Showing posts with label - - - Business in Edo. Show all posts
Showing posts with label - - - Business in Edo. Show all posts

10/12/2015

terakoya private schools

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. - Doing Business in Edo - 商売 - Introduction .
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terakoya 寺子屋  "temple school", private school


source : facebook - meeting


. Teikin Oorai, Teikin ōrai 庭訓往来 textbooks in Edo .

From the 14th to the 19th century, the king of ōraimono was Teikin ōrai 庭訓往来. The title literally meant "Correspondence [samples] for education at home," but it was eventually used in temple schools (terakoya) as well. It contained 25 letters dated from the first month through the twelfth, artfully crafted to cover as much as possible of the topic and vocabulary pool from which your standard social letter might draw.


. gakumonjo 学問所 Academies of Higher Learning - Introduction .
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. CONFUCIANISM IN THE EDO (TOKUGAWA) PERIOD .

The Oyomei (Chinese: Wang Yang-ming) School:
... In sum scholarly Neo-Confucian studies were widespread and varied. A number of Confucian "academies" (like think tanks) were established, such as the Kaitokudo in Osaka. A so-called "merchant academy," it taught, subtly, that the merchants did have value to society as well and their contribution to the welfare of the realm was significant. Generally, only the samurai class would attend these academies, so this gave merchants a place to send their sons and instill pride in what their families did.
On the popular level, though, people learned about their place in society and the importance of loyalty and filial piety through travelling scholars and what was taught in the terakoya or temple schools.

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- quote -
Terakoya (temple schools) were public educational institutions that provided children with an education of reading and writing and in some places taught the use of the abacus. They existed not only in Edo but in also in other towns and villages throughout Japan.

Thousands of terakoya began receiving pupils throughout the country during the Tempō era (1830-1844). The number of terakoya at the end of the Tokugawa Shogunate seems to have reached some thirty or forty thousand and it was these institutions that contributed to the high levels of literacy among ordinary people.

An example from the beginning of the Meiji period, according to a survey conducted by the Tokyo government, the majority of terayako teachers were Edo citizens. Many were men, but in urban areas, especially in Edo, there were also female teachers. The teachers would consider the professions of the parents of the children who came to learn at terakoya and also their desires and would carry out education respectively with individual curriculums tailored to these needs and circumstances.



Osanarikugei No Uchi Shosū / Painted by Utagawa Kunisada

From the Six Neccesary Subjects for Children, Calligraphy and Abaccus
(Osanarikugei No Uchi Shosū) - rikugei


From the term "rikugei", which means the six kinds of knowledge a wise man has, "osanarikugei" denotes the six subjects necessary for children to learn. "Sho" means calligraphy and "sū" means the Japanese abacus. Children learning "sho" and "sū" are depicted.

Rikugei was knowledge required in ancient China for people who held a rank higher than samurai. It means six kinds of knowledge including "Rei" (moral education), "Raku" (music), "Sha" (archery), "Gyo" (technique to operate horse cart), "Sho" (literature) and "Sū" (math).
Take a look the abacus in the picture. You can see two columns in the upper space (heaven) and five in the lower space (earth). The number of columns is one more than the current abacus in both the upper and lower spaces. This is the exact form of the kind of abacus that originated from China and in the Meiji period, abaci with one heaven column removed, leaving five columns of one heaven and five earth columns, became widespread. Then in 1935 (Shōwa 10), the present abacus with one column in the upper and four columns in the lower spaces appeared




(Bungaku Bandai no Takara (Shinomaki, Suenomaki)
These works are a two piece nishiki-e (colored woodblock print) series depicting a class at terakoya (temple school). A male teacher teaches the class at "Shinomaki" (first volume) and a female teacher at "Suenomaki" (end volume). You can see that most of the children behave freely.

At terakoya (temple school) in the Edo period, not all students sat facing the teacher, the textbooks used and the ages of children varied and attending the class or not was optional.
Most children in the picture are not studying quietly. There are indeed many kinds of going on with some children fooling around with ink brushes and others punching each other or playing with dolls. Also from books behind the female teacher in "sue-no-maki" (end volume), we can see that flower arrangement, tea ceremony and incense burning were taught in addition to reading and writing.
This being said, the teachers at terakoya teachers strictly instructed morals, manners, and rules of decorum and there was a fixed set of rules in the class with punishments for excessive misbehavior whereby children were made to stand still or sit erect with legs folded.


- - - - - Textbooks - - - - -
(1) Teikinourai Terakodakara
(2) Jinkoki Kukunomizu
(3) Onotakamura Utajizukushi" / 1819 (Bunsei 2)


At Terakoya, the education method greatly differed from the present and children generally learned how to read and write. Different textbooks were used for children of farmers and for children of merchants so that each could obtain the respective knowledge neccesary for farming or trading. The general name for the textbook used in terakoya was "ōraimono". The objective of these studies was to learn how to write a letter to someone, and the textbook was called "ōraimono", which means to learn texts that go back and forth.

Teikin-ōrai was one of "Ōraibutsu" textbooks often used to learn basic culture and calligraphy at terakoya (temple school). When it was first developed in the Muromachi period, it was used to educate children of aristocrats, samurai, and monks but it was said to have been most popular in the Edo period as a textbook for common people.
In addition, "Onotakamura Utajizukushi", which was developed in early Edo period to learn Kanji, was so popular that multiple editions were published throughout the Edo period. The textbook contained kanji characters with the same "radical" and "tsukuri" such as 椿, 榎, 楸, 柊, 桐, etc. and also contained was a song to learn and remember them by (haru tsubaki, natsu ha enoki ni aki hisagi, fuyu ha hiiragi onajiku hakiri).
Jinkōki" was famous as an introductory book for math. This was written by a mathematician

- source : library.metro.tokyo.jp -

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- quote -
A Day at a Terakoya School
How were children taught?
The terakoya, or "temple schools" that became common in the Edo period, were organized much like the private, after-school cramming classes found today. Rather than follow the same curriculum as others in their grade, however, the students progressed at their own pace.

The subjects they were taught were primarily reading, writing, and calculation using the abacus. They copied what the instructor wrote down, and practiced writing the same phrase over and over until they were able to approximate the teacher's handwriting. Most of the texts they read were Chinese and Japanese classics, which were repeatedly read aloud until they were practically memorized.

High rate of literacy
The terakoya were found throughout Edo (now Tokyo). According to one Edo-period source, some neighborhoods even had two schools, suggesting a high literacy rate of the townspeople. Enrollment in these schools was about 70% to 80%, much higher than the enrollment ratios found in Europe at the time.

Curriculum
There was no fixed curriculum for each grade and subject, as is the case today. Each school operator adapted the subject matter to the aptitude and progress of each child. Instruction followed a general course order, however, with children first learning the syllabary and then common kanji (Sino-Japanese characters) before studying more complex kanji and phrases. Many different textbooks were used, depending on the children's family background.

