りをり 船津つねを
猪鍋や箪笥の上に物を積み 山西雅子
獅子座流星箪笥にたまる宇宙塵 安西篤

玉蟲や妹が箪笥の二重 村上鬼城
玉虫や妹が箪笥の二重 村上鬼城
玉虫や野良着ばかりの我が箪笥 塩見蛙子
白足袋を箪笥が銜へゐる寒さ 鈴木鷹夫
盆過の箪笥の影に坐りけり 永島靖子

簟歩けば箪笥ことことと 千原 叡子
経箪笥きざはしびらきお風入 大橋敦子
緋縮緬噛み出す箪笥とはの秋 三橋敏雄
縄を綯ふ箪笥ま黒き奥座敷 佐川広治
臍の緒を箪笥に守り曼珠沙華 佐々木六戈
色鳥やひとつ箪笥に妻のもの 石田勝彦
花冷や瞽女の箪笥のしるし紐 西本一都
花冷や箪笥の底の男帯 鈴木真砂女
蓬莱や京に古りける菓子箪笥 多賀子
蚊を焼くや箪笥の上の寝ぬ人形 月舟俳句集
蠅とんでくるや箪笥の角よけて 京極杞陽
被爆箪笥買ひ替へよとや亀の鳴く 朝倉和江

車箪笥や人はうごいて飛騨を去る 津沢マサ子
近江へは花見箪笥を背負ひゆかな 藤田あけ烏
野の家の箪笥見えてる稲の秋 臼田亜浪 旅人
銃箪笥てふ古きもの狩の宿 依田秋葭
鍵穴が箪笥に三つ春の蝉 寺井谷子
雪女来る頃ぎしと鳴る箪笥 有馬朗人
風鈴に尾をつけ箪笥に風入るる 菖蒲あや
餅筵箪笥の裾につかえけり 吉屋信子
麦秋や箪笥に眠る日章旗 片岡啓子
ネクタイ吊るタンスの中も秋の空気 高橋信之
- source : HAIKUreikuDB -

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


. tansu 箪笥 / 簞笥 と伝説 Legends about chest of drawers .


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


. Join the MINGEI group on facebook ! .  


. Interior Design - The Japanese Home .

. gangu 玩具　伝説, omochcha おもちゃ 　toy, toys and legends .
- Introduction -

. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .


. Tohoku after the BIG earthquake March 11, 2011

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Tono Monogatari TSUNAMI

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


Toono monogatari, Tōno monogatari 遠野物語 Tono Monogatari
Legends of Tono


Tr. Ronald A. Morse


. Tōno monogatari 遠野物語 Tono Monogatari.
- Introduction -

Yanagita Kunio had his reasons for being interested in the afterlife.
He had lost his young girlfriend (a one-sided love affair on his side though) when she was just 19, dying of tuberculosis.
He kept asking himself where she would be now.
Still in his room? Or near her grave? or far away in paradise?
While she was ill at the home of her parents, he had written a story about a little bird (himself), which she could keep in her room beside her bed, and he would sing for her all day long to make her feel better.

His interest in the legends of Tono stemmed from this interest of the soul in the afterlife.

. Yanagita Kunio 柳田國男 .
(July 31, 1875 - August 8, 1962)

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Story Nr. 99 死者の想い
deals with this subject too - and is quite up to our times about the Great Tsunami !

The story deals with the aftermath of the Great Tsunami of the Sanriku Coast about 120 years ago, on June 15, 1896.

A man called Fukuji 福二, who had moved from Tono and lived happily with his wife and three children in the coastal town of Tanohama lost almost everything in the tsunami, only he and two children survived. He just could not understand his fate and was deeply disturbed and unhappy all the time.
He had to live with his two children in a shelter near the site of his original house.

One day a year later, when he walked along the beach in the fog, he saw a pair in white robes, like the dead, coming nearer.
It was his dead wife with a young man (she had known befor marriage and who had also perished in the tsunami). As they walked past him his wife said with a happy smile "Now I am the wife of this man."
When he asked her: "But don't you worry about our children?" she began to cry, but the pair faded away in a hurry.
He tried to follow them and run after them, but to no avail. When he came home later he became ill with grief and suffered and had to rest for a long time before recovering.



source :　NHK historia October 2014



And now comes the jump to our times, and the great tsunami in 2011.


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


A descendant of Fukuji in the fourth generation was still living in the same area.

