A MILLION QUESTIONS
TWO MILLION MYSTERIES
Port Townsend, Washington
A Thru Ankō
The photo of the 'dead end'
sign was taken by
our friend Ben Peyronnin. We then altered it for
our own purposes. Our bad! It is being used
to mark additions made from May thru August 2013.
The nighttime photo of the ferris wheel
was also taken by Ben. It
was used in
October thru December 2012.
TERMS FOUND ON THIS
Ageha no cho, Ai,
Aidono, Aigami, Aizuri-e, Ajirogasa,
Aka-e, Aki no nanakusa, Aku, Akushō,
Amano Iwato Shrine,
Andon and Ankō
油赤子, 揚帽子, 揚羽蝶, 藍,
相殿, 藍紙, 藍摺絵, 網代笠,
赤絵, 秋の七草, 悪,
天児, 雨乞い, 天岩戸神社,
天邪鬼, 雨, アメリカ原住民, 網, 行灯and 鮟鱇
あげはのちょう, あい, あいでん,
あいがみ, あいずりえ, あじろがさ,
あまがつ, あまごい, あまのいわとじんじゃ,
あまのじゃく, あめ, あみ, あんどん
One more note about this
page and all of the others on this site:
If two or more sources are
cited they may be completely contradictory.
I have made no attempt to
referee these differences, but have simply
repeated them for your
edification or use. Quote anything you find here
at your own risk and with a
whole lot of salt.
Click on the yellow
to go to linked
The abura-akago is a
ghost-like creature which appears in the night in the form of a child which
drinks the oil out of a burning lamp.
The image to the left is an
illustration by Toriyama Sekien (鳥山石燕: 1712-88) from his Konjaku Gazu
Zoku Hyakki or 'The Illustrated One Hundred Demons from the Present and
the Past' from 1779.
What we don't know is origin of
A head cloth worn
by women to keep their oiled hair clean from dust and properly coiffed during an
outing. Very similar to the headdress worn by a bride. (See our entry on
The image to the
left is a detail from a print by Kiyonaga showing an actor in the role of a
In volume 27 (1993, p. 98) of the Journal of the Costume Society, published
by the Victoria and Albert Museum, it notes that the age-boshi was
originally worn by women visiting sacred ground. Since it covered the front
of their heads it was symbolically meant to hide their horns. "This had been
retained, ironically as an essential part of the formal Japanese bridal
Photo of a bride wearing a hood covering the age-boshi
hiding her 'horns' from her
mother-in-law. This was originally
posted at Flikr by カランドラカス.
We found it at commons.wikimedia.org/.
The Victoria and Albert displays a white wedding kimono on-line. They
describe the marriage ceremony: "The bride wears a white under-kimono and
heavy white outer-kimono known as a shiromuku [白無垢 or しろむく], shiro meaning
white and muku meaning pure. This outer-kimono has a design of a large noshi,
an auspicious ornament traditionally tied to goodwill gifts, the ribbons of
which cascade down the front and back of the garment. The bride's hair is
also elaborately styled and she wears a hood called a tsuno kakushi. This is
meant to hide her two tsuno [角 or つの], or horns, to symbolize obedience to
her husband. After the ceremony the bride exchanges the white outer-kimono
for a brightly coloured one and joins her family and friends for the
It has been said that when a woman marries she leaves her old life and takes
up a new one it is like dying. Not only is she dressed in white, but her
face is painted white too. This is odd - from our perspective - because
white is also the color of death. In The Japanese Mind: Understanding
Contemporary Japanese Culture (2002, p. 206) it says in the section
'Laying out the Dead Person' "After the white kimono and makeup are put on,
the deceased is laid out..."
Ageha no chō
butterfly with its wings raised...was the alternate crest of Segawa Kikunojō."
The cloth covering the head
of Segawa Kikunojō displays both of the crests used by this actor.
This is a detail from an
print from ca. 1822 by Kunisada.
According to Dower in his The
Elements of Japanese Design (p. 4) the butterfly was used as early as
Heian times as a favorite motif of the nobility. In time butterflies were
used as family crests and were even popular during among warring factions
during the bloodiest periods. (p. 88) [This to me seems like a bit of a
paradox.] Dower also notes that "Among designs based on living creatures,
the butterfly motif enjoyed by far the greatest popularity." (p. 89)
Jim Breen's site translates 揚羽蝶
as the Citrus swallowtail butterfly or Papilio xuthus.
Shu Suehiro gives the kanji as
並揚羽 or なみあげは for the same Papilio xuthus. I am not well enough versed
to discern the differences - if there is one. He also refers to this
particular butterfly as either the Chinese yellow swallowtail or the citrus
s. b. as listed above. The image below to the left is shown courtesy of
Linnaeus gave us the name Papilio xuthus in 1767.
"In Japan, the Shosoin, the eighth-century Imperial treasurhouse at Todaiji
in Nara, houses many objects using butterfly motifs. ¶ The butterfly
signifies mysticism, through their undergoing metamorphosis and emerging
from the chrysalis beautifully winged, while their gorgeous forms signify
prosperity and success." "The young noblemen of the Heike (the military clan
of imperial descent...) used the butterfly brilliantly as the symbol of
their clan, using it on armor and helmets." Member's of Taira Kiyomori's
faction and their descendants used the butterfly motif. The Ikeda clan used
it. Oda Nobunaga bestowed this crest upon favorites.
Source and quotes from:
Butterfly: 100 Royalty Free Jpeg Files, , by Toranari Shibe, published by
the Bug News Network, 2006
In a play by Yukio Mishima set
in the 12th century but actually based on a story by Kyokutei Bakin written
in the early 19th Mishima has one of his characters Takama note: "The ship
that's coming, rowing ahead of the pack, has a butterfly crest on the
canvas." (p. 258) I note this for two reasons: 1) It refers to the
militarization of the butterfly motif, something which we mentioned above,
but 2) particularly because of the title of this book My Friend Hitler:
And Other Plays, published by Columbia University Press in 2002. Hiroaki
Sato, who translated this volume into English, notes that "Mishima completed A Wonder Tale: The Moonbow on the first of September 1969." It was
published in a monthly in November and produced on the kabuki stage later
that month directed by Mishima. "As he notes in one of his commentaries on
this play, a single person writing and directing a kabuki play is a rare
occurence." (pp. 244-5) Mishima also wrote a bunraku version which was
produced by the National Theater two years later. (p. 245)
For more information on the
go to our chō entry on our Bo thru Da index/glossary
from the plant Polygonum tinctorium or dyer's knotweed - it is also
referred to as tade ai: Indigo as a color can be produced from any
number of plants, but here we are limiting ourselves to just one which was
frequently used as a colorant in woodblock prints and fabrics. In Kosode:
16Th-19th Century Textiles from the Nomura Collection: 16th-19th Century
Textiles from the Nomura Collection by Amanda Mayer Stinchecum (pp.
202-3) notes that this plant grows throughout Japan, but especially in
Shikoku. The leaves which contain indigotin and should be harvested in July
through September and in November before flowering. The fresh leaves should
be fermented or dried and/or composted.
