Kara-kasa thru Ken'yakurei

JAPANESE PRINTS

A MILLION QUESTIONS

TWO MILLION MYSTERIES

Ukiyo-e Prints

浮世絵版画

Port Townsend, Washington

INDEX/GLOSSARY

Kara-kasa thru Ken'yakurei

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 photo of the fruit of the Korean dogwood tree

was taken by my friend Evan Black. It was

be used for January thru

April 2013.

TERMS FOUND ON THIS PAGE:

Kara-kasa, Karazuri, Karigane, Kariyasu, Karuta-e, Karyōbinga,

Kasa, Kasa, Kashirabori, Kashiwa, Katabami, Kata-hazushi,

Kataoka Nizaemon VIII, Katō mado, Katsuo,

Katsuobushi, Katsura, Katsureki-mono, Katsushika Hokusai,

Kawakita, Kawarazaki Sanshō, Kawatake Mokuami,

Kawatake Shinshichi, Kaya,

Kazaguruma, Kazami, Kazashi, Kebori, Donald Keene,

Keisai Eisen, Kemari, Kensaki, Kensaku and riken,

Kentō and Ken'yakurei

唐傘, 空摺, 雁金, 刈安, 加留多絵, 迦陵頻伽, 傘,

笠, 頭彫, 柏, 酢奨草, 片外し, 片岡仁左衛門, 火頭窓, 鰹, 鰹節,

桂, 活歴物, 葛飾北斉, 河原崎三升, 河竹黙阿弥, 河竹新七, 蚊屋, 風車,

汗衫, 翳, 毛彫, 渓斎英泉, 蹴鞠, 剣先, 羂索 & 利剣 and 見当

からかさ, からずり, かりがね, かりやす, かるたえ, かりょうびんが, かさ,

かさ, かしらぼり, かしわ, かたばみ, かただ.ほり.ちょう, かたがみ,

かたはずし, かたおか.にざえもん, かとうまど, かつお, かつおぶし,

かつら, かつれきもの, かつしか.ほくさい, かわきた, かわらざき.さんしょう,

かわたけ.もくあみ, かわたけ.しんしち, かや, かざぐるま, かざみ, かざし,

けばり, ドナルド・キーン, けいさい.えいせん, けまり, けんさき,

けんさく & りけん, けんとう and けんやくれい

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.

TERM/NAME

KANJI/KANA

DESCRIPTION/

DEFINITION/

CATEGORY

Click on the yellow numbers

to go to linked pages.

Kara-kasa

唐傘

からかさ

The print to the left shows the actor Arashi Sangorō III pretending to be an umbrella monster. The accompanying poem reads: "My flower umbrella/ tattered and worn/ in the guise of a monster!" Julia Meech wrote: "A one-legged umbrella monster with a long tongue appeared on the scene with the surge of ghost plays in the early 19th century.... The knee of Sangorō's retracted left left is just visible under the rim of the umbrella.... This umbrella demon has a depression on his head, suggesting that he is doubling as a kappa, another nasty goblin from Japanese folklore..." (Source and quotes from: Rain and Snow: The Umbrella in Japanese Art, by Julia Meech, Japan Society, Inc., 1993, cat. entry #92, p. 118)

The image shown above is a detail from a book illustration also by Toyokuni I.

In their authoritative book on surviving Japanese monsters Hiroko Yoda and Matt Alt have a whole section on the 'Haunted umbrella'. It is paired with the 'Haunted lantern' because they are often seen together. They are known for their "Freakishly large tongue... [and] Single gnarly leg..." Their "Offensive Weapons" are "Bronx cheers, eerie moans, [and] erratic movement."

Their weakness: Being ignored. They hate that, but that is okay because they have very short attention spans. Also, there is no record of their ever having actually injuring or killing anyone.

"The most popular portrayal of the Kara-kasa, whose name simply means 'paper umbrella' or 'paper parasol,' is of a cyclopean umbrella with a lolling tongue and a gross-looking hairy male leg in place of a handle, but other versions - perhaps subspecies? - have been reported as well." Sometimes they have two eyes shown close together and sometimes just one.

(Source and quotes: Yokai Attack! The Japanese Monster Survival Guide, by Hiroko Yoda and Matt Alt, Kodansha International, 2008, pp. 106-109)

Kara-kasa literally means 'paper umbrella'.