A typical day
In addition to academic subjects, children were also given lessons in some art, such as traditional dance and music. In the Ukiyo-buro (The Communal Bath), a late Edo-period novel by Shikitei Sanba depicting the life of townspeople and their children, a girl who is about to enter the bath describes a typical day to a friend: "After I get up, I go to the terakoya to prepare for the calligraphy lesson. Then I have a shamisen (a banjo-like three-stringed instrument) lesson before I come home for breakfast. I go to the terakoya again after my dance lesson, and it's already 3 o'clock by this time. I go to the bath and then go to my koto (zither) lesson. I come home to practice the shamisen and dance parts I learned that day. I play for a while, and after the sun sets I practice the koto."

While not all children may have been this busy, many foreign visitors to Japan toward the end of the Edo period expressed surprised in their diaries and journals at the high number of children who were able to read and write.
- source : web-japan.org/tokyo/know - Hidekazu Ishiyama -

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- reference -

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- - - - - H A I K U and S E N R Y U - - - - -

鶯や寺子屋に行く道の藪
uguisu ya terakoya ni iku michi no yabu

this bush warbler -
the thicket along the road
to the temple school


Masaoka Shiki 正岡子規


. Nightingale, bush warbler (uguisu 鴬) .

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寺子屋に傘多し春の泥 妻木
松瀬青々

寺子屋のてら子去にけり秋の暮
黒柳召波 春泥句集

寺子屋の七夕風景随筆に
高澤良一 寒暑

寺子屋の段も佳境に春夕焼
木村てる代

寺子屋の門うつ子あり朝寒み
太祇

糸瓜忌や寺子屋風に集まりて
深見けん二 日月

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Edo no Manabi 「江戸の学び」Schooling in Edo
「江戸東京博物館」 Edo Tokyo Museum



Hiroshige - 歌川広重の「諸芸稽古図会」Hiroshige’s Caricature:

- source : www.1101.com/edo/2006-


Mischievous Boys at a Terakoya
Hiroshige


. . . CLICK here for more ukiyo-e of Edo Terakoya !

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- - - - - quoting Hayato:
A short composition by one of Lafcadio Hearn's students in Kumamoto (From Out of the East):
"Before Meiji, there were no such public schools in Japan as there are now. But, in every province there was a sort of student society, composed of the sons of samurai. Unless a man was a samurai, his son could not enter such a society. It was under the control of the lord of the province, who appointed a director to rule the students. The principal study of the samurai was that of the Chinese language and literature.
Most of the statesmen of the present government were once students in such samurai schools. Common citizens and country people had to send their sons and daughters to primary schools called terakoya, where all the teaching was usually done by one teacher. It consisted of little more than reading, writing, calculating, and some moral instruction.
We could learn to write an ordinary letter, or a very easy essay. At eight years old, I was sent to a terakoya, as I was not the son of a samurai. At first, I did not want to go; and every morning my grandfather had to strike me with his stick to make me go. The discipline at the school was very severe. If a boy did not obey, he was beaten with a bamboo stick, while being held down to receive his punishment. After a year, many public schools were opened and I entered a public school.
- source : Hayato Tokugawa -





化々学校 - おばけの学校 School for Monsters and Demons
河鍋暁斎 Kawanabe Kyosai (1831 - 89)

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. Join the Ukiyo-E friends on facebook ! .




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- quote -
Temple Schools
The late 18th century Ehon sakaegusa (Fig.3), an illustrated book by the artist Katsukawa Shunko, shows us what contemporary temple schools (known as terakoya) looked like.
(illustration)
On left-hand side of the picture, we see two children sitting at the desk holding a brush and practicing writing. In Edo times, “learning to write” (tenarai) consisted of repeatedly copying words and sentences from a copybook. To save paper, every inch of the sheet has been used so that the sheet is completely covered in black ink. On the right-hand side, there is a female teacher holding a baby on her back and two little girls sitting in front of her with an open book in front of them. They point at the characters on the page with a stick. The girls are actually learning to recite Chinese texts in Chinese by mimicking the teacher’s pronunciation. The stick they are holding was called a jisashi (character pointer), and was used to trace the lines of the characters as one read them. In learning to both read and write, “repetition” was the key pedagogic device, and texts were an indispensable tool in both cases.

Temple schools were the simplest way for commoners to acquire the basic skills needed in everyday life (literacy, arithmetic, etc.). Over the course of the Edo period, thousands of books for use as textbooks in temple schools were published.

One example is the Ehon teikin ōrai (Fig.4). Because the illustrations are by the famous painter and printmaker Katsushika Hokusai (1760-1849), they are larger than usual. One of them shows students at work at a temple school.

Onna daigaku (Fig.5), a popular behavior manual for women, contains an image of young girls learning to read Chinese texts from a female instructor.Images of commoners learning from books are indeed common in Edo-period educational books.

Despite some obvious changes, attitudes to education remained rather consistent after the end of the Tokugawa shogunate and the beginning of the Meiji period.
With the influx of ideas and institutions from the West following the Restoration, Japan rapidly reorganized itself as a modern nation state. As the title shows, Doi Kōka (1847-1918)’s Kinsei onna daigaku (Fig.6) was conceived as a “Great Learning for Women” for the modern age. ...
- source : future learn - Keio University -


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. Japanese Legends - 伝説 民話 昔話 – ABC-List .


........................................................................................................ Hyogo 兵庫県
神戸市 Kobe city

furudanuki 古狸 an old badger
Around 1868, at the terakoya 寺子屋 temple school from 常源寺 Temple Jogen-Ji there appeared furudanuki 古狸 an old tanuki badger.
Some brave boys drove it out with a stick but
there was now always a voice of someone reciting homework coming from under the floor.
. tanuki 狸と伝説 Tanuki badger legends .




........................................................................................................ Iwate 岩手県
奥州市 Oshu City

. hebi 蛇と伝説 Legends about snakes and serpents .
In the year 1877, there was a family working as teachers of a terakoya 寺子屋 temple school. Every night they saw the shadow of a young boy on the shooji 障子 paper sliding doors. It was hebi 蛇 a serpent that had come to tempt the woman of the family.



........................................................................................................ Miyagi 宮城県
蔵王町 Zao town

. furugeta no urami 古下駄の怨 the grudge of the old Geta .




........................................................................................................ Niigata 新潟県
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新潟市 Niigata city 江南区 Konan ward

. kitsune densetsu 狐と伝説 fox legends .
There lived a fox under the floor beams, who often looked very hungry, always came when the children from the terakoya 寺子屋 temple school were eating lunch.
One boy gave only a few bites to the fox, but it became bewitched by the fox.
The parents of the boy went to apologize to the fox and the boy came back to be normal.