In the earliest
times the Japanese indigo leaves were chopped up in water. Later during the
Nara-Heian periods they were fermented in water. During the Edo period they
were fermented in lye water combined with other ingredients.
colors ranged from a pale to bright blue according to the number of leaves
per quantity of water. Combined with other dyes a larger range of colors
could be produced including lavender, fake purple and black.
In a web page
posted by the University of Bristol "...Dr. David Hill of the School
of Biological Sciences describes his quest to provide the modern world with
a natural alternative to synthetic dyes." This is fascinating stuff.
Especially his information about the source of indigo itself: "Indigo
producing plants do not actually contain indigo but the leaves of these
plants before they flower contain a substance which, when extracted from the
leaf, forms indigo by absorbing oxygen from the air. Indigo is notoriously
insoluble in nearly all commonly used solvents, and especially in water, so
the indigo formed in the extracts settles out as a precipitate quite
That might explain
something I noticed while researching this subject. While searching for
additional material to post here I ran across a beautiful page in English
from a German language web site operated by Dorothea Fischer. After a brief
correspondence she gave me permission to post the three images to the left.
However, for a fuller and richer understanding of the entire process -
especially as it pertains to fabrics, but clearly not greatly removed from
the methods for producing early ukiyo indigo inks -
I would urge you to
visit her web page devoted to this topic. It is astounding.
I want to thank Ms.
Fischer - and her friend Friedl who helped in our correspondence - for her
contribution in creating this entry.
Ai is one of the
colorants which will fade merely by being exposed to ozone even in the
absence of all lighting. This fading occurs in both blue and green areas
where ai has been mixed with other pigments. The same holds true for
aigami which is listed below.
In Color Science in the
Examination of Museum Objects: Nondestructive Procedures: Tools for
Conservation by Ruth Johnston-Feller it says: "As this pigment fades
under light exposure, it tends to become greener in hue."
There is a fascinating
scientific article published in 2006 by the Japan Society for Analytical
Identification of Blue Colorants in Ukiyo-e Prints by Visible-Near
Infrared Reflection Spectrum Obtained with a Portable Spectrophotomer
Using Fiber Optics".
They inspected a set of prints
from the "36 Views of Fuji" by Hokusai dated ca. 1830-33. Using a
non-invasive technique they studied the use of aigami, ai (indigo) and the
imported colorant Prussian blue.
What they discovered was
amazing - at least for me. The keyblocks were all printed with indigo
"...while all color blocks were printed with Prussian blue." Prior to this
study it had been assumed that all
of the keyblock lines had also
been Prussian blue, but clearly this was not the case. While this
information may not interest everyone it is nevertheless remarkable for what
it tells us about the production
of what may be the most famous
series of Japanese prints ever. The same exact technique was used for
Hokusai's famous waterfall series Shokoku taki meguri. There were no
Both examples shown here are
details from the Fuji series.
One last point: The scientists
who wrote this article refer to the source of indigo as knotweed, i.e., Polygonum tinctorium,
and not as dyer's knotweed as mentioned above.
While working on my new web
http://printsofjapan.wordpress.com/ I posted an entry on the
stunning Shinto shrine at Miyajima near Hiroshima. One of the things which
startled me was that the shrine was dedicated to four different goddesses.
(It clearly shows my ignorance of Shintoism.) This bunching or sharing of a
shrine amazed me, but apparently it is common. Raised on the Ten
Commandments, one of which insists that I have no other god before me, had
placed me in a particular mindset. Even temples dedicated to Apollo or
Athena I always thought of as rather exclusive - whether they were or not.
That brings me back to our
subject: aidono. There is some confusing information out there, but
as best I can tell it means a hall containing more than one kami.
"When several kami are enshrined together, the invited kami
become subordinates to the principal kami (are enshrined to the right
and left of the prinicipal kami..." (Quoted from: Historical
Dictionary of Shinto by Stuart Picken, p. 25) Itsukushima, seen to the
left, houses three goddesses who are the daughters of Susanoo and Benzaiten,
one of the Seven Propitious Gods and the only female one. When grouped
together it is referred to as an aidono-no-kami (相殿神 or あいどののかみ).
"This practice dates back to 649 C.E., when joint enshrinement took place at
Kashima Jingu in what is now Ibaraki Prefecture. Katori Jingu
is also in this category as is Kasuga Taisha. Joint enshrinement
became especially popular during the Heian period (794-1185), when various
forms of syncretism were developed." (Ibid.)
Below is Katori jingū (香取神宮
or かとりじんぐう), another shrine with multiple gods.
In The Protocal of the Gods:
A Study of the Kasuga Cult in Japanese History by Allan G. Grapard (p.
29) the shrine dedicated to Ame-no-kayane-no-mikoto and his consort Himegami
"...was called aidono, a generic term designating a shrine dedicated to
[these two gods]." Later Grapard translates aidono as "combined
shrine" which is one of the literal translations possible of these two
characters. (Ibid., p. 81)
An early organic
blue made from the dayflower. It fades quickly. Sometimes it fades to an
olive gray. (See 'dayflower' listed below.)
In Color Science in the
Examination of Museum Objects: Nondestructive Procedures: Tools for
Conservation by Ruth Johnston-Feller it says: "...the reflective curve
for aigami (dayflower blue) is shown to have its own highly
characteristic series of absorption bands, unlike any other blue to our
Aigami is also known
as blue anthocyanin. "Aigami was faded perceptibly after only two
days of exposure to soft-white fluorescent lights, suggesting that 10 ³
flashes would probably cause perceptible fading of aigami in pristine
Japanese prints... If photoflash exposure is to be limited to 0.01 of this,
only about 10 exposures to xenon studio strobes could be allowed over the
exhibit lifetime of the object." (Quoted from: Effects of Light on
Materials in Collections: Data on Photoflash and Related Sources: Research
in Conservation by Terry Schaeffer)
predominantly in shades of blue.
The image to the left is by Eisen and dates from the first half of the
19th century and the Hasui below is from 1933.
In Matthi Forrer's book Hokusai (published by Rizzoli in 1988) he
praises the boldness shown by Nishimura-ya Yohachi in marketing a series of
prints using the costly, imported indigo dye. In 1831 the publisher
announced the upcoming series in an advertisement in a novel by Ryūtei
Tanehiko: "The thirty-six views of mount Fuji, by the old man zen
Hokusai Iitsu, single sheet prints in blue impressions, each sheet featuring
one design - now being published." (p. 263) "The note on thecoloring of the
series is of particular interest. The term used in the original, aizuri,
or 'indigo printing', in fact refers to a new pigment which only became
available for woodblock prints close to 1830. However, there are examples of
earlier use of this color, often called berurin [べルリン] burau
(Berlin blue or Prussian blue). In the second half of the eighteenth
century, for example, various painting manuals already make mention of it,
sometimes adding that it was hard to come by, since it was imported through
the Dutch. In woodblock prints, it appears by exception only, probably first
on Osaka surimono from the mid 1810s and the first half of the 1820s. By
1829, the pigment was also available in edo and first used in surimono -
where, of course, the matter of costs had not to be taken into serious
consideration. Anyway, it still must have been a very precious material and
that the commercial publisher Nishimuraya Yohachi dared to announce such a
large series employing the novelty, makes the whole undertaking all the more
prestigious. Almost by consequence, it may be assumed that the prints were
aimed at a small and select audience, willing to pay the accordingly high
price. The circumstance that, up to then, a series of pure landscapes of
this scope had never been attempted - certainly a risky decision for any
publisher to take - should only enhance our admiration for Nishimuraya." (p.