Karazuri

空摺

からずり

Blind printing or embossing.

Karigane

雁金

かりがね

Wild geese crest or mon: According to Merrily Baird the return of migrating geese was so important that it gave its name to the 8th lunar month. This is not so odd when one considers how the months and days got their names in the West.

"The importance of geese in Japanese art was further secured by stories of several military heroes who had achieved victory in battle when a sudden breaking of ranks by flying geese signaled an ambush. [Didn't the ancient Greeks or Romans use domesticated geese the way we use guard dogs?] This protective role of the birds led to their frequent use in decorating sword furnishings and possibly also their adoption as a family crest motif."

Source: Symbols of Japan: Thematic Motifs in Art and Design, pp. 111-112.

John W. Dower (The Elements of Japanese Design pp. 94-5) that in some of the earliest depictions of flying geese in Japanese art a simple "v" was used. Later when geese were portrayed in crests the head was added. However, the form seen to the left is referred to as the "knotted goose". These two stylistic approaches were far more popular in the use of family mons than more realistic examples.

The other night - today is March 30, 2007 - I was reading Roger Keyes catalogue of the Osaka prints in the Philadelphia Museum of Art and ran across an entry about two death or memorial prints dedicated to the passing of a famous actor. One shows Utaemon IV accompanied by 'his farewell poem': "Returning geese, if you are going to the country of the west, please take me with you." Keyes notes that "Migrant geese often appear in memorial or farewell poems. The country of the west is Amida Buddha's Western Paradise."

Source and quote from: The Theatrical World of Osaka Prints, by Roger S. Keyes and Keiko Mizushima, Philadelphia Museum of Art, 1973, p. 188.

That led me to dig a little deeper. I remembered a reference to bird dances from the Kojiki (古事記 or こじき: 712), the most ancient Japanese text which portrays indigenous, non-Buddhist beliefs. "Bird bones have been found resting on the chests of ancient human skeltons, and the Kojiki alludes to a custom whereby mourners dress up as birds. The evidence suggests, then, that the ancient Japanese believed that the dead turned into birds, or perhaps birds carried them to another world."

Quote from: Japanese Death Poems: Written by Zen Monks and Haiku Poets on the Verge of Death, introduction and commentary by Yoel Hoffmann, Charles E. Tuttle Company, 1996, p. 34.

There is also a reference in the Kodansha Encyclopedia of Japan (Vol. 3, p. 13 - entry by Saitō Shōji) which states that "In the reign of the legendary emperor Nintoku in the KOJIKI (712), there is an anecdote in which the laying of an egg by a goose was taken as an auspicious sign of the emperor's enduring rule. (Geese normally do not lay eggs during the season of their stay in Japan.)" Geese are also used as a poetical allusion to the coming of autumn.

The image to the left of flying geese is a detail from a print by Bunrei and was sent to us by our generous contributor E. Once again thanks E!

Kariyasu

刈安

かりやす

Kariyasu or Miscanthus tinctorius: This is one of the plants - a grass, in fact - used to create a yellow colorant in dyeing fabrics. Apparently it was also used in printing woodblock images although none of the contemporary books on technique seem to make references to it. Perhaps this is due to the fact that this was one of the colors which faded greatly and therefore would not be part of the palette of modern printers. However, it is mentioned in Japanese Woodblock Prints: A Catalogue of the Mary A. Ainsworth Collection by Roger Keyes as one of the early traditional organic colorants. (cf. "Identification of Traditional Organic Colorants Employed in Japanese Prints and Determination of their Rates of Fading" by Feller, Curran and Bailie - pp. 253-261.)

Miscanthus tinctorius is a tall grass which grows on the slopes of mountains. These images taken by Shu Suehiro were from his hike on Happō One Mountain in the Japanese Alps not far from Nagano. A popular ski area in the winter it is considered a great hiking region during warmer months.

According to the Museum of Fine Arts, Boston this yellow "...dye is primarily composed of anthraxin and related flavonoids..." which are mainly luteolin glycosides. They also note that when the mordant is alum this colorant is not very lightfast. Perhaps that is why it is so difficult for us today to identify this colorant in early prints. Hence, luteolin is the main colorant.