........................................................................................................ Saga 佐賀県
佐賀市 Saga city

. Kappa Water Goblin Legends from Saga .
Once a girl of about 11 or 12 years of a rich merchant family came home from the terakoya 寺子屋 temple school when she met the child from next-door.
He invited the girl to play near the temple 観成院 Kanjo-In at the river.
The girl went home to tell her parents, who prayed to the Kami and smeared black ashes from the hearth fire on her face.
The neighbourhood child looked astonished and afraid at the black color and run away.
Now they knew this had been a Kappa in disguise.


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- reference : Nichibun Yokai Database -

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. gakumonjo 学問所 Academies of Higher Learning - Introduction .

. Famous Places and Powerspots of Edo 江戸の名所 .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .

. densetsu 伝説 Japanese Legends - Introduction .


[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #terakoya #gakkoo #gakkoshool #school - - - -
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10/05/2015

daiku carpenter

[ . BACK to DARUMA MUSEUM TOP . ]
. shokunin  職人 craftsman, craftsmen, artisan, Handwerker .
. Places and Powerspots of Edo .
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daiku 大工 carpenter and legends

. daiku - Introducing Japanese Carpenters .


CLICK for more photos !
江戸時代大工上棟之図 Edo Carpenters building a roof

tooryoo 棟梁 Toryo, master carpenter
He is a most important person when building a new wooden home, temple or shrine.
They also had the job of an architect in planning and organizing the whole construction.

miyadaiku 宮大工 "shrine carpenter"
specializing in building shrines and palaces

. Hida no takumi 飛騨の匠 master builders from Hida, Gifu .
an expert carpenter or craftsman from Hida
Hida no daiku 飛騨の大工 carpenter from Hida, architect from Hida

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There was a special district in Edo where most of the carpenters lived :

Kanda daikuchoo 神田 大工町 carpenter district in Kanda
tate daikuchoo 竪大工町 (now in Uchi Kanda 内神田三丁目14番 )
yoko daikuchoo 横大工町 / minami daikuchoo 南大工町

This district was founded around 1640 in the Kanei period 寛永 and is mentioned in the
"Edo Map of Kanei 寛永江戸図".
Many carpenters who lived here worked directly for the Bakufu government for the official buildings of Edo.


source : 無涯塾日記

One famous (but fictional) character is the carpenter 吉五郎 Kichigoro in the story
三方一両損 sanbo ichiryo zon, where the famous magistrate 大岡越前守忠相 Oka Echizen is holding court.

The shop of a craftsman making the matoi 纏 standards , a pole with the fire fighters brigade mark, is also located here.
纏屋治郎右衛門 Matoiya Jiroemon

. shokuninmachi 職人町 district with craftsmen in Edo .

Now the 龍谷大学 Ryukoku University is located in this district.

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Another district where carpenters lived was



Umibedaikuchmachi 海辺大工町 Umibe Daikumachi carpenter district on the coast
Umibe Daikucho, Umibe Daiku-Cho , Umibe Daiku-machi
along the river 小名木川 Onagigawa.


Umibe is a district in 江東区 Koto Ward, next to Fukagawa.

River Onagigawa joins the Sumidagawa with the bridge 高橋 Takahashi as main access. Another bridge was 万年橋 Mannenbashi and then
the Shin-Takahashi 新高橋 New Takahashi Bridge. The bridge Takahashi (High Bridge) was build much higher than other bridges to avoid being swept away by flooding of the rivers.

After reclaiming the land the settlement along the river Onagigawa became w river port and was named Umibe Daikumachi in 1713.



Many carpenters skilled in building ships and boats came to live here, hence the name.
funadaiku 船大工 shipbuilder carpenter



The bottom of a wooden boat was often burned to make it more resistant to rotting.


source : adachi-hanga.com/ukiyo-e
歌川国芳 Utagawa Kuniyoshi
Detail from 東都三ツ股の図 Toto Mitsumata no Zu
View of Mitsumata in the Eastern Capital




. River Onagigawa 小名木川 .
and The Gyotoku Salt Fields 行徳塩田 Gyotoku enden

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- - - - - . Bashō-An 芭蕉庵 Basho-An in Fukagawa 深川 .
- Matsuo Basho 松尾芭蕉 - Haiku Poet


source : homepage3.nifty.com/onihei-zue
Basho-An was near the Mannenbashi 万年橋 "Ten Thousand Year Bridge".

萬年橋 Mannenbashi bridge - Hiroshige


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source : 刃物 フルカワ
職人絵図 江戸時代 大工 (釿・ノミ・鋸・下げ振りなどが見える)


Craftsmen going out to work were called dejoku, deshoku 出職.
They went to the home of a client to work. The three most important deshoku for construction works 普請三職 were
大工 carpenter, shakan 左官 wall plasterer and tobi 鳶 construction workers.

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The carpenters left home early in the morning to make use of the daylight. Work usually started around 7:00 in the morning
They carried a box with their tools, an important status symbol of each carpenter.
He always kept the box at home over night. If a fire broke out in the neighbourhood he could throw his tool box into the drainage canal before the house (どぶ). So even if he lost his home and place to sleep, he still had his tools and could start all anew the next day.


source and more : たそがれ日記

doogubako 道具箱 Dogubako, tool box of a carpenter

At 10:00 there was a short break of about 30 minutes.
13:00 was time for a one-hour lunch break.
At 14:00, another short break of about 30 minutes. Including a smoke and a snack.
At 17:00 work was over and the carpenter could go home. On the way he might go to a bath house and be home at 19:00 for dinner.
Bedtime was early, at 20:00.
(There was no electric light in Edo . . . nights were dark, dark, dark.)
If he had to start earlier or work overtime to get a job done, he was payed extra money.

Because of bad weather he usually could not work for about 60 days in a year, leaving him without income for 2 months. His wife had to make ends meet.
He still had enough pocket money to have a drink of Sake at night and get some sweets for the children.

There was a humorous saying in Edo:

大工殺すにゃ刃物はいらぬ、雨の十日も降ればよい.
To kill a carpenter you do not need a sharp blade.
Just let it rain for 10 days.


Before doing some work the craftsman had to haggle about the price for a bit of work with his client, temadori 手間取.

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Kiba 木場


CLICK for more photos !

- quote -
Kiba - Lumberyards and Carpenters
Eitai-bashi (Eitai bridge) is the longest bridge in Edo, and one of the largest in the country. Though not nearly as famous as nearby Nihonbashi, it is probably a more important bridge for the citizens of Edo. The huge, semicircular arch is one of just three bridges spanning the lower reaches of the Sumida river, and linking central Edo with the residential and manufacturing districts on the eastern shore of the river. Although both Nihonbashi and Ryogoku-bashi are more well known, Eitai-bashi is nevertheless an important transportation link from central Edo to the busy lumberyards of Kiba.