"Prussian blue, I may add,
seems to have been employed experimentally form the 1790s but was widely
imported only form about the year 1829. The use of this pigment... began
with privately issued surimono-prints, and was then extended to
fan-prints (mainly) by the artist Eisen). The fashion soon spread to
figure-prints as well and, within a year or so, to the landscape, in
Hokusai's new series. For the aficionado of the earlier Japanese print, it
may be difficult to understand why this 'foreign', mineral colour should so
suddenly usurp the place of the delicate and lovely blue pigments that had
been favoured hitherto - in. for instance, the prints of Harunobu and
Utamaro. The first reason for its adoption was simply the characteristic
Japanese love for new things, and their near worship of imported goods. At
the same time, the native, vegetable dyes were often fugitive, and blue was
particularly susceptible to fading. (Today, indeed, collectors and museums
often refuse to lend their early pirnts for extended exhibition, for this
Quoted from: Hokusai: Life
and Work, by Richard Lane, E. P. Dutton, 1989, pp. 184-5.
"Prussian blue was not first
introduced in Edo. In the 1820s Japan was still closed to foreign trade, and
European products all entered Japan through the Dutch settlement in the port
of Nagasaki. The first use of Prussian blue on a woodblock print is on the
cap of the immortal in a privately published surimono printed in
Osaka in the spring of 1825..."
Quote from: Japanese
Woodblock Prints: A Catalogue of the Mary A. Ainsworth Collection, by
Roger Keyes, Allen Memorial Art Museum, Oberlin College, 1984, p. 42.
Roger Keyes says that the first use of Prussian blue on a woodblock print
may have shown up on the cap of an immortal riding a crane. This appears on
a surimono by Nagayama Kōin (長山孔寅 or ながやま.こういん) "...printed in Osaka
in the spring of 1825". Ibid.
In the catalogue entry #439
on p. 185 of the Ainsworth collection Keyes notes that this print was
produced to honor the retirement of the actor Nakamura Utaemon III. This
"...print is of special historical interest since Prussian blue seems to be
used ont ehimmortal's cap and this color, which is used in so many landscape
prints, is said not to have been introduced in Edo until 1828."
Sebastian Izzard in his
Kunisada's World (p. 29) provides additional information: "A feature of
these prints is the occasional use of Bero-ai - that is, Berlin, or
Prussian, blue. The exact date when the synthetic pigment was first imported
into Japan by the Dutch is not known. The ukiyo-e scholar Yoshida Teruji
quotes an Edo bookseller and haiku poet Seisōdō Tōho as saying in a book of
essays that Prussian blue was introduced in 1829 (Bunsei 12) by the artist
Ōoka Umpō (1765-1848), who used it in a surimono. Soon afterwards it
was taken up by all the surimono artists. Seeing the popularity of these
prints, the fan-print publisher Iseya Sōbei first used the pigment the
following year on prints by Keisai Eisen. ¶ While Tōho's reminiscence may be
true for completely blue-printed works (aizuri-e) - an aizuri-e
fan print by Kunisada is seal-dated 5/1830... Bero-ai in fact appears to
have been used even earlier, but only in small areas of design and normally
to delineate luxury products and accessories. In Kunisada's work the
earliest such use appears to be in a painting of 1822-23... Kunisada's fan
print of 1825... and an Osaka surimono of the same year have the blue, again
in limited areas. The blue is also found on prints collected by Philipp
Franz von Siebold, a member of the Dutch trading mission at Dejima island
from 1823 until 1829. The pristine quality of these prints is such that von
Siebold probably acquired them directly from the publishers when he made an
official visit to Edo in 1826... ¶ From all the evidence it seems likely
that when first brought in by the Dutch, the synthetic pigment was a luxury,
high-priced import. This would explain why it is first found on paintings
and then on elaborate, surimono-style prints created for the connoisseur
market..., and in small areas of expensive early editions of full-size
prints... With the success of the color and its import in greater amounts,
the price would have fallen, enabling publishers to use it for monochromatic
A bamboo or wicker hat worn
The image to the left is a
detail from a photo taken by Kusakabe Kimbei (日下部金兵衛 or くさかべ.きんべえ:
1841-1934). It was posted at commons.wikimedia.org by Catfisheye.
"A pilgrim wears a bamboo hat (ajirogasa), a kosode, and obi, usuallv
ol ramie, the sleeves of the kosode tied out of the way with a tasseled
cord. He has leggings (kyahan) \ and waraji sandals. He uses a staff to aid
his journev and to startle insects to prevent them from being crushed. Lay
people wore this costume, its uniformity uniting all classes in their
faith." Quoted from: What People Wore When: A Complete Illustrated
History of Costume from Ancient Times to the Nineteenth Century for Every
Level of Society by Melissa Leventon, p. 193.
"To make the hat waterproof it could be impregnated with persimmon tree sap
(kakishibu), which turned it a dark orange-brown. (Ibid., p. 332)
Above is a detail from a Hiroshige print from the 1830s.
The photo to the left was
provided by Shu Suehiro at Botanic.jp. Gorgeous, isn't it?!
From 1834-36 a 26 volume
guide to the famous sites of Edo was published. It was compiled by Saitō
Gesshin, a local district official and based on work started by his
grandfather and father. It was the best guide of its time. "During the sixth
month Gesshin decorated the outside of his house with hydrangeas (ajisai-tsuri)...
[He] continued [this practice] well into the Meiji period. This event took
place on the first day of the sixth month of the lunar calendar, the start
of the most severe summer heat. Many pictures of the ajisai-tsuri
have been drawn by Kaburagi Kiyokata (1878-1972), who had a special liking
for hydrangeas. Kaburagi even named his personal residence 'Hydrangea
House.' This connection between the sacred nature of this flower and daily
life seems to have been felt strongly by downtown residents during the Edo
and Meiji periods." Quoted from: Edo Culture: Daily Life and Diversions
in Urban Japan, 1600-1868 by Nishiyama Matsumosuke, p. 87. Note: The
British Museum says that Kaburagi died in 1973 and not 1972.
