Showing posts with label events. Show all posts
Showing posts with label events. Show all posts

2010/11/01

Exhibition

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EXHIBITIONS

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浜松市博物館 Hamamatsu Museum November 2010

Sooshuu Daruma 相州だるま Daruma from Sagami (Soshu province)



だるま造りの技術は東京都多摩地方から大野村四之宮(現・平塚市四之宮)に伝わり、明治30年頃に製造が始まりました。その後、各地に技術が伝えられ、最盛期の昭和20~30年代には平塚市に5軒、厚木市に3軒、小田原市に1軒、相模原市に1軒の合計10軒ほどのだるま屋さんがしのぎを削っていました。
現在も平塚市内3軒のだるま屋さんが年間数万個のだるまを製造しています。その製品は、相州だるまと呼ばれ、暮とお正月に県内各地に立つだるま市で商われています。神奈川県内の各家に飾られている縁起だるまの大半は平塚産なのです。これってすごいことだと思いませんか。
特別展では、平塚産の相州だるまが大集合します。だるまは数種類あり、店ごとに顔の描きぶりも違います。古~いだるまに最新の創作だるま、サイズも3㎝のミニだるまから90㎝の関東一だるままで、各種取り揃えて展示します。張子だるまの製造工程も紹介します。
ルーツである多摩だるまも展示し、相州だるまと比べてみます。全国各地のだるまもたくさん紹介します。だるまの絵付け教室や講演会などの催しも予定しています。暮のだるまさんの季節を迎えるまで、もうしばらくお待ちください
source : www.hirahaku.jp



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Autumn 2007 Exhibitions

Exhibition at Hamamatsu

From Collections of People all over Japan

市民コレクター展 「全国だるま総覧」 

平成19年11月3日(土)~2月11日(月)
November 3 until Februar 11.
浜松市博物館






Papermachee Daruma from all over Japan

01 Daruma in Japan


Left side

02 Daruma left


Right side

03 Daruma right


Bottom

04 Daruma Bottom


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Exhibition at Minami Ashigara

October 20 until November 30, 2007.

南足柄市郷土資料館で「縁起物だるま展」 
全国38都府県の356体が大集合

達磨(だるま)大師の顔を赤くした「赤だるま」や髭(ひげ)を蓄えた「髭だるま」、豆絞りの手拭いを鉢巻きにする元気印のだるま、やさしい顔の「姫だるま」、だるまを抱く猫などユニークな形の“だるま”が、訪れる人たちを出迎えている。



© www.voiceblog.jp/shonan-radio/


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Kawagoe Museum of Art

Daruma Makers - Until November 4, 2007

だるま職人    
平成18年11月28日から平成19年11月4日まで

CLICK for original

© www.city.kawagoe.saitama.jp

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. 相州だるま  Sooshuu Daruma
相模だるま  Sagami Daruma



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KOKO LUMINE - exhibition of papermachee dolls from Rokuhara / Iwate
to help promote local craft
at ルミネエスト 新宿新宿駅中央東口横 - Shinjuku, Tokyo
2013年6月27日(木)から8月4日(日)

六原張子のお面や起上りも

- source : ameblo.jp/coshell

. Folk Toys from Iwate .

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ユニークだるま展 Exhibition of unique Daruma figures







starting January 1,  2016.
at サイボクハムの温泉「花鳥風月」
- source : 4travel.jp/travelogue -

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2010/02/07

Fude pen

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Pen 筆 Fude and Daruma

Fude Daruma 筆だるま
Daruma Fude だるま筆



Fude Daruma 筆だるま
Daruma with paintings of a pen on his belly



source : ichikawashop.com

This is a talisman doll for people to start making a career as calligraphers.



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Daruma Fude だるま筆 pen called "Daruma"

CLICK for more photos

The pens with a big belly for fat letters are DARUMA.