Kiba is a low-lying district on the very edge of Edo bay, on the east bank of the Sumida river. It is a very blue-collar neighborhood, and most of the residents live in nagaya (row houses). Many of the people who live here are day laborers and construction workers, who toil in the vast lumberyards that give this district its name.

The word "kiba" literally means "place for wood". The area gets its name because it is the neighborhood designated by the Shogun for all lumber yards. Although many construction companies have offices in the central part of the city, they are prohibited from keeping a large stockpile of wood anywhere near the city center. Instead, they have to keep almost all of their wood stored in Kiba. This is a precaution taken to help prevent serious fires.

When Edo was first built, the main kiba, or lumber yards, were located on the west bank of the Sumida river, in places like Tsukiji and Hamacho. This was the most convenient location, since the wood could be transported there easily by river, and most of the construction work being done in the city was in the downtown areas around Nihonbashi, Kyobashi and Kanda. As the city began to spread out, construction companies set up smaller lumber yards in each part of the city. However, as the people of Edo discovered, this was an invitation to disaster. Fire has always been a serious problem for citizens of Edo. Nearly every building in the city is made of wood, and the houses are packed tightly together, especially in the shitamachi (downtown) areas of the city. If a fire gets started, it usually spreads very fast, and it may destroy many, many buildings before anyone can put it out.

In the crowded, narrow streets of the city, it is often hard to escape from a fire, and many people die every year from even small fires. There is even an old saying among city residents, that "fires and fistfights are the flowers of Edo". Both types of altercations flare up very easily in the crowded downtown neighborhoods. However, when they were planning and building their city, the early Shoguns never imagined that fires could cause as much damage as the Great Meireki Fire did in 1657.

The Great Meireki Fire was the worst catastrophe ever to strike the city, and even today, more than a century later, the city still bears scars from the disaster. Almost half a million people died in the flames, and over half of the city was burned to the ground. After the catastrophe was over, Tokugawa Tsunayoshi, the fifth Shogun, passed a series of laws and made several changes to the design of the city to help make sure that future fires could not spread so quickly or cause as much damage. One reason why the flames to spread rapidly was that there were many large lumber yards located in the downtown area. Once a big lumber yard catches fire, it is just about impossible to put out, and the flames jump so high that the firemen cannot stop them from spreading to other buildings nearby.

After the Great Meireki Fire, all carpenters and builders were ordered to move their lumber yards to the other side of the river, away from the heavily populated downtown area. The new neighborhood was given the name "Kiba". A number of other changes were made as well, such as widening the roads to create firebreaks, and organising local fire brigades. The job of a fireman is usually held by low-ranking samurai. It is a very dangerous and demanding job, but the firemen of Edo are highly respected, and many local communities look to current or former members of the fire brigade to become their local leaders and peace officers.



Kiba is a very low, swampy area that sometimes gets flooded at extremely high tides and during storms. Although this makes it a rather uncomfortable place to live, it is an ideal place for lumber yards. First of all, it was easy to build a vast network of canals in the area where the lumber yards were located. These canals have a dual purpose -- their main function is as transportation routes, to make it easier to bring wood to and from the lumber yards. In addition, the canals prevent fires from spreading from lumber yard to lumber yard. Although the high tides and floods can sometimes cause damage to the wood (especially if the wood remains under water for too long), it also has a positive effect. Termites cannot build their nests in swampy ground, and the occasional floods destroy any termite nests that have been established in the woodpiles, so the lumber yards of Kiba are almost immune to termite damage.



Wood is brought to Kiba from mountain forests far to the north and west of the city. Lumberjacks working in the forests cut down the tall, straight and hard-wooded trees such as sugi (cedar) and hinoki (cypress). These are the best types of wood for building houses, since the wood is straight, strong and very resistant to water. The logs are then cut into large, semifinished beams, which are tied together like a raft and transported downriver to Edo.

When the huge wooden beams reach Kiba, they are sold to individual lumber merchants or construction companies. The lumber merchants take the huge beams to their own lumber yard where carpenters saw them up into smaller boards and beams, storing them in the lumber yards until they are ready to use.

Most of the lumber merchants have close ties to the construction guilds in downtown Edo. Builders are among the more respected of craftsmen, and master builders can become very wealthy. However, for every master architect and builder, there are usually many lesser craftsmen, apprentices and day laborers who do the dirty work, like carrying heavy beams or bundles of shingles to and from a building site, or tearing down old buildings that are being replaced. The more skilled carpenters tend to live in middle-class areas in Nihonbashi, Kyobashi or Asakusa, while many lower-level workers live in the blue-collar districts near Kiba, where they queue up each day looking for temporary jobs on a construction site.
- source : edomatsu -


. Construction work - Introduction .
Organizing all the artisans to build a home in Edo !


. Kawase Hasui 川瀬巴水 (1883 - 1957) .


Kiba no Yugure 木場の夕暮れ Timber Yard, Evening


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. carpenter tools with Daruma .



koshibukuro だるまの腰袋 waist bag
kugibukuro 釘袋 nail bag


. kugi 釘 nail, Nagel - Introduction .

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Daiku Rokusa 大工六三 Rokusa the Carpenter
?Daiku Rokuzo, Daiku Rokuzō



Utagawa Kunisada
A portrait of Ichikawa Ichizo III as Rokusaburo the carpenter,
made for the forthcoming performances of Komamukae Tanomino Tsukkomi (a version of Mijikayo ukina no chirashigaki) at the Morita theatre in 1858.
- source : fitzmuseum.cam.ac.uk/gallery -

- quote -
OSONO ROKUSA
Sanzesô Nishiki Bunshô / Oku Dôsha Musume Sugegasa

The courtesan Osono, who belongs to the Fukushimaya house in Fukagawa, is ailing because of over-anxiety concerning her lover Komurasaki Rokusaburô (commonly called Rokusa). He has been dismissed from service as samurai because he lost a family treasure, a valuable poem card (shikishi) that had been entrusted to his keeping. .....
Osono's brother Chôan, a doctor who is more a charlatan than a skilled doctor, knows that Rokusa is a hopeless rônin. ...
... Osono, who is readying herself for departure, is met by Rokusa who has come back to kill her. Osono gives him a letter she had written to explain everything. Rokusa understands the circumstances and they go off together.
Trivia
The story of Osono and Rokusa is based on two real events which happened in Ôsaka in 1749: the 18th day of the 3rd lunar month of the 2nd year of the Kan'en era , the courtesan Osono (from the Minami pleasure district) and the carpenter Rokusa committed a double suicide. The same day, a courtesan from the Kita Shinchi pleasures district, who had killed her elder brother and was sentenced to death, was executed. The story of Osono and Rokusa is a fusion of these two real events.
In Sakurada Jisuke III's version, the actions and characters are shifted to Edo.
- source : kabuki21.com -


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. Legends and Tales from Japan 伝説 - Introduction .