Fukuji was the ancestor of present-day Sasaki san 佐々木喜善の祖母の弟.
Sakaki had learned about his ancestor Fukuji in the year 1930.

His family had to overcome the sorrows after the Tsunami in 2011, and have to live on beyond their pain, looking to the future.
- source : textview.jp/post


And research at NHK historia has found this:

Fukuji had married again and become a fisherman in Otsuchi. His his great-grandchild lived in Tanohama as fishermen too.
Nagane Masaru 長根勝.

The home of Fukuji's ascendant was hit by the Great Tsunami of 2011 and he lost his beloved mother, who was the only one in his family who had told him the sad story of Fukuji. When the quake happened, he and his daughter had just found the time to climb to a higher place behind the home before the tsunami hit. His wife had been absent in another village and also survived the tsunami.
He just could not get over this great loss and all the destruction on the beach.

After one year he had a dream:
His mother was in the kitchen preparing his breakfast.
"I am all right, I will care for you and be close to you" she told him - and at that point he woke up.
Suddenly he felt relieved and remembered more than ever the story of his great-grandfather and the loss he had suffered.

Since the tsunami he has to live in a temporary housing complex with his family.
Now he goes to the grave of his mother with his daughter, and tries to tell her the story of the ancestors to keep the memories alive.

Live comes in many shades and humans have to deal with them the best as they can.

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


北川福二　Kitagawa Fukuji (1860 - 1929)
（万延元年（1860年） - 昭和4年（1929年））
佐々木喜善の父方祖母チエの弟。山田町田ノ浜へ婿に行ったが、明治三陸津波で妻子を失い、1年後亡き妻に遭遇した（99話）。
福二は大槌町から後妻を迎え、子孫は田ノ浜で漁業を営んだ。
100年後、福二の曾孫も東日本大震災で母を失った。
- source : ja.wikipedia.org



遠野物語 の中で家族を失った人の子孫、長根勝さん.
source : akira_nakamura1120

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


明治三陸大津波 Meiji Sanriku Dai Tsunami

- quote
The 1896 Sanriku earthquake was one of the most destructive seismic events in Japanese history. The 8.5 magnitude earthquake occurred at 19:32 (local time) on June 15, 1896, approximately 166 kilometres (103 mi) off the coast of Iwate Prefecture, Honshu. It resulted in two tsunamis which destroyed about 9,000 homes and caused at least 22,000 deaths.
The waves reached a record height of 38.2 metres (125 ft); more than a meter lower than those created after the 2011 Tōhoku earthquake which triggered the 2011 Japanese nuclear accidents.



On the evening of June 15, 1896, communities along the Sanriku coast in northern Japan were celebrating a Shinto holiday and the return of soldiers from the First Sino-Japanese War. After a small earthquake, there was little concern because it was so weak and many small tremors had also been felt in the previous few months. However 35 minutes later the first tsunami wave struck the coast, followed by a second a few minutes later.

Damage was particularly severe because the tsunamis coincided with high tides. Most deaths occurred in Iwate and Miyagi although casualties were also recorded from Aomori and Hokkaido.
- - - More in the WIKIPEDIA !

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




116 年前の"明治三陸大津波"惨状伝える４８枚の写真が発見される。
東日本大震災直後の被災地と重なる…
48 Photos from the Earthquake in 1896
- source : matome.naver.jp

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

九九　- 99
土淵村の助役北川清と云う人の家は字火石（ひいし）に在り。代々の山臥（やまぶし）にて祖父は正福院と云い、学者にて著作多く、村の為に尽したる人なり。清の弟に福二と云う人は海岸の田の浜へ聟（むこ）に行きたるが、先年の大海嘯（おおつなみ）に遭いて妻と子とを失い、生き残りたる二人の子と共に元の屋敷の地に小屋を掛けて一年ばかりありき。夏の初の月夜に便所に起き出でしが、遠く離れたる所に在りて行く道も浪の打つ渚（なぎさ）なり。霧の布（し）きたる夜なりしが、その霧の中より男女二人の者の近よるを見れば、女は正（まさ）しく亡くなりし我（わが）妻なり。思わず其跡をつけて、遥々（はるばる）と船越村の方へ行く崎の洞（ほら）ある所まで追い行き、名を呼びたるに、振返りてにこと笑いたり。男はと見れば此（これ）も同じ里の者にて海嘯の難に死せし者なり。自分が聟に入りし以前に互に深く心を通わせたりと聞きし男なり。今は此人と夫婦になりてありと云うに、子供は可愛くは無いのかと云えば、女は少しく顔の色を変えて泣きたり。