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Kokeshi wooden dolls in the form of a pen




More kokeshi on a pen






Photos from my friend Ishino  


. Kokeshi, Wooden Dolls こけし  


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Daruma with a pen for a beard
kanban for a pen shop
Daruma Museum




. Kanban, Shop Signs, 看板 with Daruma


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Kumano Fude Matsuri 筆まつり(ふでまつり)
brush festival

Hiroshima prefecture, Kumano Town 熊野町




Fude Kuyo 筆供養 "memorial service for brushes"

Kumano is the greatest producer of brushes in Japan, more than 80% are made here. On the yearly event more than 1000 used brushes from professional writers are burned in a memorial sercice at the shrine Kitano Tenjin sha.
There is a stone arrangement with the "brush burning flame of eternity" and a lot of brushes hang in the compound between the trees.
During the festival people use large brushes to write their favorite calligraphy and demonstrations are held.

. . . CLICK here for Photos !


This kind of service is also held at other temples and Tenmangu shrines of Japan.
道明寺天満宮筆まつり

. Reference

In Kumano they celebrate
haru no fude no hi 春の筆の日 Day of the Brush in spring
day of the spring equinox



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. Hiroshima Prefecture Festivals  

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ningyoofude, ningyoo fude 人形筆 pen dolls



from Airma onsen 有馬温泉 Arima hot spring

Arima is one of the oldest hot springs in Japan, even Hideyoshi used to come there.
The dolls also have a long history and are mentioned already in a travel book of 1682. There used to be five families producing them till the Taisho period, but now only one has remained.

The body of the pen is decorated with colorful silk thread in various patterns. Some of the patterns have auspicious meanings to ward off evil. Some patterns are suited as a present, for example for a wedding.



On the end of the bamboo shaft it a little doll, sometimes resembling a Daruma san, which pops out and seems to dance when using the pen for writing. When the pen is laid on the table, the doll disappears. This is a kind of "mechanical doll" (karakuri ningyoo).

. Folk Toys from Hyogo .



有馬には人形筆の初しぐれ  
Arima ni wa ningyoo fude no hatsu shigure

at Arima
there is the first sleet  
on the pen dolls 


Suzuki Isuzu 鈴木五鈴
source : karasuyama


Arima fude 有馬筆 pens from Arima
komochi fude 子持ち筆 pens with a child




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The Dying Trade of Yamato

The Hankeidou Workshop (攀桂堂, Hankeidō)
Shiga prefecture (滋賀県).

The Hankeidou workshop is renowned for manufacturing traditional Japanese brushes, known generally as unpei fude (雲平筆), a tradition started by Fujino Unpei (藤野雲平) some 400 years ago during the Genna Era (元和年間, 1615 – 1624).

source : beyond-calligraphy.com




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HAIKU and SENRYU


humanity kigo for the New Year

fude hajime 筆始(ふではじめ)first use of the brush
..... shihitsu 試筆(しひつ), shigoo 試毫(しごう)
shikan 試簡(しかん), shimen 試免(しめん)
shiei 試穎(しえい), shiko 試觚(しこ)
shishun 試春(ししゅん)"first calligraphy in spring"

hatsu suzuri 初硯(はつすずり)first use of the ink stone


. Calligraphy and Kigo  

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taking the brush
365 days
first calligraphy

Gabi Greve


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. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


露凍てて筆に汲み干す清水かな
tsuyu itete fude ni kumihosu shimizu kana / hitsu ni

The moss pure spring

beginning to melt,
I soak it dry with my brush:
the pure water spring

source : Tr. Barnhill

winter of 1687 貞亨4年. Oi no Kobumi 笈の小文
Written at a haikai meeting at Nagoya 名古屋昌圭亭.
Some sources link this to the pure water of a spring in Yoshino.


dew is freezing
and with my brush I soak up
this pure water . . .

Tr. Gabi Greve

This hokku has the cut marker KANA at the end of line 3.

Basho stepping out into the garden after a very cold winter night, trying to pick up some dew from the leaves and write a hokku with it.

This is written in memory of Saigyo:

とくとくと落つる岩間の苔清水
汲み干すほどもなき住まひかな

tokotoku to otsuru iwama no koke shimizu
kumihosu hodo mo naki sumai kana

Trickling down,
pure spring water falls
over the mossy rocks,
not enough to draw up
for this hermit life.