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ishidooro 石燈篭 Ishidoro, stone lantern

元禄年中に寺を普請した棟梁が奉納した燈篭を江戸へ運ぼうとしたら、夜関係者が発熱し狂気のように皆燈篭のことを口走った。ゆえに江戸へは運ばず寺に返した。精霊が宿っているのだろう。

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kitsune 狐 fox

王子村稲荷は関八州の稲荷明神の棟梁で、毎年12月晦日に関八州の狐が社前に集まり火を灯す。その燃え方を見て周辺の人は作柄を占う。


................................................................................. Ehime 愛媛県
Joohen 城辺町 Johen

Wakamiya Jinja no ki 若宮神社の木
若宮神社には300年以上経った並木があったが、3年前に集会場を建てるので切り倒してしまった。その木を斬った棟梁は間もなく入院して亡くなり、他の樵も皆亡くなってしまった。

.......................................................................
大洲市 Ozu

yamaneko, yamainu 山猫,山犬
銃の名手左衛門が、山猫の住む「入らずの森」を開拓した。山猫は手出しができずにいたが、ある日娘が一夜の宿を求めて来て、左衛門は共に暮らした。ある日山犬に襲われた飛脚が「山猫の棟梁が左衛門のところに行っていなければ」と言うのを聞く。それが左衛門の耳にも入り、ついには正体を現した古猫をしとめる。


................................................................................. Hiroshima 広島県

funadamasama 船魂様 Funadama Sama
船魂様は女の神様で、女がひとりで乗船することを嫌う。ひとりで乗るときにはデコ(人形)を持って乗るとよいと言われている。船霊様として帆柱の下に収められるのはサイコロ2個と一文銭12枚、女のデコを1個である。サイコロは大工の棟梁が柳の木から新しく作ったもので、2と2の目が向かい合うように並べる。



................................................................................. Ishikawa 石川県
河内町 Kawachi

tengu 天狗
棟上げの時、天狗除けや魔除けのために、棟梁が屋根の上に六角の糸巻きの枠を立て、それに鯖をつるす。その後、鯖は川に流してしまうという。



................................................................................. Kagoshima 鹿児島県
大島郡 Oshima district

fuiguchi フイグチ
部落に住む大工の棟梁同士が喧嘩した際、ひとりの棟梁がフイグチをする性格であった。もうひとりの棟梁はそれを見抜いていてモドシグチを行った。するとクチを入れた棟梁は眠ったまま死んでしまった。


................................................................................. Kyoto 京都府
亀岡市 Kameoka

shironamazu 白鯰 White Namazu catfish
亀山城の別棟が少し歪んでいたので、棟梁が責任を取って堀に身を投げた。棟梁は白鯰となり、堀の主となった。水の浅くなった月の夜半、白鯰が頭を水面に出して城を見つめるという。


................................................................................. Miyagi 宮城県
栗駒町 Kurikoma

nyuudoo boozu 入道坊主 Nyudo Bozu
棟梁が着工式に呼ばれ、お祝いの魚を藁づとに包んで帰る途中、人気のない道で火にあたる八尺ばかりの入道坊主に会った。持っていた手斧をふりまわしながら通り過ぎたが、いつのまにか入道坊主は消えた。ムジナの仕業だという。


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柴田町 Shibata

amida no kakejiku 阿弥陀の掛軸
山の上集落の近江家は、旅の僧をもてなして阿弥陀様の書かれた掛軸をもらった。あるとき、近江家に普請に入った大工の頭領が、掛軸を盗んで逃げた。家を出た途端大雨が降り出し、狐狸が邪魔をした。雷が鳴り、橋が流れそうになる。命からがら家に帰ったが、掛軸はピカピカと光っていた。翌朝、棟梁はポックリ死んでしまった。掛軸は古道具屋に売り払われたが、今度は大きなネズミが出て道具屋が眠れない。祈祷師に拝んでもらうと元の家に返せという。こうして掛軸は返ってきた。



................................................................................. Osaka 大阪府

kaeruishi, kaeru ishi かえる石
大阪城のかえる石付近に行くと休みたくなる。その石に腰をかけたものは恍惚とし、そのうち屋形が浮かび出て女中が手招く。それで投身するものが絶えないという。淀君の怨霊、人柱に立った大工の棟梁とその女房の伝説、城普請の棟梁のだまし討ちなどの説がある。

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- reference -

- source : nichibun yokai database -
大工 101 legends to explore (00) /// 棟梁


絵巻に描かれた(鎌倉時代の)普請場の様子
- source : unko-mitsuhashi.blog -

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. WKD : daiku 大工 carpenter .

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. Japanese Architecture - Interior Design - The Japanese Home .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .

. Legends and Tales from Japan 伝説 - Introduction .


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9/14/2015

tori-oi chasing away birds ritual

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. - Doing Business in Edo - 商売 - Introduction .
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torioi, tori-oi, tori oi 鳥追 "chasing away the birds" ritual

tori oi uta 鳥追唄(とりおいうた)鳥追歌 song to chase away the birds,
bird dispersing songs, a kind of magic incantation


A ceremony held on the "Small New Year", now January 14 or 15.

A troupe of kado geinin 門芸人 "artists by the entrance" walked from house to house, performed their ritual songs with Shamisen and got some money in return.
They were active from the first day till the 15th day of the lunar New Year.



torioi (bird chasing),
a ceremony to pray for a rich harvest, which takes place on January 14. In the ceremony, children eat rice cakes in special torioi huts made of snow and then parade through the city beating wooden clappers while singing traditional songs in order to chase away birds that might damage crops.
City of Tokamachi, Niigata Prefecture
© web-japan.org/

..... tori oi (tori-oi) 鳥追 "Chasing away the birds".
..... hut, tori-oi goya 鳥追小屋(とりおいごや)
..... tower, tori-oi yagura 鳥追櫓(とりおいやぐら)
..... song, tori-oi uta 鳥追唄(とりおいうた)

tori-oi asobi 鳥追遊び enjoying the Torioi rituals

tori-oi boo 鳥追棒 stick to drive off birds


. WKD - Songs for all seasons .

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torioidayuu, tori-oi dayuu 鳥追大夫 (とりおいだゆう)
bird chasing song performer

..... tataki たたき
tataki no Yojiroo 敲の与次郎(たたきのよじろう)

torioi 鳥追い(とりおい) is an observance performed on January 14 or 15 in the villages. To get the birds (and other unwanted animals) out of the fields.

The torioi performers went from village to villate. They wear a straw sack on the back. They get some money for their performance, also some food like mochi. They were not allowed to wear robes of silk, only simple cotton. They had large straw hats to protect them from the rain.

They had special songs, for example
鶴は千年、亀は万年

"The crane lives thousand years,
the tortoise lives ten thousand years,
when they come together,
we all live long prosperous lives."