When fresh, I believe, this dye can be a bright yellow. When mixed with other dyes everything from mustard yellow to a moss green can be produced.

In an article by Watanabe Hitoshi and Takahashi Yasuhiro published in the "Bulletin of Japan Association of Botanical Gardens" in 2006 they stated that "...the true M. tinctorius population is very small.... The length of beard at the tip of the spikelet and the density of down on the leaf blade are the most important features" The spikes are discarded and only the stem and leaves are used [in creating the dye.] The harvest should be dried quickly before soft, ground water with the least number of impurities is added. Camellia ash helps bring out the brightest color.

Shu Suehiro has very generously given us permission to use the three photos to the left. He operates a wonderful and expansive web site dedicated to Japanese plants. We would urge you to take a look. There is much of interest there.

http://www.botanic.jp/index.htm

Don't forget that color descriptions are not exact. As there are many shades of green or blue for example, there are many slight variations within each of the colors shown here which may or may not conform precisely to your own perceptions of what they should be. Several sources have said that kariyasu is the color of a Buddhist monk's 'safron' robe. That is why we are posting the photo below. It is greatly cropped from an image posted at commons.wikimedia.org. by MichaelJanich.

Karuta-e

加留多絵

かるたえ

Playing card picture(s): The image to the left is by Shunsho (春章 or しゅんしょう) and Shigemasa (重政 or しげまさ) from the 1776 edition of the "Seiro bijin awase sugata kagami" (青楼美人合姿鏡 or せいろう.びじん.あわせ.すがた.かがみ).

This image was generously contributed to our site by E. Thanks E!

Karyōbinga

迦陵頻伽 (?)

かりょうびんが

A heavenly singer. Half-bird, half-human. Its voice is likened to that of the Buddha. In Royall Tyler's translation of "The Tale of Genji" (vol. 1, chap. 7, p. 135 Genji's voice is praised 'to the heavens': "His singing of the verse could have been the Lord Buddha's kalavinka voice in paradise." It brought the emperor to tears. Arthur Waley in his translation (p. 150) states: "...and in the song which follows, the first movement of the dance his voice was sweet as that of Kalavinka whose music is Buddha's law." Seidensticker (p. 140) said that Genji's audience "...could have believed they were listening to the Kalavinka bird of paradise."

The karyōbinga is the Japanese name of the kalavinka, i.e., the bird which sings in paradise. Long before the introduction of Buddhism the Japanese had a traditional lore devoted to human/bird hybrids. They appear in the Kojiki which is the earliest written account of Japan's distant past.

As of now we don't have an example of a karyōbinga in an ukiyo print which we can display here, but we are almost positive we have seen one somewhere. If anyone can help us in this search please contact us.

We know such a thing exists because there is a hand-colored print by Torii Kiyomasu I in the Boston Museum of Fine Arts with a karyōbinga. Dated from the first decade of the 18th century it illustrates a scene from a kabuki play "The Treasure Boat of the Land of Brahma" (Bontenkoku takarabune - 梵天国宝船 or ぼんてんこく.たからぶね). Remember - many early kabuki plays had a strong religious element to them and that this figure is not to be confused with other bird-men (or -women, if you like.)

Kasa

傘

かさ

An umbrella

Kasa

笠

かさ

(Bamboo) hat: "The sedge hat had patrician rather than peasant association in traditional Japan, and thus it was not anomalous that the haughty upper classes developed this as a design."

Quoted from: The Elements of Japanese Design, by John W. Dower, p. 114.

Either kasa or amagasa (雨笠 or あまがさ) may be used to mean rain hat. Since kasa was a homophone for the word for syphilis, leprosy, a boil or skin eruption (瘡). For this reason rain hats became inextricably linked to certain afflictions like smallpox and also socially transmitted diseases. Straw hats became a symbol of divine protection. "Children were to begin wearing these hats before catching smallpox. Motoori Norinaga 本居宣長 (1730-1801), too, refers to this protective hat in his Kojiki den 古事記伝. He notes that someone who prays for a benign case of smallpox should go to the shrine of Sagi dymyōjin and borrow a bamboo hat, which is to be placed and honored in the house. Once recovered, the person is to make a second hat and to return it to the shrine with the first. Others will then borrow it in turn. That is why hats accumulate at the shrine."