Tr. Barnhill


Another version is

凍て解けて筆に汲み干す清水哉
ite tokete hitsu ni kumihosu shimizu kana
. ite tokete fude ni kumihosu shimizu kana .


.  Basho and Saigyo 芭蕉と西行法師 .

. . . . .


大津絵の筆のはじめは何仏
Ootsu e no fude no hajime wa nani botoke

. the first brush stroke
for an Otsu-E painting -
which Buddha will it be ? .



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fude nagete tsuki ni mono iu bakari nari


I throw my brush away -
from now on I speak only
to the moon


. Koha (Kooha) 香波


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mannenhitsu 万年筆 fountain pen

from Old Imari pottery kilns



古伊万里風楼閣桜図 万年筆
黄緑彩兜唐草 万年筆
染付章魚唐草濃 万年筆

- Shared by Ken Ichihashi, facebook -

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fudeya 筆屋 brush maker


source : novelty3355.jugem.jp

wooden shop sign of a brush maker 木製筆屋の看板
From professional painters to official letter writers to bookkeepers to children at Terakoya schools . . . everyone needed a pen to write in the Edo period.
When a pen was made, the brush maker licked it in a final test of its finishing.
Therefore we have the following Senryu :

奥様は筆屋が唾をなめ給う
okusama wa fudeya no tsuba o nametamau

the housewife
licks the spittle
of the brush maker


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- quote
Edo Fude 江戸筆 Handmade Calligraphy Brushes

Traditional Technologies and Techniques
1- Hair for calligraphy brushes is chosen based on the intended brush type and the length of the brush tip. The craftsman relies on instincts developed over many years of brush making.
2- Removing defective strands of hair is part of the tip-formation process. The tip represents the most important part of a calligraphy brush. A metal comb is used to comb through the strands of hair and align them accordingly, and strands without proper tips as well as those that are incorrectly oriented are removed from the clump.
3- The tip is formed by arranging strands into clumps for the very end of the tip (inochige 命毛), the middle portion of the tip (nodoge 喉毛) and the base portion of the tip (koshige 腰毛). One brush's worth of hairs is then taken from each of these clumps to make a tip. Advanced skills are required to both ensure balanced spacing between the hairs and to also achieve an elegant brush-tip shape.
4- Nerimaze 練りまぜ is a process carried out to achieve an evenly distributed mix of differing strand lengths, and it makes a major contribution to determining the final quality of the brush tip.
5- Shintate 芯立て is the formation of the final brush-tip shape using a ring-shaped implement. The craftsman feels the tip by hand to check its firmness and resilience, etc. The volume of hair used in the brush tip may be adjusted accordingly in response to how the tip feels.

■ Traditionally Used Raw Materials
-- Brush Tip - goat hair, horse hair, pig hair, raccoon dog hair, weasel hair, cat hair, and other varieties.
穂―山羊毛・馬毛・豚毛・たぬき毛・いたち毛・猫毛ほか
-- Brush Handle - Bamboo, wood 軸―竹・木

History and Characteristics
Concerning the "calligraphy brush," one of the "Four Treasures of Study" within the Chinese classical canon, in the Nihon Shoki (The Chronicles of Japan) it is recorded that in March of the 18th year of the reign of the Empress Suiko (610); "the methods of making paper and ink were brought about" by the Buddhist priest Damjing. This reference indicates that Damjing was a pioneer figure with respect to the arrival in Japan of writing implements in the form of calligraphy brushes, ink and ink stones.

Since then, there have been numerous advances and improvements made in production technologies as calligraphy brushes (and the written word that accompanied them) became key implements in Japan's cultural and traditional development, with many different types of brush produced for different purposes.

Around the middle of the Edo Period, along with the rise to prominence of the commercial class, Edo witnessed a dramatic increase in the number of "temple schools". In that the general population also began to write, calligraphy brushes came to be widely used among the masses. Furthermore, a number of classic Edo Fude (handmade calligraphy brushes) were born around this time as production technologies employed by craftsmen developed even further. The dominant production method in Edo was called nerimazeho 練りまぜ法 (literally "the mixing method"), and its processes were established by Hosoi Kotaku (1658-1736) in the Genroku Era (1688-1704). This method of manufacture went on to spread quickly due to the new national education system that was promulgated in the fifth year of the Meiji Era (1872).