In the 1922 Journal of the
Arnold Arboretum (p. 243) from Harvard there is a list of several names
used for Japanese hydrangeas. The author, Ernest H. Wilson mentions the
Hosoba-amacha it seems is only used in this publication and cannot be
found anywhere else. Wilson does say that the term he heard the most was for
the Yama-ajisai (山紫陽花 or やまあじさい) or Mountain hydrangea (Hydrangea
serrata). Below is a photo of this plant supplied by Shu Suehiro at
Wilson notes that in the West
"It was Thunberg, in 1784, who gave the first binomial names to these
Hydrangeas but he referred to them wrongly to the genus Viburnum." Siebold
called the same plant the Hydrangea Thunbergii. The hydrangea made
its first appearance in Europe thanks to Sir Joseph Banks in early 1789.
These plants were brought from China. The Frenchman Jussieu referred to this
genus Hortensia as the Rose of Japan. Kaempfer was the first Westerner to
mention it in 1712 where he called it by such names as vulgo Adsai and
In 1863 Bairyu (梅笠 or ばいりゅう)
wrote this death poem: O hydrangea - / you change and change/ back to your
primal color. This appears in Japanese Death Poems by Yoel Hoffman.
Hoffman notes that "The common name for the flower is nanabake,
'seven changes,' as it changes color seven times, from shades of green to
yellow, blue, purple, pink, and finally back to green. This flower was
introduced to the West by the German doctor Philipp Franz van Siebold
(1794-1866)..." (pp. 139-40) Of course, this information does not
agree with what we posted above that it was Banks who introduced the plant
five years before Siebold was born.
predominantly in shades of red. These prints were often sold
door-to-door by monkey trainers in the 18th c. as talismans against
smallpox. This is interesting because monkeys were often kept in stables to
ward off horse diseases. It is even said that sometimes samurai who wanted to
spy on their enemy's camp would pose as monkey trainers just to gain
Also referred to as
hōsō-e (疱瘡絵 or ほうそうえ) or smallpox pictures. Originally used in China these
were adopted by the Japanese and often featured images of Shoki, the Demon Queller.
His image was also shown on the fifth day of the fifth month or Boy's Day as
a similar talisman for warding off evil spirits.
As you can tell
from the detail of the Shigemasa (重政 or しげまさ) image to the left a hōsō-e can
illustrate something other than a Shoki. In this case it is a Daruma and an
owl and an object we can't identify yet.
Rebecca Salter - she is cited twice below - noted that Daruma and children's
toys were often represented on prints meant to drive away evil kami
forces. They were more lighthearted and brave in the face of the disease.
"The person suffering from smallpox and those caring for him dressed in red
to appease the Hosogami. In addition, 'red prints' or hoso-e prints, paper
wall amulets were posted at the first hint of smallpox to propitiate, avoid,
and/or banish the illness. They're called 'red' because that is the primary
color of these prints. If no print is available, red banners may
suffice. Following the patient's recovery, these prints were traditionally
ritually burned or floated down rivers to signal the departure of the
spirit. Extremely few survive and these are now extremely valuable
collector's items." Quoted from: Encyclopedia of Spirits: The Ultimate
Guide to the Magic of Fairies, Genies, Demons, Ghosts, Gods & Goddesses
by Judika Illes.
particularly popular during the smallpox epidemics of 1830, 1838 and 1849.
The prints were produced in just one colour, red from
safflower) because there was an old wives' tale that if you dressed a
smallpox patient in red, the attack would be mild. It was believed that red
was an apotropaic colour, that the smallpox demon liked it so much he would
pleased at the sight of red garments and deal gently with the wearer. In
some parts of Japan the patient was even painted with rouge to mollify the
smallpox kami. Gohei (white sacred paper strips) used in
Shinto rites, were made instead out of red paper and placed near the patient
on the threshold of the house. Paper was dyed red, oiled and used to colour
the light cast by the sickroom lamp, by which an examination (beginning with
the feet) was made." Quoted from: Japanese Popular Prints: From Votive
Slips to Playing Cards by Rebecca Salter, pp. 120-121.
"The smallpox kami was said to be especially fond of babies.... Woodblock
prints came to play a part n this process as 'charms' to be pasted at the
door to keep teh malign kami away, as gifts to teh suffering patient and as
illustrated health advice. Books were still relatively expersive so,
particularly in teh case of measles prints, advice was offered in the format
of the cheaper single sheet print. Artists including Utamaro II, Kunitora,
Kuniyasu adn Kunimaru produced smallpox prints; Yoahitora, Yoshifuji and
Yoshitoyo produced measles prints." (Ibid.)
"The delivery from teh disease was marked by several rituals. The presents
of toys and prints which neighbours had brought were burned (one reason why
few prints remain), celebratory sticky rice with red beans (the red pleased
the kami) was distributed to neighbours and the recovered patient was
at last allowed to bathe in hot water fragranced with bamboo grass leaves (sasa)."
(Ibid., p. 122)
See also our entry on
There is a sub-subcategory of female theatrical characters referred to as
akahime. "The term is used because so many kabuki princesses and samurai
daughters wear red, long-sleeved kimono.... The costume, a kabuki invention
having no relation with what actual princesses wore, consists of a robe (uchikake)
worn over a kimono of red-figured silk or crepe on which designs of flowers,
cherry blossoms, chrysanthemums, clouds, a pattern of long-tailed birds
called onagadori, and flowing water are embroidered in gold and silk.
The kimono is held together by a brilliant gold brocade obi; at the rear of
the obi is a long hanging bow. The wig is a
type with a large silver flower comb attached to it."
Quoted from: New Kabuki
Encyclopedia: A Revised Adaptation of kabuki jiten, compiled by Samuel
L. Leiter, 1997, p. 8.
also pointed out that such a princess "...is typically a physically weak,
emotionally vulnerable young lady... She is normally in love with a handsome
The top image to
the left represents Sakurahime by Toyokuni III and the one below is from a
Yoshitaki print featuring Yaegakihime. Click on the numbers to the right to
see the full images.
Professor Leiter published
an Historical Dictionary of Japanese Traditional Theatre in 2006
(published by Rowman & Littlefield, p. 33) in which he gave a more expansive
definition of an akahime. He described this figure as "frail,
sensitive, and beautiful..." and noted that her red gown could also be
"...pink, white, or pale purple..." These women "...represent a purely
fictional ideal of such high-placed females..."
Akahime "...are not the off spring of royal
blood, but rather the pampered daughters of daimyo and ranking samurai. They
are so named after their bright red long-sleeved kimono and glittering
silver tiara. Akahime are usually played as rather static characters,
who often sit with their left hand withdrawn inside their kimono sleeve,
which is held out to the side, and their right sleeve held across their
chest. They tend to be rather reticent girls who speak only rarely, until
passion and a sense of duty move them to heroic heights."
Quoted from: A Guide to
the Japanese Stage: From Traditional to Cutting Edge, by Ronald Cavaye
and Paul Griffith, published by Kodansha International, 2004, p. 62.
Adolphe Clarence Scott in The Kabuki Theatre of
Japan (reissued by Courier Dover Publications, 1999, p. 138) that the
akahime wears "...a richly embroidered kimono of scarlet silk
with a long flowing suso [裾 or すそ] or hem.... and worn regardless of
time, season or place." Later he adds that "...the hime roles are regarded
as the high water mark of acting for the onnagata."