Quoted from: "Demonic Affliction or Contagious Disease?: Changing Perceptions of Smallpox in the Late Edo Period",

by Hartmut O. Rotermund, published in the Japanese Journal of Religious Studies, 2001, vol. 28/3–4, p. 378.

Kashirabori

頭彫

かしらぼり

Head carver: "There were two categories of carvers, the kashirabori (literally carvers of the head) and the dōbori (carvers of the body). The kashirabori were the most highly skilled and had overall responsibility for the blocks and would hand out work to the dōbori in line with their abilities."

Source: Japanese Woodblock Printing, by Rebecca Salter, University of Hawai'i Press, 2001, p. 61.

For more information see also our entry on menbori. Like the term menbori there are very few references to kashirabori in English.

Kashiwa

柏

かしわ

The oak leaf was once used as a surface for offerings to the gods. "By the late Heian period, the oak tree was regarded as the residence of the protective deities of forests and groves. This was one of the more popular crests among the warrior class, particularly among close devotees of Shinto."

Quoted from: The Elements of Japanese Design, by John W. Dower, p. 114.

Remember there are numerous other variations on this motif which were used as crests or mons.

Katabami

酢奨草

かたばみ

The oxalis or wood sorrel: "In the early days in Japan, the leaf of the wood sorrel was used to make a medicinal salve, and also to polish mirrors." Popular as a design during the Heian period it was often later used by member of the warrior class. Because the plant spread prodigiously warriors saw this as an auspicious sign of their own fertility. An added martial element to the katabami mon or crest was the insertion of blades radiating outward as in the example to the left.

Source and quote from: The Elements of Japanese Design, by John W. Dower, p. 84.

Remember there are numerous other variations on this motif which were used as crests or mons.

The image to the left on the bottom is shown courtesy of Paghat the Ratgirl who offers a wonderful and literate web site about plants - and so much more. Do yourself a favor and visit it often at:

http://www.paghat.com/gardenhome.html

Katada Hori Chō

(aka Katada Chojirō)

斤田

かただ.ほり.ちょう

Master carver of woodblocks working in the early 1860s to as late as 1878. We know that he worked for more than one publisher: Kakumoto-ya Kinjirō, Izutsu-ya, Ise-ya Zenazburō, Etsuka, Tsunoi and Arai Kisaburō. His seal appears on prints of Toyokuni III, Kunichika and Chikuyo.

Katagami

型紙

かたがみ

Literally 'paper pattern': Mulberry paper specially treated with astringent persimmon juice cut into intricate and delicate patterns to be used as stencils for fabric designs. Known since the 12th century these stencils were used to produce katazome. Ukiyo prints are rife with such dye-resist kimonos.

To the left are the cover (below) of Carved Paper: The Art of Japanese Stencil, the best book on the subject out there in English. (Edited by Susan Shin-Tsu Tai with contributions by Susanna Campbell Kuo, Richard L. Wilson and Thomas S. Michie, published by the Santa Barbara Museum of Art and Weatherhill, Inc., 1998)

The top image is a detail of the leaping fish on the cover. Notice the fine threads which help hold the delicate design together. Some katagami have such threads and some do not.

Kata-hazushi

片外し

かたはずし

A hairstyle of a palace servant.

At various times sumptuary laws were enacted by the ruling powers in an attempt to control social behavior. This extended to artists and their publishers and pretty much everyone else. Certain images were proscribed and it became a battle of wills as to who could outwit whom. In The Passionate Art of Kitagawa Utamaro (text volume, p. 247) Timothy Clark (ティモシー .クラーク) commented on this by addressing the subject of altered forms.

One Utamaro print clearly shows a woman wearing a kata-hazushi hairstyle. A different, but still original printing show another hairstyle.

"A second printing exists in which the head area of the block has been plugged and recarved with a normal Katsuyama-style hair-do... Perhaps this was done to avoid any possible censure from the authorities for showing a hair-style immediately associated with a samurai household."

The detail to the left is not one of those Utamaro examples, but is from a print by Toyokuni I.