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Torioi Kannon 鳥追観音



The Torioi Kannon statue was made by priest Gyoki with the wish to show people an east pass-over to the paradise of Amida.

at the temple
. Myoohooji 妙法寺 Myoho-Ji . Fukushima, Aizu
The temple was founded by priest Tokuitsu in 807.

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Tori-oi in the Kazusa region 上総地方, Chiba 千葉県

. hoojari ほうじゃり Hojari amulets .



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torioibune, torioi-bune 鳥追舟 the Torioi Bird Chasing Boat
a Noh play from the Muromachi period





Tsukioka Kogyo




- reference - torioibune -

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CLICK for more photos !

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人絹の鳥追笠の朱ケの紐
jinken no torioigasa no shuke no himo

the vermillion cord
from artificial silk
of the Bird-Chasing straw hat

Tr. Gabi Greve

竹下しづの女 Takeshita Shizunojo (1887 - 1951)
A member of Hototogisu -

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. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .

. densetsu 伝説 Japanese Legends .


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7/26/2015

funeral rituals

[ . BACK to DARUMA MUSEUM TOP . ]

. - Doing Business in Edo - 商売 - Introduction .
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sooshiki 葬式 soshiki - funeral service

. funeral 葬式 sooshiki, 葬儀 soogi .
- Introduction -

maisoo 埋葬 Maiso, dabi 荼毘 to cremate, cremation of the body
kasoo 火葬 Kaso, burning of the body
- burial of the ashes

- discussion at the PMJS Forum -




- quote
The Material Culture of Death in Medieval Japan
by Karen M. Gerhart



This study is the first in the English language to explore the ways medieval Japanese sought to overcome their sense of powerlessness over death. By attending to both religious practice and ritual objects used in funerals in the fourteenth and fifteenth centuries, it seeks to provide a new understanding of the relationship between the two. Karen Gerhart looks at how these special objects and rituals functioned by analyzing case studies culled from written records, diaries, and illustrated handscrolls, and by examining surviving funerary structures and painted and sculpted images.
The work
is divided into two parts, beginning with compelling depictions of funerary and memorial rites of several members of the aristocracy and military elite. The second part addresses the material culture of death and analyzes objects meant to sequester the dead from the living: screens, shrouds, coffins, carriages, wooden fences. This is followed by an examination of implements (banners, canopies, censers, musical instruments, offering vessels) used in memorial rituals.
The final chapter discusses the various types of and uses for portraits of the deceased, focusing on the manner of their display, the patrons who commissioned them, and the types of rituals performed in front of them. Gerhart delineates the distinction between objects created for a single funeral—and meant for use in close proximity to the body, such as coffins—and those, such as banners, intended for use in multiple funerals and other Buddhist services.
Richly detailed and generously illustrated,
Gerhart introduces a new perspective on objects typically either overlooked by scholars or valued primarily for their artistic qualities. By placing them in the context of ritual, visual, and material culture, she reveals how rituals and ritual objects together helped to comfort the living and improve the deceased’s situation in the afterlife as well as to guide and cement societal norms of class and gender. Not only does her book make a significant contribution in the impressive amount of new information that it introduces, it also makes an important theoretical contribution as well in its interweaving of the interests and approaches of the art historian and the historian of religion. By directly engaging and challenging methodologies relevant to ritual studies, material culture, and art history, it changes once and for all our way of thinking about the visual and religious culture of premodern Japan.
- source : uhpress.hawaii.edu

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- quote -
FUNERAL RITES - (FROM THE "SHO-REI HIKKI.")
On the death of a parent, the mourning clothes worn are made of coarse hempen cloth, and during the whole period of mourning these must be worn night and day. As the burial of his parents is the most important ceremony which a man has to go through during his whole life, when the occasion comes, in order that there be no confusion, he must employ some person to teach him the usual and proper rites. Above all things to be reprehended is the burning of the dead: they should be interred without burning. The ceremonies to be observed at a funeral should by rights have been learned before there is occasion to put them in practice. If a man have no father or mother, he is sure to have to bury other relations; and so he should not disregard this study.

There are some authorities who select lucky days and hours and lucky places for burying the dead, but this is wrong; and when they talk about curses being brought upon posterity by not observing these auspicious seasons and places, they make a great mistake.
It is a matter of course that an auspicious day must be chosen so far as avoiding wind and rain is concerned, that men may bury their dead without their minds being distracted; and it is important to choose a fitting cemetery, lest in after days the tomb should be damaged by rain, or by men walking over it, or by the place being turned into a field, or built upon. When invited to a friend's or neighbour's funeral, a man should avoid putting on smart clothes and dresses of ceremony; and when he follows the coffin, he should not speak in a loud voice to the person next him, for that is very rude; and even should he have occasion to do so, he should avoid entering wine-shops or tea-houses on his return from the funeral.

The list of persons present at a funeral should be written on slips of paper, and firmly bound together. It may be written as any other list, only it must not be written beginning at the right hand, as is usually the case, but from the left hand (as is the case in European books).

On the day of burial, during the funeral service, incense is burned in the temple before the tablet on which is inscribed the name under which the dead person enters salvation. The incense-burners, having washed their hands, one by one, enter the room where the tablet is exposed, and advance half-way up to the tablet, facing it; producing incense wrapped in paper from their bosoms, they hold it in their left hands, and, taking a pinch with the right hand, they place the packet in their left sleeve. If the table on which the tablet is placed be high, the person offering incense half raises himself from his crouching position; if the table be low, he remains crouching to burn the incense, after which he takes three steps backwards, with bows and reverences, and retires six feet, when he again crouches down to watch the incense-burning, and bows to the priests who are sitting in a row with their chief at their head, after which he rises and leaves the room. Up to the time of burning the incense no notice is taken of the priest. At the ceremony of burning incense before the grave, the priests are not saluted. The packet of incense is made of fine paper folded in three, both ways.

NOTE.
The reason why the author of the "Sho-rei Hikki" has treated so briefly of the funeral ceremonies is probably that these rites, being invariably entrusted to the Buddhist priesthood, vary according to the sect of the latter; and, as there are no less than fifteen sects of Buddhism in Japan, it would be a long matter to enter into the ceremonies practised by each. Should Buddhism be swept out of Japan, as seems likely to be the case, men will probably return to the old rites which obtained before its introduction in the sixth century of our era.
What those rites were I have been unable to learn.

TALES OF OLD JAPAN
by LORD REDESDALE, G.C.V.O., K.C.B.
- source : www.gutenberg.org -

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History of funeral practices intertwined with religion
By William Wetherall
- source : yoshabunko.com/anthropology-


A nation's dying industry
Burgeoning mortuary market spurs competition

By William Wetherall
- source : yoshabunko.com/anthropology -

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- quote -
A Japanese funeral (葬儀 sōgi or 葬式 sōshiki)
includes a wake, the cremation of the deceased, a burial in a family grave, and a periodic memorial service. According to 2007 statistics, 99.81% of deceased Japanese are cremated.
- - - More in the WIKIPEDIA !