Aki no nanakusa
The Seven Flowers of Autumn:
Merrily Baird in her Symbols
of Japan: Thematic Motifs in Art and Design (p. 97-8) calls these the
Seven Grasses of Autumn. Properly speaking that is correct because kusa, 草, is
translated as grass. I am pointing this out because you might find both
versions when you are doing research on your own and both are
Baird states: The "...theme is
native to Japan, illustrative of a love of seasonal motifs in general and of
autumn in particular. With a pedigree that dates to the eighth-century
Manyoshu poetry collection, it is also one of hte most enduring themes
in Japanese poetry and art. ¶ As established in the Manyoshu, the
Seven Grasses of Autumn were bush clover (hagi), pampas grass (susuki, obana), arrowroot (kuzu), wild carnation (nadeshiko), ominaeshi, fujibakama, and the bellflower (kikyo,
asagao)." Chrysanthemums and morning glories were not among the original
groupings, but in time became substitutes. ¶ The uses of the Seven Grasses
of Autumn in art developed in the Heian era. It achieved its greatest
prominence in the Momoyama period, when the theme - thought to be
particularly appropriate for goods used by women - was employed extensively
on a typ of lacquer associated with the Kodaiji Temple in Kyoto."
Cautionery note: I have tried to post images of
each of the plants in the original list.
Because of problems of nomenclature, not to mention translation, several of
these, if not all, may be somewhat off the mark. Please bear with me on this
one. If you see mistakes let me know, but be prepared with proof.
The first image shown above
just above the kanji is that of Thunberg's bush-clover (盗人萩 or
ぬすびとはぎ): Desmodium oxyphyllum.
The second one, the one in the
middle above is susuki (薄 or すすき): Miscanthus sinensis.
Third is the kuzu (葛 or
くず): Pueraria lobata. It is shown above just below the kana
for aki no nanakusa.
The fourth one is
particularly difficult for me to pin down. Is it the Dianthus japonica?
Or, is it some other member of that family? Until I know otherwise I will go
with the D. japonica for the nadeshiko example. It can be seen
at the top in the box above to the right.
The fifth one, the ominaeshi
(女郎花 or おみなえし) - Patrinia scabiosaefolia - is the yellow flowering
plant shown above to the right.
The sixth one is the
fujibakama (藤袴 or ふじばかま) or Eupatorium japonicum. That plant is
shown in this section immediately above.
The last one is the
kikyō (桔梗 or ききょう) or Platycodon grandiflorum is also
referred to as the Chinese bellflower. This can be seen below and on our
entry on our Kesa thru Kodansha index/glossary page.
All of these images are being
shown courtesy of
It is an absolutely wonderful site and you should definitely visit it.
Easy to navigate, full of
wonderful imagery and rich with information in both English and Japanese.
Evil, bad or inferior - a
mark branded onto the foreheads of convicts in Edo around 1670. For more
about tattooing as punishment go to our
Bad Boys and
Their Tattoos - page 4.
A dangerous spot; a house of
ill repute; a bad quarter.
A braided hat: Cecilia Segawa
Seigle noted the construction of teahouses along the 320 foot long zig-zag
road leading from the Primping Hill to the Great Gate of the Yoshiwara. Men
would stop at these to freshen up and some would even change their clothes
to impress the ladies. "Some of these establishments were amigasa-jaya
(woven-hat teahouses) where samurai clients could rent a hat to make
themselves less conspicuous." Quoted from: Yoshiwara: The Glittering
World of the Japanese Courtesan, University of Hawaii Press, Honolulu,
1993, p. 64. (The jaya or chaya kanji and kana are 茶屋 and ちゃや.)
The image to the left from an
inset in a Kuniyoshi print shows one type of braided hat. Itinerant monks or
komusō (虚無僧 or こむそう) wander the countryside wearing tengai (天蓋 or てんがい) or
"basket-shaped woven rush hats", carrying curved bamboo flutes or shakuhachi
(尺八 or しゃくはち). However, not everyone so attired is actually a monk.
Sometimes theatrical/historical figures like the Soga brothers or a
character from the "Tale of the 47 Loyal Retainers" disguise themselves in
these outfits. In fact, even lovers on a tryst were portrayed this way by
Harunobu and Shunshō. According to one source there was "...vogue for komusō
prints about 1770..." because of the popularity of a dance sequence
"...incorporated in the play Sono Sugata Shichi-mai Kishō (Her Lovely Form:
A Seven-page Written Pledge)..." Quote from: The Actor's Image: Print
Makers of the Katsukawa School, Princeton University Press, Timothy
Clark and Osamu Ueda with Donald Jenkins, 1994, p. 152.
The detail of below is from a
Toyokuni III print which we sold. We doctored the image to highlight the
different woven areas of the hat. This particular type of amigasa is
referred to as a 深網み笠.
"A girl received a
dagger (mikabashi [みかばし?]) at birth, as a protective talisman. Another
protective device was the godchild (amagatsu), a doll that served the
same purpose as [a] purification doll... The child was supposed to transfer
into the doll any evil influence that could harm her." She would keep the
doll until about her third year. Also, many dolls served the purpose of
absorbing evil spirits in early Japan.
Quoted from: The
Tale of Genji, by Murasaki Shikibu, translated by Royall Tyler (ロイヤル・タイラー),
published by Viking, vol. 1, 2001, p. 350, note #7.
This translation by
Royall Tyler is a remarkable accomplishment and a great source for
additional material about the world of the Heian period.
The purification ceremony
was referred to as the harai (祓い or はらい).
According to Nancy Moore
Bess and Bibi Wein in Bamboo in Japan (Kodansha International, 2001,
p. 152) these dolls had "...a T-shaped body of bamboo..."
Jane Marie Law in Puppets of Nostalgia published by Princeton University
Press in 1997 (p. 35) said: "Amagatsu [heavenly infants] in Heian Japan and
continuing until the present, various dolls or effigies have been widely
used as substitutes for fetuses, infants, and children to protect them from
evil influences and disease."
generically called o-san ningyō (birthing dolls)."
These figures are
also referred to as katashiro (形代 or かたしろ) or 'substitute figures'. Aston tells us that
kata-shiro means 'form-token'. A few days before a special purification
ceremony held twice a year in Tokyo true believers would visit a shrine to
the sea gods and there they would purchase a katashiro "...that is, a
white paper cut into the shape of a garment. On this the person to be
purified writes the year and month of his birth and his or her sex, and rubs
it over his whole body. When he has thus transferred his impurities to the
paper he returns it to the shrine. All the katashiro which are
brought back are packed into two sheaths of reed and placed on a table of
unbarked wood. They are then called harahi tsu mono, or things of
purification. Finally they are put into a boat which is rowed out into the
sea, and they are thrown away there." Quoted from: Shinto: (the
Way of the Gods), by William George Aston, Longmans, Green, and Co.,
1905, p. 263.