Due to the combined calamities of the Great Kanto Earthquake (1923) and the Pacific War (1941-1945) many calligraphy brush craftsmen left Tokyo. However, those who were left focused both on the production of high-end calligraphy brushes, and on working to keep the relevant technologies and techniques alive.

Goat hair, horse hair, pig hair, raccoon dog hair, weasel hair and cat hair are but some of the materials used to make the tips of calligraphy brushes. In many cases the hair of goats native to China is used, with the hair grown below the nape of the neck in the vicinity of the upper forequarters being considered the best quality and thus highly prized. When making a calligraphy brush, in forming the tip which is said to represent the most important part, a metal comb is used to comb through the hair strands and align them accordingly, with strands without proper tips as well as those that are incorrectly oriented being removed. Shaping is the process of forming the brush tip, and advanced skills are required to ensure balanced spacing between the hairs and to also achieve an elegant shape.
Nerimaze is the process of taking strands of different lengths and mixing them evenly. This process plays a major role in determining the final quality of the brush tip. Shintate is formation of the final shape of the tip using a ring-shaped implement. The craftsman feels the tip by hand to check its firmness and resilience, etc. The volume of hair used in the brush tip may be adjusted accordingly in response to how the tip feels.

Tokyo Stationary Industrial Association
- source : www.sangyo-rodo.metro.tokyo.jp - 32 -

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- quote -
Tokyo Teue Brush 東京手植ブラシ Handmade Brushes, "western brushes"
Traditional Technologies and Techniques
01 Processing of base wood:
The base wood is cut and planed down.
02 Marking:
A template is placed over the wooden base of the brush and the bristle insertion positions are marked out using ink.
03 Creation of bristle holes:
Bristle holes are made at the points marked in ink on the base wood.
04 Bristle cutting:
The bristles are cut to a specific length.
05 Bristle mixing:
Bristles are mixed by hand so that the (soft) tips and (hard) roots are aligned identically.
06 Sorting by hand:
Short bristles, bristles with irregular shapes and other problematic strands are removed.
07 Bristle insertion:
Predetermined clump quantities of bristles are picked out precisely and folded in two, and a metal wire is passed through and drawn along the center of the wood to pull the bristles firmly down into the bristle holes.
08 Cover attachment:
A thin, wooden cover piece is attached to hide the metal wires and make the product easier to use.
09 Base wood finishing:
① The size of the main body and attached cover are made uniform and the physical feel of the product when held is improved.
② Grooves are added to the side portions to make the product easier to hold.
10 Bristle trimming:
The bristle tips are trimmed to achieve a uniform, predetermined bristle length throughout.
11 Finishing:
The product's surfaces are painted uniformly.

Traditionally Used Raw Materials
- Bristles: 刈萱 Karukaya, Palm, Cedar, Tampico, fern, horse hair, pig hair, goat hair.
- Base wood: Katsura, Magnolia, Cherry, Japanese Beech, Bamboo

History and Characteristics
Brush production (of so-called "western brushes") commenced in Japan around the 7th year of the Meiji Era (1874). At the time, brushes made in France were used as product examples. In the 10th year of the Meiji Era (1877), the First National Industrial Exhibition was held at Ueno Park, with a display of western-style brushes being very well-received. Following on, craftsmen who had traditionally made Japanese brushes began to get involved in the manufacture of western brushes. Production started off with horse hair being used for bristles, oak being used for timber, and bristle holes being made using hand gimlets.