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hayaokeya, hayaoke ya 早桶屋 "fast coffin maker" , undertaker
soogiya 葬儀屋 / saihooya 西方屋 / koshiya 輿屋 = undertaker

- quote -
Changes in Japanese Urban Funeral Customs during the Twentieth Century
Murakami Kokyo
The work of pre-Meiji sogisha was called hayaokeya 早捅屋 (fast coffin maker) or
hayamonoya 早物屋 (fast itemer).
The term hayamono, was used to refer to funeral paraphernalia in general, suggests that the funeral items were not already prepared for rental but rather were made and sold quickly after someone died.
Edo-period funerals were often modest affairs.
People without much social status avoided an afternoon procession and instead close family members silently transported the body at night. This was the case until about 1887,when afternoon processions began to spread among the common people.
As the funerals and processions became more resplendent, so too did the accessories. We can assume that one factor influencing this was the loosening of the status system (mibun seido 身分制度).
As funerals became more elaborate even among common people, items that had previously been used only once were now rented, con­versely, since materials could now be rented,elaborate funerals spread among commoners.
In other words,these trends were mutually com­plementary. Furthermore, beautification of funeral decoration in the Meiji era was related to the display of public mourning as the funeral came to be seen as a social event.
Japanese Journal of Religious Studies 2000
- source : nirc.nanzan-u.ac.jp -

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kan 棺, kanoke 棺桶 coffin, casket
The dead body was placed seating into the wooden casket.
During epidemics, there were often not enough caskets in town.


source : supernil


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江戸広し早桶屋へ嫁が来る
Edo hiroshi hayaokeya e yome ga kuru

Edo is big -
even the undertaker
gets a wife


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棺桶に合羽掛けたる吹雪かな
kanoke ni kappa kaketaru fubuki kana

during a snowstorm
a raincoat is hung
over the casket . . .



棺桶を雪におろせば雀飛ぶ
kanoke o yuki no oroserba suzume tobu

when the casket
is placed in the snow
a sparrow flies away



Murakami Kijoo 村上鬼城 Murakami Kijo (1865 - 1938)

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万緑の底に棺桶用の樹よ
櫂未知子

南北の又棺桶や二の替 野村喜舟
小石川

棺桶に封ずこの世の菊
辻田克巳

棺桶のどこ叩いても棺桶で
稲葉直

棺桶を舁けば雲ひろき夏野かな
飯田蛇笏


- - - - - MORE funeral haiku
- source : HAIKUreikuDB -

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42 legends about kanoke to explore
- source : yokai database -


. Legends from Japan 伝説 - Introduction .

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. onboo, omboo, ombô 隠坊 (おんぼう) graveyard warden .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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6/24/2015

takenoko bamboo shoots

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. Food vendors in Edo .
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Edo no takenoko 江戸の筍 bamboo shoots in Edo
Bambussprossen. Bambussprössling




. take no ko, takenoko 筍 bamboo shoots   .
笋(たけのこ), takanna たかんな, たかうな、たけのこ、 竹の子
hachiku no ko 淡竹の子(はちくのこ)bamboo sprouts
madake no ko 苦竹の子(まだけのこ)- 真竹
moosoochiku no ko 孟宗竹の子(もうそうちくのこ)

. takenoko meshi 筍飯(たけのこめし) rice with bamboo sprouts .
..... nokomeshi のこめし, tako una たこうな, takanna たかんな
takenoko gohan sold in Meguro 目黒  (see below)

The Edoites liked "first things", hatsumono 初物, and one of them were the first bamboo shoots of the season.
haru no takenoko 春の筍 - bamboo shoots in spring
..... haru take no ko 春筍 / ..... shunjun 春筍

There were even some kind of hot houses around Edo where vegetables could be grown earlier than the normal season outside and sold at a good price.



source : furuhonkirikoya.blog

takenoko uri たけのこ売り vendor of bamboo shoots in Edo

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takenoko isha 筍医者 a kind of yabuisha 藪医者 quack doctor
or even worse than a yabu-isha.

. isha 医者, ishi 医師 doctors in Edo .
Sugita Genpaku 杉田玄白 (1733―1817) was called takenoko isha.


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. take no ko shinji 筍神事 bamboo shoots ritual .
at Shrine Asusuki Jinja 阿須々伎神社
myooga matsuri 茗荷祭 Japanese ginger festival in February


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. Bamboo shoots - takenoko bamboo shoot legends - 筍 / 竹の子 伝説 .
Taketori Monogatari 竹取物語 The Tale of the Bamboo cutter
also known as
Kaguya Hime かぐや姫 Princess Kaguya, Shining Princess
and more . . .

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- quote -
Springtime for bamboo
Few plants are as useful as bamboo. A member of the grass family, it is fast growing and very prolific given the right growing conditions, which makes it eco-friendly too.

The bamboo plant is indispensable in the Japanese kitchen, where every part of it is used. The leaves and bark are employed as wrappers, as well as in cooking. (Those little green leaf-shaped pieces of plastic called baran that are used as a divider in bentō boxes and takeout sushi are designed to emulate the shape of bamboo leaves — better sushi places still use the real thing.) The stalks of the plants are used as food containers, and thin skewers made of bamboo are used for everything from yakitori chicken to testing if your cake is done. So many kitchen implements are made from bamboo that it’s impossible to list them all, but it’s particularly hard to imagine making proper sushi rolls without a makisu, a bamboo sushi roll mat.


Although the tender bark is edible too, the most widely eaten parts of the bamboo plant are the shoots, which grow underground in the spring. Edible bamboo shoots are mentioned in the Kojiki, which was written in the early 8th century, but they weren’t widely eaten until the mid-1600s (early Edo Period), when a tender variety called mōsōchiku was introduced from China.

Fresh bamboo shoots are so strongly identified with springtime that they are accepted as a kigo (seasonal word) in haiku. Nowadays you can have precooked bamboo shoots year round, but in the days before canning, bamboo shoots were an eagerly anticipated sign of the end of winter. The best bamboo shoots are said to be those ones grown around Kyoto, with those grown in northern Kyushu also strong contenders.

Freshly dug bamboo shoots can be simply sliced and eaten raw, and fans of fresh raw bamboo shoots go foraging in the mountains just to enjoy this delicacy. But the longer the shoots are out of the ground the more fibrous they become, and the oxalic and phenolic acids become more pronounced, making them taste bitter unless they are cooked.

In Japan, this is most commonly done by boiling them in a mild alkaline solution — usually the white, cloudy water produced from rinsing rice, or plain water with some rice bran included, plus a sliced red chili pepper. It is believed that the outer skin of the bamboo shoots helps to tenderize them, so the skin is left on when the shoots are simmered.