Sara Francis Fujimura in the
January 2006 issue of "Appleseeds" noted that the amagatsu given to a
boy at birth stayed with him until he became an adult and then it was burned
and the ashes were buried. Baby girls received hōko (這子 or ほうこ).
These had "...a soft, white silk body, and a wooden head and spine..." which
they kept with them into married life. In ancient times the owner would blow
on the doll or rub it against their body to transfer evil spirits from them
into this substitute object. Sometimes they would throw them into river to
wash away the bad luck.
In Ningyō: The Art of the Human Figurine Shigeki Kawakami states that amagatusu were being made by Heian times. "There are no extant
examples of amagatsu from before the Middle Ages, but even those made
during the Edo period remained faithful to the original designs. Amagatsu
are made with cylindirical sticks arranged into a T-shape - expressive of a
body and arms - onto which a white, silk cloth-covered head is attached."
Kawakami continues: "Hōko are white silk dolls stuffed with cotton.
Their production is detailed in a work about childbirth form Muromachi
period entitled, O-san-no-Kishiki. The name hōko means
'crawling baby,' and its form represents crawling posture of an infant."
These dolls were traditionally made on the same day as the birth. "By the
time of the Edo period, these two types of figurines were treated as a pair; amagatsu came to represent boys, and hōko, girls." (Japan
Society, Inc., 1995, p. 11)
In The Pillow Book of Sei Shōnagon (translated by Ivan Morris,
Penguin Books, 1979, footnot 229, p. 314) there is an interesting refence to
a royal birth: "The delivery of a Heian Empress, however, was attended by a
good deal of impressive ceremonial. Religious services took place for
several days in the Imperial birth chamber, and the birth itself was
witnessed by numerous white-clad courtiers. Thsi was follow by ceremonial
bathing, after which a sword and a tiger's head were shaken in front of the
infant and rice scattered about the room - all to keep evil spirits at bay."
In A Tale of Flowering Fortunes it states that in the 11th century
when aristocrats died "Relatives customarily placed human figurines, of the
kind used in purification rituals (katashiro or amagatusu), in the coffin." Quoted from: A Tale of
Flowering Fortunes: Annals of Japanese Aristocratic Life in the Heian Period,
by By William H. McCullough and Helen Craig McCullough, Stanford University
Press, 1980, p. 679, footnote 14.
A generic substitute form is the nademono (撫物 or なでもの) or a 'thing to
If the significance of this doll hadn't been made clear enough by now this
passage from Emperor of Japan: Meiji and His World, 1852-1912 by
Donald Keene should drive the point home. It is about the child who grew up
to be the Meiji Emperor. "After the umbilical cord has been cut, the baby
was given his first bath. In keeping with the old custom, the water had been
drawn from the Kamo River and was mixed with well water. For the next few
days, until the baby was given swaddling clothes, he was dressed in an
undershirt and a sleeveless coat. His bedding was laid on a katataka
(a thick tatami that has been sliced in half on the bias, leaving one end
much higher than the other) in the main room of the little house where he
was born. A pillow was placed at the high end of the tatami to the east or
to the south, and it was guarded by two papier-māché dogs facing each other.
Between the two dogs were placed sixteen articles of cosmetics. Behind them
was a stand on which the 'protective dagger' the prince had received was
placed along with an amagatsu doll also wrapped in white silk but
with red silk pasted to the ends of its arms and feet."
Praying for rain - "Prayers for
rain may be addressed to any kami... Certain shrines are good for rain
requests, and the Shinano togakkushi jinja in Nagano receives requests from
all over the country asking for prayers to be offered and distributes sacred
water to farmers to induce rain on thier fields." During droughts prayers
are directed to the thunder god. Some places have annual festivals while
others offer prayers every four or five years. Special dances are performed
- some lasting for days. Sometimes people try to provoke the kami by waving
torches around or "...throwing polluting materialsuch as cattle bones into
waters usually regarded as sacred, such as lakes around Mt. Fuji." (Source
and quotes from: A Popular Dictionary of Shinto by Brian Bocking)
Make sure you look at ame or
rain further down this list.
To the left is a detail from
a Kunisada print showing the poetess Ono no Komachi (小野小町 or おのこまち) praying
In Ancient Buddhism in
Japan by de Visser has a section which on which sūtras to read to bring
rain: "In A.D. 642 (first year of the reign of Empress Kōgyoku... at the
time of a great drought, the Shintō rites of killing horses and cattle as a
sacrifice to gods of various shrines and prayers to the River-gods, as well
as the old Chinese custom of changing the market-places, had been without
any result. Then Soga no Oho-omi (Emishi) said: 'The Mahāyāna sūtras
(Daijō kyōten, 大乘經典) ought to be read (by way of
extract) (tendoku) in the temples, our sins repented of (kekwa,
悔過...) as the Buddha teaches, and thus with humility rain should be
prayed for.' "
It should also be remembered
that just as there were prayers to bring on the rains there were prayers to
Amano Iwato Shrine
A shrine located 8 km from the
town of Takachiho ( 高千穂峡 or たかちほきょう) in Kyushu. The shrine is divided in two
by the Iwato River. On one side is a Shinto structure open to the public
while on the other side of the river is another shrine building near the
cave where the sun goddess, Amaterasu, hid herself away plunging the
universe into darkness. There is another cave nearby, the Amano Yasugawara,
where the other gods met to figure out a way to lure the sun goddess out of
seclusion. "Visitors pile stones into small cairns all around the cave
entrance." Quoted from: Japan,
by Robert Strauss, Chris Taylor and Tony Wheeler, Lonely Planet
Publications, Inc., 1991, p. 669.
The photo to the left shows
the torii entrance at the shrine. This was taken by and placed in the public
domain by Fg2 at
http://commons.wikimedia.org/. The dark
image of the cave entrance with the multiple stone cairns was taken by
Takasunrise0921 released to the public at the same wikimedia site.
NOTE: If you are asking yourself
"What the heck does this have to do with Japanese prints?", well, I'll tell
you. Over the years we have sold a number of prints in which Amaterasu was
portrayed prominently. That's what!
Takachiho also had another
mythic claim-to-fame: Amaterasu's grandson, Ninigi-no-mikoto, was said to
have descended to earth from heaven to rule over this realm. He landed on
Mt. Takachiho. However, in Basil Hall Chamberlain's translation of The
Kojiki: Records of Ancient Matters (published by Charles E. Tuttle, 1993,
footnote 5, p. 136) "It is uncertain whether the mountain here named is the
modern Takachiho-yama or Kirishima-yama, but the latter view is generally
preferred. Kuzifuru [another name for Takachiho] is explained
(perhaps somewhat hazardously) as meaning 'wondrous,' while Taka-chi-ho
signifies 'high-thousand-rice-ears.' " Later Chamberlain tells us "So His
Augustness-Prince-Great-Rice-ears-Lord_ears [another name for
Ninigi-no-mikoto] dwelt in the palace of Takachiho for five hundred and
eighty years. His august mausoleum is likewise on the west of Mount
Takachiho." (Ibid., p. 156)
In Donald L. Philippi's translation of the
Ninigi-no-mikoto is called
Piko-po-nö-ninigi-nö-mikötö and Takachiho is Taka-ti-po. Amaterasu, his
grandmother, bestows upon him the myriad beads, the mirror used to lure her
from her seclusion in the cave and the sacred sword. She said: "This mirror
- have [it with you] as my spirit and worship it just as you would worship
in my very presence." (Kojiki, University of Tokyo Press, 1995, pp.