Kataoka Nizaemon VIII

片岡仁左衛門

かたおか.にざえもん

Nizaemon VIII (1810-63) was born in Echigo (越後 or えちご) and began his acting life as Ichikawa Shinnojō (市川新之丞 or いちかわ.しんのじょう), the adopted son of Ichikawa Danjūrō VII. He became the manager of a theater or zamoto (座元 or ざもと) in Osaka specializing in children's kabuki or kodomo shibai (子供芝居 or こども.しばい). After Shinnojō/Nizaemon had a falling out with his adoptive father he changed his name to Mimasu Iwagorō (三枡岩五郎 or みます.いわごろう). When he became a pupil of Arashi Rikan II Iwagorō took the new name of Arashi Kitsujirō (嵐橘次郎 or あらし.きつじろう). While studying with Rikan II Kitsujirō learned how to perform outside of shrines and temples. When Nizaemon VII adopted him Kitsujirō changed his name again in the 4th month of 1833 to Kataoka Gatō I (片岡我当 or かたおた.がとう). Nizaemon VII died in 1837. At that time in the 8th month Gatō took his adoptive father's haiku writing pen-name or haimyō (がごう). Now he was called Kataoka Gadō II (片岡我童 or かたおた.がどう). (Professor Leiter notes that "...a different sequence of ordinal numbers is used for bearers of the haimyō.") He came to be regarded as one of the great performers of leading male roles. In 1854 he joined the Nakamura-za in Edo and three years later in the first day of the 4th month of 1857 he changed his name to Nizaemon VIII. "Since his good looks resembled those of the immensely popular Danjūrō VIII, he was almost as popular in Edo as in Kamigata. After eight years away, he returned to Osaka in 1862, dying there a year later." (Leiter, p. 297) Although he played a full range of roles Leiter says he was most successful as a handsome young lover. Two of his own sons and one who he adopted all became successors to the name Nizaemon. ¶ We know that he was the subject of prints by Hirosada, Toyokuni III, Yoshitsuya, Hirokane, Yoshikuni and Kunisada II.

Click on the image above to see the full unaltered print.

Katō mado

火頭窓

かとうまど

A cusped, bell-shaped window: "The form of the flame-shaped window, katō-mado (literally, firelight window), which is also called andon-mado, is almost alien to the whole composition of rectangular planes, linear construction, and geometrically simple forms, and suggests that its major function is of a decorative nature. It is a rather common sight in shrines and temples, while its use in the residence is confined to the wealthier class who can afford to accentuate the place of the picture recess, tokonoma, by an ornamental window and a more effective light source than could be provided by a sliding door, shoji." Quoted from: Measure and Construction of the Japanese House by Heino Engel, p. 124.

In the Castles of the Samurai: Power and Beauty (p. 102) it says that this style of window was introduced from China in the 13th century.

The image to the left is from a print by Yoshitoshi. Ignore the figues and the silhouette and concentrate on the shape of the window.

Katsuo

鰹

かつお

Bonito: Katsuwonus pelamis - also known as the skipjack tuna, et al. It was formerly called the Euthynnus pelamys.

The detail above is our adulterated image from a print by Hiroshige.

When Edward Strange wrote about the original print by Hiroshige in 1925 he identified the plants floating near the fish as being cherries. However, this appears to be a mistake. In the unadulterated version of this print there are two poems printed above the fish. One reads:

Fresh bonito taste best

when you let it melt in your mouth

under the snow of Kamakura.

"The name of the flower depicted here means literally 'under the snow'." That flower is the saxifrage. (Source and quotes: Hiroshige: Prints and Drawings by Matthi Forrer, cat. entry #84)

This is a minor point, but a great quote from page 8 of Yoshiwara: The Pleasure Quarters of Old Tokyo by Ethel and Stephen Longstreet which makes mention of bonito. "The Americans, being sinning males, soon became well acquainted with the famed geisha and courtesan houses along the river Sumida. A geisha party that meant soft glow from many-colored lanterns, the dissonant sounds of the samisen, a mossy garden with elegant trees, a banquet with pickled sea urchin eggs, green tea, dried seaweed, bonito entrails, mushrooms and cuttlefish served with maple leaves and chrysanthemums."

Below is a photo of a Katsuwonu pelamis caught off the coast of Java.

It was posted at commons.wikimedia.org by Wibowo Djatmiko.

Katsuobushi

鰹節

かつおぶし

Dried bonito. The image to the left (by Kunisada) shows these dried pieces of fish incorporated into a woven wreath. 1

The image above is by Toyokuni I.