死したる人と物言うとは思われずして、悲しく情なくなりたれば足元を見て在りし間に、男女は再び足早にそこを立ち退きて、小浦（おうら）へ行く道の山陰を廻（めぐ）り見えずなりたり。追いかけて見たりしがふと死したる者なりしと心付き、夜明まで道中（みちなか）に立ちて考え、朝になりて帰りたり。其後久しく煩（わずら）いたりと云えり。


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


- quote
Ghosts of the Tsunami
Richard Lloyd Parry

I met a priest in the north of Japan who exorcised the spirits of people who had drowned in the tsunami. The ghosts did not appear in large numbers until later in the year, but Reverend Kaneda’s first case of possession came to him after less than a fortnight. He was chief priest at a Zen temple in the inland town of Kurihara. The earthquake on 11 March 2011 was the most violent that he, or anyone he knew, had ever experienced. The great wooden beams of the temple’s halls had flexed and groaned with the strain. Power, water and telephone lines were fractured for days; deprived of electricity, people in Kurihara, thirty miles from the coast, had a dimmer idea of what was going on there than television viewers on the other side of the world. But it became clear enough, when first a handful of families, and then a mass of them, began arriving at Kaneda’s temple with corpses to bury.

Nearly twenty thousand people had died at a stroke. In the space of a month, Kaneda performed funeral services for two hundred of them. More appalling than the scale of death was the spectacle of the bereaved survivors. ‘They didn’t cry,’ Kaneda said to me a year later. ‘There was no emotion at all. The loss was so profound and death had come so suddenly. They understood the facts of their situation individually – that they had lost their homes, lost their livelihoods and lost their families. They understood each piece, but they couldn’t see it as a whole, and they couldn’t understand what they should do, or sometimes even where they were. I couldn’t really talk to them, to be honest. All I could do was stay with them, and read the sutras and conduct the ceremonies. That was the thing I could do.’

Amid this numbness and horror, Kaneda received a visit from a man he knew, a local builder whom I will call Takeshi Ono. Ono was ashamed of what had happened, and didn’t want his real name to be published. ‘He’s such an innocent person,’ Kaneda said to me. ‘He takes everything at face value. You’re from England, aren’t you? He’s like your Mr Bean.’ I wouldn’t have gone so far, because there was nothing ridiculous about Ono. He was a strong, stocky man in his late thirties, the kind of man most comfortable in blue overalls. But he had a dreamy ingenuousness that made the story he told all the more believable.

He had been at work on a house when the earthquake struck. He clung to the ground for as long as it lasted; even his lorry shook as if it was about to topple over. The drive home, along roads without traffic lights, was alarming, but the physical damage was remarkably slight: a few telegraph poles lolling at an angle, toppled garden walls. As the owner of a small building firm, no one was better equipped to deal with the practical inconveniences inflicted by an earthquake. Ono spent the next few days busying himself with camping stoves, generators and jerry cans, and paying little attention to the news.

But once television was restored it was impossible to be unaware of what had happened.

----- Continue reading here :
- source : Richard Lloyd Parry


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::




Tono – Heimat der Volksmärchen

Die Stadt Tono in der Präfektur Iwate im Nordosten Japans ist vor allem als Heimat zahlreicher Volksmärchen, alter Sagen und geheimnisvoller Geschichten über Geister, Dämonen und andere Fabelwesen bekannt. 119 dieser über viele Generationen hinweg mündlich überlieferten Geschichten wurden vor fast 100 Jahren gesammelt und in dem Buch Tono Monogatari („Die Sagen von Tono“) veröffentlicht. Dieses Werk bildete zugleich den Ausgangspunkt für die Volkskunde in Japan. Eine knapp vierstündige Zugfahrt mit dem Shinkansen von Tokyo entfernt (mit einem Umstieg im Bahnhof Shin-Hanamaki), bieten die Stadt Tono und ihre Umgebung dem Besucher noch heute eine große Vielfalt an landschaftlicher Schönheit: von nebelverhangenen Bergen bis hin zu schmalen Pfaden, die sich zwischen Reisfeldern winden. Wer in diese Landschaft eintritt, hat sofort das Gefühl, als sei er in die Welt der Volksmärchen eingetaucht.