In Meiji 21 (1888), Japan's first brush manufacturing company was established by Matsumoto Jutaro (1844-1914), who was at the time a director of the Dai Hyakusanju Bank (the National 130th Bank). Due to numerous improvements, what resulted was a penetration of brushes into society in much the same way as can be witnessed today. The brush manufacturing industry developed focusing on Tokyo and Osaka. As new machinery was introduced to industries, it came to pass that there were a great variety of brushes used for industrial purposes in workplaces. Moreover, as Japanese home life became increasingly westernized, demand for household brushes increased. Accordingly, in locations such as Wakayama Prefecture, brush manufacturing companies introduced large-capacity machinery and mass production commenced. Later on, in factories in Osaka and Wakayama, even greater industrialization steps were taken. In Tokyo by contrast, a city that had started out with many businesses engaged in producing industrial-purpose brushes, highly-durable brushes whose bristles were hand-inserted were developed.

Because hand-inserted bristles in such brushes run together in that they are all pulled down by an internal metal wire called a "pulling string," they are more robust than bristles in machine-made brushes because with machine-made brushes bristles are directly inserted into each individual hole (and they are not secured by a "pulling string"). It is for this reason that Tokyo's brush manufacturers continue the traditional practice of inserting brush bristles by hand.

Tokyo Brush Manufacturing Association
- reference source : sangyo-rodo.metro.tokyo.jp - 38 -

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. shokunin - Edo craftsmen 江戸の職人 .

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2009/11/09

Exhibition Fukuyama

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Exhibition in Fukuyama
From July 3 till August 31, 2009

「福よこい!だるま大百科」展




広島県福山市 日本郷土玩具博物館
広島県福山市松永町4-16-27
2009年7月3日~8月31日


Daruma from all over Japan
for family security, good luck, good business and all other wishes in life.



福よこい!だるま大百科展






Children have a chance to try their hand at painting a Daruma from Mihara. Their teacher is Kubo san, the leader of the Mihara Daruma workshop, he is already 82 years old.
This daruma contains a little bell in the belly to make a sound when your wish comes true. It also has a little headband.

三原だるま工房の久保等工房長

source : blog.chugoku-np.co.jp


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Mihara Daruma / 三原だるま

My Visit to Fukuyama Bingo Shrine


Daruma Museum

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2009/07/31

Darumaru Gunma

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Darumaru from Gunma

Darumaru is the campaign character to lure tourists to Gunma prefecture.
だるまる




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He carries the symbol for hot springs on his belly.







Darumaruma だるまるま



. . . CLICK here for more Photos !



Darumaruma keyholder
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He also comes on Jomo Karuta (Joomoo Karuta)
上毛かるた




Takasaki and Gunma Daruma

Takasaki Town Mascot ... 高崎だるま "たか丸"
(his first version)
and Jomo Karuta (Joomoo Karuta)

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. Takasaki Daruma Dolls 高崎だるま  


Daruma Museum

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2009/07/07

Hamamatsu Market Kokuzo

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. Shizuoka Folk Art - 静岡県  .
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Hamamatsu Daruma Market 浜松だるま市

Kokuuzoo, Kokūzō and Daruma Market
浜松市の虚空蔵尊とだるま市


At the temple Kokuzo-Ji 虚空蔵寺 (Kokuuzooji)
宝的山蔵興寺


© PHOTO : guppy.cocolog-wbs.com/nikond300

CLICK for more photos



CLICK for original LINK
A big Daruma

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Kokuzo Bosatsu 虚空蔵菩薩 Kokūzō
Akashagarbha Bodhisattva


CLICK for more photos

Bodhisattva of Wisdom and Memory
Kokūzō is especially important to Japan’s Shingon sect of Esoteric Buddhism (Mikkyō 密教). Kokūzō symbolizes the "vast and boundless" Buddha wisdom that permeates the universe. Believers pray to Kokūzō to grant them wisdom on their quest toward enlightenment. In Japan, people also pray to Kokūzō to improve their memory, technical skills, and artistic talents.