The X on the blank map of
Kyushu shows the
approximate location of
is just 8 km down the road from
TWO NOTES: 1) Understanding and
explaining the variations in ancient Japanese names is way above my pay
grade! Sorry. And, 2) Kojiki
is 古事記 or こじき.
devil figure beneath a temple guardian; a perverse person. In the glossary section of
The Yanagita Kunio Guide to the Japanese Folk Tale, edited and
translated by Fanny Hagin Mayer, amanojaku is said to be "A demon
with feminie attributes." Matsumae Takeshi in "The Origin
and Growth of the Worship of Amaterasu" argues that before there was the
myth of the sun goddess there were a number of other myths popular among the
people. In one of them the a giant, Amanojaku, played a good role. At
that time there were seven suns in the sky which all appeared together
creating great heat. So, Amanojaku, using a bow and arrows shot down
all but one of these. In The Yanagita Kunio Guide
to the Japanese Folk Tale (Indiana University Press, 1989, pp. 5-6)
there is the legend of Urikohime (瓜子姫 or うりこひめ) or the Melon Maid. In this version an old
woman finds a melon floating down a river. When she and her husband open it
a beautiful little girl appears. As she grows larger she weaves every day.
After a number of years the old couple decide to their 'daughter' to the
village shrine festival. They go into town to buy a sedan chair to carry
Urikohime in. While away an amanojaku comes along and urges that the young
weaver let her in which she does. Once inside the amanojaku overpowers the
Melon Maid, leads her outside, strips her and ties her to a persimmon tree.
When the elderly couple return they find what they think is their 'daughter'
sitting in her usual place weaving away as always. "They put who they
thought was Urikohime into the chair and set out for the shrine, but the
real Urikohime cried out from behind the persimmon tree, 'Don't put
Urikohime in the chair! Only give the amanojaku a ride.' Greatly surprised,
the old man cut off the head of the amanojaku and threw it into the millet
patch. The stalk of millet is red because of this."
Carlos F., one of
our friendly contributors, suggested that we add a section on rain. He sent
us the image shown above. It is from a Yoshitoshi print.
Below is a detail of the frogs in the rain by Kuniyoshi to the left.
The full print shows little frogs
just above the signature.
In time we will add
commentary about rain in general and how it
was viewed within traditional Japanese culture. This is just our preliminary
I want to thank
Carlos for making this suggestion and others which will be added to this
All of the standard
dictionaries translate amagaeru (雨蛙 or あまがえ) as tree frog. However, Mock
Joya refers to it as a rain frog and that translation is certainly
commonsensical. "There are many kinds of frogs in the country. There are
grotesque toads, to which are attributed evil spirits. Ao-gaeru, or
green frogs are also called ama-gaeru or rain frogs, and it is said that
their singing will bring rain." I have no way of knowing if the rain and the
green frogs in this picture are an example of this belief, but they may be. Quoted from:
Mock Joya's Things
Japanese, p. 147.
According to the
Oxford English Dictionary the term Amerind was not coined until circa 1900
many years after the creation of the images seen to the left. When Sadahide
(貞秀: 1807-1873 or 79?) drew his vision of native born Americans it probably didn't
matter to him what they were called. Clearly he was working from a foreign
of foreigners were nothing new to the Japanese. Europeans were originally
referred to as namban (南蛮 or なんばん) which literally translates as
'southern barbarians.' Even after the forced opening of Japan
representations of foreigners were often rather exotic. For example, the
image at the bottom shows a hirsute, newborn baby boy in his bath. At that
time many Japanese believed that a child born of a Japanese mother and a
foreign father would come out of the womb looking and acting like this.
(Medieval Europeans believed that when Jesus was born he could walk, talk
and read and why not?)
Before you are too
quick to think the Japanese overly ignorant and superstitious drag out your
copy of Herodotus. In Book IV of his "History" he describes a race of people
who are born totally bald, flat nosed and with extremely long chins
and who grow up that way. This was true of both sexes. But Herodotus was not
completely gullible when he stated that "...these bald-headed men say
(though I do not believe it) that the mountains are inhabited by men with
goats' feet; and that after one has passed beyond these, others are found
who sleep through six months of the year." Even this stretched his
correspondent E. sent us the Sadahide images. E. said: "Leafing through some
oddments the other day, I found this double-page bookplate by Sadahide and
thought of you! From an 1855 book Meriken shinshi ' News from America' it
purports to show how they perceived the native Americans. I don't really
think that it will add anything to your index/glossary but I thought you
might be amused."
Well, I was
obviously more than amused and even though E. is right it doesn't add a lot
to these pages I just felt it was too good to pass up. Thanks E!
As if having sex with a
foreigner weren't bad enough for the Japanese clearly the off-spring would
be profoundly affected. This is clear from the fully bearded baby shown
above born of a Japanese woman and a Western man. In World Within Walls,
by Donald Keene by Donald Keene the author quotes a senryū on this very
topic: "In Maruyama/ Once in a while babies are born/ Without any heels."
This sounds odd to us today, but no so much to the Japanese of the 18th
century. The Dutch traders in Nagasaki wore shoes with heels. The locals
thought this was because they didn't have heels of their own.
Ami-mon (網紋 or あみもん) or
fishnet crest: According to John W. Dower there are very few
water-based motifs used as crestseven though Japan is comprised of a group
of islands surrounded by huge expanses of water. Beside the fishnet the wave
motif is another. Other than these very little is known about this form.
Dower speculates that the ami was used as a crest because the
implication of a big haul of fish meant good luck.
Source: The Elements of Japanese Design,
by John W. Dower, p. 119.
This motif is also related
to our entry on
hoshi-ami on our Hoshi thru Hotaru
Lantern: "...an ancient type of night
lamp, consisting of a square or round frame of wood covered with strong rice
papaer, the top and obttom being open. It is lit with rapeseed oil and a
rush-weed wick on an oil plate inside. It is not used today except as a
Dictionary Japanese Culture, by Setsuko Kojima and Gene A. Crane,
Heian International, Inc., 1991, p. 9.
Tōrō (灯籠 or とうろう) is
the generic term for lantern. Andons are only one type. "Smaller
standing lanterns, usually made of iron, are known as andon. Andon
became poular during the Edo period (1600-1868) for interior illumination,
especially within the home. They usually rest on four legs and have cut-out
designs decorating their sides... ¶Andon come in many different
shapes and sizes and serve a decorative as well as utilitarian function.