Another method is to marinate the sliced bamboo shoots in grated daikon radish, which is also mildly alkaline, and preserves a crunchy texture. Still another way to reduce the bitterness is to cook the sliced bamboo shoots in oil, by deep frying them for example — this method is used in Chinese cooking.

Takenoko gohan (rice with bamboo shoots) is a quintessential springtime dish. For the recipe on this page, you could use bamboo shoots that are placed in water from rinsed rice and a sliced red chili pepper, and simmer them until a skewer goes through them easily. You can use ready-cooked bamboo shoots sold in vacuum packs or cans, but do try to make this with fresh bamboo shoots when they are in season. The rice is garnished with another quintessential springtime food — kinome, the tender young shoots of the sanshō pepper tree. Give it a go, and bring spring to your kitchen.
- source : Japan Times 2014 - Makiko Itoh -


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歌川豊国 Utagawa Toyokuni




Children digging for bamboo shoots
子どもたち、おおいに筍掘る図




Meguro no Takenoko 目黒の筍 Bamboo from Meguro 

山路治郎兵衛勝孝 Yamaji Jirobei Katsutaka introduced the farming of 孟宗竹 mosochiku bamboo in Meguro. He tried it first in the garden of his own villa in Shinawgawa.
He begun selling it in three venues:
1- He delivered it to the local markets in babmoo baskets high on the back of horses.
2- He sold them at the regular market of the Meguro Fudo temple, a popular spot in the Edo period.
3- He asked the tea stalls along the path to Meguro Fudo to sell 筍飯 "Babmoo Shoots with Rice" as a local speciality.




A school in Meguro has the bamboo shoots in their crest to our day.
目黒区立中目黒小学校


source : edoyasai.sblo.jp/article



目黒の筍縁起 / 浅黄斑 The story of the bamboo shoots from Meguro


. Meguro Fudo Temple 目黒不動 - 瀧泉寺.


reference : edococo.exblog.jp - 目黒の筍林

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Kabuki : Honchô Nijûshikô 本朝二十不孝 Honcho Niju Shiko
Twenty-Four Examples of Filial Piety

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From ancient time, the Twenty-Four Examples of Filial Piety, one of the Confucian classics, has taught respect for one's parents with stories that seem rather strange and even grotesque today.
For example, there is the story of the man whose sick mother wanted fresh fish in the dead of winter and so the man lay naked on the ice until he melted a hole through and the gods, taking pity on his plight saw that fish jumped out through this hole.
Another story has a mother who wants to eat fresh bamboo shoots in the dead of winter. A dutiful son digs through the snow and finds that, miraculously, there are bamboo shoots growing underneath the snow.
- source : www.kabuki21.com TAKENOKO HORI 筍堀」 -


. Legend about a son of great filial piety 親孝行息子 . .
Filial piety is a virtue highly praised in the teachings of Confucius.

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雪中筍掘り Digging for bamboo shoots in the snow
a sobachoko そば猪口 pot for dipping soba buckwheat noodles


source : 越前屋平太


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netsuke with bamboo shoot and snail 筍根付


CLICK for more photos !


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tea cup with bamboo design
名乾山写 飴釉七夕文茶碗作 者寺尾陶象


source : www.gmo-toku.jp


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たけのこまつり Takenoko Bamboo shoots festival
in Uchikawa 内川, Ishikawa prefecture



A samurai from the Kaga han domaine called 岡本右太夫 Okamoto Migidayu (? - 1817) had first eaten bamboo shoot dishes in Edo and liked it very much. When he came back to Kanazawa he brought some bamboo plants of mosochiku 孟宗竹 with him. He re-planted them many times to find a type that suited the soil of Kanazawa and now they are a speciality of our town, Uchikawa.

別所町在住の向田吉右衛門がこの地に栽培した . . .
- source : uchikawa-k1.bz-office.net -


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. 河鍋暁斎 Kawanabe Kyosai .

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竹林での筍(たけのこ)掘り digging for bamboo shoots in a bamboo grove

歌川豊国 Utagawa Toyokuni

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- - - - - Edo specialities with bamboo shoots



junkan, shunkan 筍羹 / 笋羹 / 筍干 boiled bamboo shoots and
assorted simmered dishes, including vegetables rolled in a sheet of deep-fried tofu.
A favorite since the Muromachi period.
In Kagoshima bamboo shoots are boiled with salted meat of pigs (or wild boars) and other vegetables.

junkan / shunkan was first introduced as par of the
. fucha ryori 普茶料理 Chinese-style Buddhist vegetarian cuisine .


takenokawa makisushi 竹の皮巻すし Sushi rolled in bamboo leaves
- - - - - take no kawa 竹の皮 dried bamboo leaves were often used as wrappers.

takenoko aemono 竹の子 和え物 bamboo shoots with special dressing

takenoko dengaku 竹の子田楽 Dengaku with bamboo shoots

takenoko meshi 筍めし bamboo shoots boiled with rice

takenoko nikomi tamago 笋煎入卵 bamboo shoots boiled with eggs

takenoko sashimi 竹の子刺身 Sashimi with bamboo

takenoko shirumono 竹の子汁物 bamboo shoots in soup

takenoko sushi 筍すし Sushi made with bamboo pieces
- - - - - made from hachiku 淡竹 Hachiku bamboo.

takenoko teriyaki 照焼き broiled after being soaked in sweetened soy sauce


. 100 Favorite Dishes of Edo 江戸料理百選 .
Bamboo is not mentioned among them.

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- - - - - H A I K U and S E N R Y U - - - - -

竹の子の千世もぽっきり折にけり
takenoko no chiyo mo pokkiri ore ni keri

the thousand year
bamboo shoot...
snap! broken


Kobayashi Issa


Robin D. Gill points out that pokkiri in the Edo era connoted "the sound made when a hard thing breaks." Shinji Ogawa explains:
"If there were no people, the bamboo shoot would grow to adulthood and enjoy the thousand years of its life. But someone has snapped the bamboo shoot for dinner."
Tr. David Lanoue

. WKD : take no ko, takenoko <> bamboo shoots 筍 .
- - kigo for summer - -


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by Ueda Mucho 上田無腸 (1734 - 1809)

無腸上田秋成 Mucho Ueda Akinari、筍圖併俳句讃 -
- source : oukodou/gallery -


. Ueda Akinari 上田秋成 (1734 - 1809) .
He is famous for his eerie ghost stories and strange fiction in Japan.

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. Edo yasai 江戸伝統野菜 Vegetables of Edo .

. 100 Favorite Dishes of Edo 江戸料理百選 .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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[ . BACK to WORLDKIGO . TOP . ]- - - - - #edofood #edotakenoko #takenoko #bambooshoots - - - -
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