Gumonjihō 求聞持法
Esoteric Rite to Improve One’s Memory
Morning Star Mantra, Kokūzō as the Morning Star

Five Great Kokūzō

Read more HERE
- Buddhist Deities - Mark Schumacher -



. Kokuuzoo Doo 虚空蔵堂 temple hall .
in Muramatsu, Ibaraki 村松

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Kokuuzoo Jinja 虚空蔵神社 shrine Kokuzo Jinja
Tono, Iwate

岩手県遠野市宮守町達曽部
Miyamoricho Tatsusobe, Tono

The date of its foundation is not clear. At the beginning of the steps leading up to the shrine is a stone memorial for mount Gassan 月山の石塔, near the torii gate are more monuments reminding of The Three Mountains of Dewa 出羽三山.
Maybe there was an influence of Tendai or Shingon Buddhism.

There is a saying in the Tendai scriptures, where the celestial elements of Sun, Moon and Stars are mentioned as the beginning and end of our life and wisdom.

生の始まりを知ろうと欲するなら日月星を知るべし。
生の終わりを知ろうと欲するなら日月星を仰ぐべし。

Fugen in this shrine is maybe seen as the deity of the star
Kinsei 金星 Venus

At the back of this shrine is mount Dogusoku Yama 胴具足山 (615 m).
Legends of the Abe clan 安倍一族 are many in this region. This clan also revered a shrine dedicated to the stars
星ノ宮神社 Hoshi no Miya Jinja .




source : dostoev.exblog.jp - 遠野の不思議


. Tono Jisha Meguri 遠野寺社巡り 
temples and shrines in Tono, Iwate .

and
Abe no Sadato 安倍貞任 (1019 – 1062)

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There is one more 虚空蔵神社 in Akita, Yuzawa Hot Spring
秋田県アキタケン湯沢市ユザワシ皆瀬ミナセ畑等字上中ノ台71

- Deities in residence
Shin-Oo no Mikoto 神王尊 シンノウノミコト
Kamurogi no Mikoto 神漏岐尊 カムロギノミコト
Kamuromi no Mikoto 神漏美尊 カムロミノミコト

- quote
Kamurogi, Kamuromi
Terms referring generically to male and female ancestral kami (sojin).
Examples can be found in the Shoku Nihongi, Engishiki, norito, Nakatominoyogoto, Hitachinokuni fudoki, Izumonokuni fudoki, Shoku Nihonkōki, and Kogoshūi. Commentators are agreed that the truncated kam means kami, while gi and mi refer, respectively, to male and female, but opinion is divided regarding the significance of the element ro.
Kamo no Mabuchi interpreted kamuro to mean divine king, with the result that he understood the terms as referring to emperor and empress. Motoori Norinaga added the concept of ancestral deity to Mabuchi's interpretation, claiming that the two referred to divine ancestral deities of the emperor and empress. In the most general sense, the deities can be understood as ancestral kami. When the two deities are mentioned individually, they refer respectively to male and female kami, and when mentioned jointly as a pair, they refer to ancestral kami as a whole.

Various suggestions have been made regarding to which specific kami these names might have originally referred. The Kogoshūi claims that the two refer to the kami of begetting, Takamimusuhi and Kamimusuhi, but Kamo no Mabuchi argues that the reference is broader, extending to all imperial ancestral kami. In contrast, Motoori understands the terms to refer to Takamimusuhi and Amaterasu. At present, the terms are believed to refer not to any specific kami, but to different beings in accordance with the context of the historical materials in which the terms are found.
- source : Endō Jun, Kokugakuin 2005

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Kokuzo is the last of these 13 deities:

. Jusanbutsu, Juusanbutsu 十三仏
13 Protector Buddhas
 
Annual Temple Visit for Children
(juusanmairi 十三参り)




. Nine Stars Crest ... 九曜紋 ... Kuyoo Mon  

4 Friday, Kokuuzoo Bosatsu
kinyoosei 金曜星(きんようせい、虚空蔵菩薩)(四緑木星)



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kigo for the New Year

. Hatsu Kokuuzoo 初虚空蔵 (はつこくうぞう)
First Kokuzo Ceremony
  

. . . CLICK here for Photos !


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Aka-beko, akabeko 赤べこ the red cow

Akabeko is a famous cow amulet in the Aizu region of Japan.
Aka means "red" and beko is Aizu dialect for "cow."