Some andon are made of paper with a rigid wooden frame and open top.
These usually contained lamps burning rapeseed oil or candles; the modern
version is often wired for electricity. One of their most attractive
features is the oil plate (aburazara [油皿 or あぶらざら]) designed to catch
the dripping oil; these are often decorated with beautiful pictorial designs
and are highly valued today."
Encyclopedia of Japan, vol. 4, p. 368, entry by Nakasato Toshikatsu.
See also our entry on
to contrast the difference between the andon and the hanging lantern.
In an 1880 section of "The Quarterly Review" it is
stated that if a bachelor lights his pipe off an andon instead of an
hibachi he will remain a bachelor.
A fish which is
referred to by several names: Anglerfish, monkfish, frogfish, et al. An ugly
bottom-feeder which was eaten in pre-modern times "...by the common
people, especially in Edo (now Tokyo)..." to welcome the arrival of winter.
Encyclopedia of Japan,
vol. 1, 1983, p. 56.)
Add goosefish as an
alternative name just in case you want to look this creature up on Google or
This fish served as an
element/prop in certain early, i.e., late 18th c. kabuki plays where they
are seen being carried by a string. They are still used in modern cooking.
One web site had a great photo of Julia Child preparing one of those ugly
After looking for several years
we finally found a photo we could use. This has been done through the aegis
http://commons.wikimedia.org/. This was
posted by Alexander Mayrhofer who gave permission for its use elsewhere. In
this case the monkfish (Lophius piscatorius) was photographed in
Bergen, Norway and while I am sure it differs slightly from those found in
the waters off Japan the comparison is close enough. We are grateful for Mr.
Mayrhofers permission to reproduce this image here.
There are at least four representations of ankō in 18th century prints.
Although I have seen a gazillion woodblock prints over the years those are
the only ones I can remember presenting those ugly, ugly fish. In the first
case from 1766 Bunchō shows an actor carrying two of them by a cord. Why he
is carrying them is inexplicable. For some strange reason these fish came to
be stand-ins for the the bell at the Mukenzan Kannon Temple. The bell when
struck brought worldly wealth, but it also brought eternal damnation and
suffering. In 1786 Shunkō created an image with three actors and one of them
"...inexplicably, carries two frogfish (ankō) suspended from a piece of
string." Below are details of these fish from both prints. The one on the
left is the Bunchō.
Of course, researching further
led to new information about ankō. There is a book entitled Sustainable
Sushi: A Guide to Saving the Oceans One Bite at a Time by Casson Trenor
(2009) which introduced me to the term ankimo (あんきも), the liver of the ankō,
which seems to be a bit of a delicacy, an endangered delicacy. "Monkfish
liver is similar to a fine pâté in texture and is often smoked or
steamed..." "Monkfish was once considered a trash fish - no doubt partially
due to its frightening appearance - and has only recently become acceptable
to the American palate." As a sales ploy it is often passd off as scallops,
scampi or even the "poor man's lobster." The author warns against over
fishing because the ankō lives on the sea floor and has to be "...harvested
using bottom trawls..." and suggests you pass on ordering it if you want it
to be available in the future. The image on the left below is by トリュフ
(Toryufu) while the one on the right is by Anyarei.
Both were posted at
Chado: The Japanese Way of
Tea, by Soshitsu Sen, Weatherhill/Tankosha, 1979, p. 617 is a nice
description of various ways to eat ankō - preferably in December. "For
suppon-ni, slices are cooked with sake and kelp in cold water,
seasoned appropriately and served with chopped and washed Welsh onion, and
ginger. For nimono it is garnished with wheat-glutin bread like
chôji (light texture)-fu or shônai (thick, dried, baked)-fu.
Since ankô is too soft to be cut on a board, it is hung up and cut;
this is called tsurushi-giri. A pot of ankô and vegetables
cooked in front of guests is not elegant but is quite tasty, especially the
so-called seven tools of ankô are savoury: the innards such as the
liver, gills, tail fin, ovary, stomach, cheek flesh and skin." The authors
quote a saying: "Ankô has seven props making it worth its price."
In Japan's Underclass: Day
Laborers and the Homeles by Hideo Aoki (2006) the term anko refers to
the lowest class of day laborers (p. 142). The author explains in footnote
28 (p. 285) that "'Anko' is short for 'chōchin-ankō
(lantern angler fish)', and is used to describe day laborers because they
stand on the streets, waiting for labor recruiters to bring news of jobs,
thus resembling the deep-sea fish which waits motionless for small fish to
be attracted to its lure." On p. 231 Aoki explains that the term anko has
been in use since the early 1950s when so many destitute Japanese were in
need of work.
On Oct. 6, 2004 a food article
on ankimo by Troy Sawaisanyakorn appeared in the San Francisco Chronicle. In
it he answers one of the questions I am always asking myself: How far back
does this or any subject go in Japanese history. "Ankimo has been eaten in
Japan longer than anyone can trace. Many believer that fishermen first
prepared it because they could not afford to discard any part of their catch
including the big liver. And it is big. One monkfish liver is more than a
half-foot long and weighs over a pound." Sawaisanyakorn also stresses the
over-fishing/depletion issues around the ankō. He quotes one research
analyst as saying that the liver is now more valuable than the meat of the
rest of the fish. This causes a counterproductive effect because it
encourages fishermen to seek out ankō especially for its liver.
Hillel Wright in noted in an
article from May 23, 2010 on fugu and ankō in the Japan Times that
when he was younger he took Latin and learned the phrase De gustibus non
est disputandum or loosely translated would come out as "There is no
accounting for taste." He says that a Japanese counterpart might be the
expression: In the west, it's fugu; in the east it's ankō. West and
east here refer to regions of Japan only. He also adds that fugu is the only
fish the Emperor and the Imperial family are forbidden to eat because it can
be poisonous. ¶ In Japan fugu and ankō have attained cult status and for
that reason can be particularly pricey. The latter is a specialty in
Shimonoseki and Ibaraki (茨城県 or いばらきけん) prefectures. Since ankō are bottom
feeders they are generally a by-product of flounder and mackerel fishing. ¶
Hillel wrote: "In the past, fishermen cooked anko on board ship without
using any of the vessel's precious supply of fresh water, since 80 percent
of the fish's body weight is water." ¶ The author also mentions one special
dish called dobu jiru (どぶ汁) in which the whole fish - ugly,
disgusting, slimy parts and all - is cooked in a stew along with such
ingredients as leeks, daikon and miso. The winter months are the best time
to eat ankō when they are caught fresh.
According to an article
in the Daily Yomiuri from Jan. 9, 2010 there are about 300 kinds of
anglerfish. The kiankō (きあんこう) or type of yellow goosefish makes the
best catch. The article says that Hirakata Port in the city of Kita-Ibaraki
at the northern most part of the coast of Ibaraki prefecture is where
dobu jiru originated. They state that it is the orange fat oozing from
the liver that gives it its special taste.
Above is a bowl of dobu jiru
posted at commons.wikimedia.org by Hirotomo