Die Sagen von Tono: Ursprung der japanischen Volkskunde
Die Stadt Tono
liegt in einem von Bergketten eingerahmten Becken etwa 40 km westlich der Pazifikküste. Diese Region wurde vom schweren Erdbeben und dem Tsunami im März 2011 besonders hart getroffen. Seit dem Erscheinen der „Sagen von Tono“, einer Sammlung von kurzen Geschichten über Ereignisse, Überlieferungen und Bräuche in der Region Tono im Jahr 1910 ist diese Stadt in ganz Japan als Heimat der japanischen Volkskunde bekannt. Die Stadt selbst blieb von den Umwälzungen, die während der Ära des raschen Wirtschaftswachstums in Japan das ganze Land erfassten, größtenteils verschont. Dadurch bietet Tono dem heutigen Besucher noch eine ganze Reihe von Ansichten, die an alte Zeiten erinnern.

Der Volkskundler und Herausgeber der Sagen von Tono, Kunio Yanagita (1875-1962), gilt allgemein als Begründer der Volkskunde in Japan. Im Vorwort zu dem Werk heißt es: „Im Umkreis von 40 km um die Stadt Hanamaki gibt es nur drei Städte. Die übrige Region besteht aus grünen Bergen und offenen Feldern.“ Diese Landschaft, die in einer knapp einstündigen Zugfahrt vom Bahnhof Shin-Hanamaki aus erreichbar ist, sieht vom Fenster der langsam fahrenden Züge aus betrachtet selbst wie der Prolog zu einer Erzählung aus – ein Prolog aus Bergen und Wäldern, die gemächlich am Betrachter vorbeigleiten.

Tono erlebte einst eine Blütezeit als Burgstadt und Rastplatz für Reisende, die zwischen dem Innern des Landes und der Küste reisten. Heute birgt die Stadt viele Orte, die es dem Besucher noch immer ermöglichen, sich ohne Weiteres vorzustellen, wie sich das Leben hier vor hunderten von Jahren gestaltete.

Elf Kilometer westlich vom Bahnhof Tono entfernt befindet sich das Anwesen der Familie Chiba, das als wichtiges Kulturgut des Landes registriert ist. Das Haus ist ein Bauernhaus im sogenannten nambu magariya-Stil. Seine besondere Bauweise, die aus der Vogelperspektive wie ein L aussieht, und bei der das Wohngebäude an den Pferdestall stößt, war bis vor fünfzig Jahren in dieser Region allgemein verbreitet. Das Anwesen ist rund 200 Jahre alt und erinnert ein wenig an ein Schloss. Die Grundfläche beträgt 550 m2 und beherbergte früher bis zu 25 Personen und zwanzig Pferde. Menschen und Tiere lebten somit unter einem Dach. Die kalten und schneereichen Wintermonate trugen dazu bei, dass die Menschen in dieser Region ihre Pferde quasi als Familienmitglieder betrachteten.


Continue reading :
- source : www.de.emb-japan.go.jp

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

. Seiroku Tengu 清六天狗　
from Mount Hayachine 早池峰山 - as told in the Tono Monogatari.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::


. Join the MINGEI group on facebook ! .  



. Regional Folk Toys from Japan .


. Tohoku after the BIG earthquake March 11, 2011

[ . BACK to WORLDKIGO . TOP . ]
[ . BACK to DARUMA　MUSEUM　TOP . ]
- tonomonogatari #tonolegends #tonoiwate
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Mizusawa fire brigade

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

choo jirushi, choojirushi 町印（ちょうじるし） "town markers" - Mizusawa　水沢　　


Mizusawa (水沢市 Mizusawa-shi) was a city located the South of Iwate Prefecture.
It is now part of the city of Ōshū.

. . . . . and the festival 日高火防祭 Hidaka Hibuse Festival
kaboosai 「火防祭（かぼうさい）」Kabosai - Fire Prevention Festival

at Hidaka Jinja　日高神社

The festival is held on April 22.
Between a small and large red ball the marker (jirushi) on the village (choo) is shown.
As a miniature toy it is mounted on a box, signifying the square box for water of the fire brigade. The bamboo swings on the bottom signify the water.

More than 300 years ago, the town suffered of three huge fires in a short time, so the lord of Mizusawa started this parade.

- quote
This is a 300-year-old festival, held on April 29, to pray for safety from fire hazards.