CLICK for more photos The akabeko papier-mache cow is a popular souvenir from Fukushima Prefecture. According to local folklore, in the year 807 A.D., cows were used to haul materials to construct Enzoji 圓蔵寺(えんぞうじ Enzooji) temple in Yanaizu 柳津. The priest Tokuichi Daishi had started the building in 807. Since it is located high above the river, many cows had to be used to haul the boulders up to the site.
(Other legends tell of priest Gyoki as its founder, in 726. Gyoki carved the statue of Kokuzo to pray for peace and prosperity in the land. The side statues of Daikokuten and Bishamonten are said to be made by Kukai.)

When the temple was completed, one particular red cow refused to leave the site. Legend has it that the cow even turned to stone after having given its soul to the Buddha. The townspeople, duly impressed with the cow's loyalty and no doubt its ability to turn itself to stone, made small effigies of the cow, painted them red, and gave them to children as toys. Years later, when a bout of smallpox swept the country, the children who had these akabeko toys didn't get smallpox.

Enjoji holds one of the three famous statues of Kokuzo Bosatsu.
福満虚空蔵尊 Fukuman Kokuzon
Said to have been carved by Kobo Daishi himself.
After he finished the statue, he trew some wood chips in the river Tadami as offerings. Whow and behold, they turned into the delicious dace fish, nurrishing the people.

. Cows and Legends  


. . . CLICK here for Photos !


Read more :
. Engimono, little things for good luck 縁起物  


The Kokuzo statue is one of the three famous statues in Japan.

Fukuman Kokuzoson at Enzoji in Yanaizu-machi, Fukushima Prefecture
霊巌山圓蔵寺(福満虚空蔵尊)


Yanaizu Fukuchiman Kokuzoson, Tsuyama-cho Yanaizu, Tome City, Miyagi Prefecture
柳津山宝性院(柳津福智満虚空蔵尊)


Shokoan Temple in Yanai City, Yamaguchi Prefecture

or

Hidakaji temple, Daiman Kokuzon
村松山日高寺(大満虚空蔵尊)Ibaragi prefecture


Kiyomizu temple, Noman Kokuzon
千光山清澄寺(能満虚空蔵尊)Chiba prefecture




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Kokuuzoo (Aakaashagarbha)
"Mutterschoß des leeren Raums".

Seine Weisheit und Tugend ist so grenzenlos wie der Weltraum. Verkörpert Einheit von Weisheit und Barmherzigkeit.
Entstand aus der Anbetung des Himmels.
Verkörpert die Theorie: Unendliches Glück und unendliche Weisheit sind in der Großen Leere das Gleiche.
In Japan seit dem 8. Jhd. bekannt. Erste Figuren in der Tempyoo-Zeit; als Paar mit Kannon Bosatsu beim Bau des Großen Buddhas im Tempel Toodaiji in Nara. Als Paar mit Jizoo Bosatsu ebenfalls in dieser Zeit häufig gefertigt. Dabei war Jizoo für die Hölle und Kokuuzoo für das Paradies zuständig.

KOKUU bedeutet "unübertroffen" und ZOO bedeutet "alle Schätze austeilen für die bedürftigen Menschen". Er verfügt über alle Schätze und sein Schatzhaus (zoo) ist das ganze All (kokuu). Im esoterischen Buddhismus auch als "Diamant-Schatzhaus" (Kongoozoo) oder "Diamant-Schatz" (Kongoohoo) bezeichnet.
Außerdem Spender besonderer Gedächtniskräfte. Bei dem Ritual zur Verbesserung der Gedächtniskräfte des eso~terischen Buddhismus "Gumonji-hoo" ist Kokuuzoo selbst der Hauptkultgegenstand. Die an ihn glaubenden Priester stellten bald viele Statuen und Bilder von ihm her. Dieses Ritual wurde von Kooboo Daishi besonders gepflegt.
(Im Japanischen heißt "auswendig" lernen: "aus dem Himmel lernen" (sora de oboeru).

Nummer 13 der 13 Buddhas der Totenrituale.
Seit der Edo-Zeit wurden Kinder beim 13. Geburtstag zu Tempeln des Kokuuzoo Bosatsu geführt (juusan mairi). Eigentlich sollte jedes Jahr einer der 13 Buddhas angebetet werden, dadurch verdienten die Tempel in der Edo-Zeit. Aber das wurde den Leuten in der Meiji-Zeit zu viel, so daß nur noch der zusammenfassende Tempelgang am 13. Geburtstag übrigblieb.
. Juusanbutsu 十三仏  


Ikonografie:
Recht unterschiedliche Formen. Manchmal mit weiblichen Zügen.
Hohe Krone mit fünf Weisheitsbuddhas. In der rechten Hand das Schwert der Lehre, in der linken eine Lotusblüte; manchmal auch eine Sutrarolle oder das wunscherfüllende Juwel.
Sitzende Statuen im halben Lotussitz (Nara-Zeit) oder mit einem Bein über den Sockel hängend (ab Heian-Zeit).

Besondere Statuen:

CLICK for more photos
Fünf Kokuuzoo Bosatsu (Godai Kokuuzoo Bosatsu)
Entsprechend den fünf Weisheitsbuddhas. 五大虚空蔵
Zur weiten Verbreitung von Tugenden und Hilfen in alle Himmels~richtungen. Vertreibung von Feinden und sichere Geburt.
Seit der Heian-Zeit besonders in der Shingon-Sekte verehrt.

Fünf Bosatsu-Statuen auf fünf Tieren sitzend oder auf einem Lotussockel.
Tiere: in der Mitte: Löwe, im Osten: Elefant, im Süden: Pferd, im Westen: Pfau und im Norden: Garuda-Vogel.
Donnerkeil mit einem oder drei Zacken an einer langen Stange in der linken Hand. Hohe Krone mit den fünf Weisheitsbuddhas.

Mitte: Weiß - Hokkai - Gedatsu - Chie Kokuuzoo
Osten: Gelb - Kongô - Fukutoku - Aikyoo - Fukuchi Kokuuzoo
Süden: Grün - Hôkô - Nôman - Kani Kokuuzoo
West: Rot - Renge - Segan - Nooman Kokuuzoo
Nord: Schwarz - Gôyû (Gôyô) - Muku - Fukutoku Kokuuzoo.


.Buddhastatuen ... Who is Who   

Ein Wegweiser zur Ikonografie
von japanischen Buddhastatuen

Gabi Greve, 1994

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Hamamatsu hariko 浜松張り子 papermachee dolls
Hamamatsu (lit. Pine Tree on the Beach") is a town in western Shizuoka.

They were quite popular since the early Meiji period and many humorous figures were included, like the monkey on a persimmon.
During WW II, most of the wooden forms were lost, but they were re-made soon to continue this special tradition of papermachee dolls.


Futabashi San Workshop 二橋さん



tora hariko 虎張り子 papermachee tiger



Hamamatsu hariko 浜松張り子 papermachee dolls
CLICK for more photos !

. Shizuoka Folk Art - 静岡県  .

#hamamatsudolls
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Daruma Ichi Markets to Sell Daruma / 達磨市

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[ . BACK to WORLDKIGO . TOP . ]
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2009/07/06

Daruma Odori

[ . BACK to DARUMA MUSEUM TOP . ]

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Daruma Odori だるま踊り Daruma Dance

There are quite a few Daruma Dance variations in Japan.

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ひょうきんだるま踊り  Hyookin Daruma dance
Kurata Hachimangu Tottori 倉田八幡宮大祭



On September 9, 2008.

It started with the sports event for children before WWII. Now 5 children dressed as Daruma dance in the compounds of the shrine and along the main street.

source : www.nnn.co.jp/news


source : blogs.yahoo.co.jp/coo - 林家楽

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だるま踊り再び! revival of the Daruma Dance

At Temple Jindai-Ji
Acitivities of a group around Daru Chan.



source : daruchan.com/

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盆踊り だるま踊りの 江戸時代

Bon Dance
Daruma Dancing in the
Edo Period



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DARU CHAN だるチャン !  


Yobanashi だるま夜話 だるまよばなし
and the Dancing Daruma


Daruma Museum

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