The lord of the Mizusawa area had each of the six neighborhoods set up a fire brigade 仁心火防定鎮. In the festival, representatives from each of the fire brigades visit a local shrine in the morning, and then a parade through the city begins.

These six towns, copying after a fire-fighting system called “Edo Iroha-gumi” which developed in Edo (present day Tokyo) during Edo Period, each make offerings to Hidaka Shrine to pray for safety from fire accidents.

Each group has a float of red, green, and gold, decorated with paper lanterns and flowers. About 20 to 25 girls ride on each float and play a unique musical accompaniment with flutes, small taiko drums, and shamisen (three-stringed instrument).
The climax of the festival is the “aiuchi” performance on the second evening which the floats show a brilliant competition of traditional music.


float from Kawaguchi　川口

At night, the paper lanterns are lit, creating an elegant and ethereal atmosphere.
- source : www.japan-iwate.info




心（立町）


source :d.hatena.ne.jp/oshu-plazainn


Each of the six fire brigades had a special crest they used on their coats and banners, called "crest of the village" (choo jirushi)

町印は木竿の先に大きな赤玉（火の象徴）と馬簾（ばれん－水の象徴）をつけ、
それに前期の仁（川口町）、心（立町）、火（柳町）、防（大町）、定（横町）、鎮（袋町）のマークが記されている。
「仁心をもって火防定鎮す」という町印の読みかたは、「和」と「協」の精神を表しているといわれている。
- source : www.city.oshu.iwate.jp


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



source :zplaza.sblo.jp/archives

袋町組のモニュメント - 鎮（袋町） Fukuro Cho

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



- source : 373kai.blog26.fc2.com

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



- source and more photos : www.hoso0907.com/machi

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　



source :　www.asahi-net.or.jp

miniature, about 13 cm high


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



source :　www.asahi-net.or.jp ~SA9S-HND

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


. Iwate Folk Art - 岩手県　 .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　


Hidaka Jinja 日高神社 Hidaka Shrine

岩手県奥州市水沢区日高小路13 / Hitakakōji-13 Mizusawaku, Ōshū-shi, Iwate


source and more photos :　jinja-kikou.net/ousyuu

- Main deity in residence (8 altogether)

天御中主大神 / Ame no minaka nushi no kami 天之御中主大神
. Amenominakanushi . deity of creation .


Founded in 810 on request of Saga Tenno 嵯峨天皇.
Generalissimo . Sakanoue no Tamuramaro 坂上田村麻呂 . (758 - 811)
had captured the castle 胆沢城 Isawajoo here in 802 and the area has been known as 日高見国 Hitakami no Kuni of the Ezo people 古代蝦夷.

Legend knows that when Minamoto no Yoriyoshi 源頼義 (988 - 1075) (father of Hachimantaro) came here around 1055 to fight the Abe clan, the rainy sky cleared up and the sun came out (hi ga takaku 日が高くのぼった) around 2 in the afternoon, he could kill his enemy.
So the shrine was named 日高妙見神社 Hidaka Myoken Jinja.

In 1871 it became the main shrine of Mizusawa.

There is also another shrine in the compound, Mizuyama Jinja 瑞山神社 for the souls of the Uusu clan 留守氏, who lived in Mizusawa since 1629 as senior statesmen of the Date clan.
A statue of 留守宗利 Usu Munetoshi（伊達宗利 Date Munetoshi）(1590 - 1638)is in the compound.

The shrine was rebuilt in 1428.

The memorial stone for 八幡太郎義家 Hashimantaro Yoshiie (1039－1106) is in the compound to memorize the well where he washed his sword after killing 安倍貞任 Abe no Sadato (1019 – 1062).
太刀洗川の碑
Yoshiie was Chinjufu shogun (Commander-in-chief of the defense of the North).

. 源八幡太郎義家 Minamoto no Yoshiie Hachimantaro .
and his wife Akashi hime 明石姫 Princess Akashi

Abe no Sadato 安倍貞任
(1019 – October 22, 1062)
was a samurai of the Abe during the Heian period.
Sadato was the son of Abe no Yoritoki, the chinjufu shogun (general in charge of overseeing the Ainu and the defense of the north).
- - - More in the WIKIPEDIA !


:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

. WASHOKU . - Regional Dishes from Iwate - .

MORE
. Iwate Folk Toys - this BLOG .


. Tohoku after the BIG earthquake March 11, 2011

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::