Donald Keene quotes a senryū, normally a comic poetic form, with a poignant messge.: "Stuck in his sleeve/ When he goes begging for milk,/ A dried bonito". Keene interprets this as a father with a new born whose mother died in childbirth. In exchange for the milk he is ready to present them with a dried bonito. (Source and quote: World Within Walls, by Donald Keene, Holt, Rheinhart and Winston, 1976, p. 531)

"Smoked and dried, katsuo bushi, it is given as a present at weddings, births and other family feasts. For katsu also means to win and katsuo, success in life." Quoted from: The Animal in Far Eastern Art: And Especially in the Art of the Japanese Netsuke, with References to Chinese Origins, Traditions, Legends, and Art by T. Volker, p. 21.

Katsura

桂

かつら

One of several woods like hōnoki and yamazakura used to print woodblocks. This type is often used in modern printmaking. 1

Katsureki-mono

活歴物

かつれきもの

Kabuki's 'living history plays' 1

Katsushika Hokusai

葛飾北斉

かつしか.ほくさい

Major 19th c. artist (1760-1849).

The image to the left was sent to us by our generous correspondent E. and is one of that collector's favorite images. Thanks E! 1

Kawakita

かわきた

A village where a special kind of ganpi was made. 1

Kawarazaki Sanshō

河原崎三升

かわらざき.さんしょう

Kabuki actor (1839-1903).

Kawatake Mokuami

河竹黙阿弥

かわたけ.もくあみ

Kabuki playwright 1816-93 1

Kawatake Shinshichi

河竹新七

かわたけ.しんしち

(See above) A name used by Mokuami until 1880. 1

Kaya

蚊屋 or 蚊帳

かや

Mosquito net: There is a small but beautiful group of three prints by Utamaro each showing two women, one under or behind mosquito netting and the other nearby just outside of it, dating from ca. 1794-5. Inspired either by Utamaro or his publisher Tsutaya these prints are remarkable examples of the carver's and printer's art. Poetically entitled "Woven in Mist" or kasumi-ori (靄織 or かすみおり) the name captures it all. (Actually the full title is "Model Young Women Woven in the Mist", but I think you get my point.)

The detail from the print to the left is not by Utamaro but by Kunisada created several decades later. Nevertheless, this image makes it clear how refined the representation of the mundane could be even in woodblock form.

Source: The Passionate Art of Kitagawa Utamaro, published by the British Museum Press, London, 1995, Text volume, p. 149.

We have added a more extensive entry on kaya to our new blog site. It is dated May 15, 2009. If you would like to read more than please visit it at http://printsofjapan.wordpress.com/.

Kazaguruma

風車

かざぐるま

Pinwheel (of windmill): One type of clematis is given this name because of its resemblance to pinwheels. Also, one source says that there is a slang term, kazaguruma, referring to a policeman who only circles high crime areas.

Ōkuma Kotomichi (大隈言道 or おおくまことみち: 1798-1866) wrote poems about children. At least one included a kazaguruma.

Sleeping on

the mother's back

the pinwheel spins

even in the baby's

unconscious hand.

Quoted from: Early Modern Japanese Literature: An Anthology, 1600-1900, edited by Haruo Shirane, translated by Peter Flueckiger, pp. 958-9.

"In Japan, the wind-mill is a common toy, and is made of paper vanes fastened on slips of bamboo, which are arranged like the spokes of a wheel. The vanes are usually alternately red and white, or other colors. It is commonly called kazaguruma (wind-mill), and sometimes hanaguruma (flower-mill), the latter name being applied to a special kind." (Quoted from: Korean Games with Notes On the Corresponding Games of China and Japan by Stewart Culin, p. 22)

Kazami

汗衫

かざみ

A formal type of Heian court clothing for women. The character 汗 or ase means sweat or perspiration.

The image to the left was sent to us by E. our wonderful contributor. It is a detail from a 1789 book illustration by Shunsho portraying a Heian poetess in kazami garb.

Thanks E!

Kazashi

翳

かざし

While doing research on Japanese fans I ran across a reference to the kazashi which I thought was too good to pass up. U. A. Casal in his "Lore of the Japanese Fan" (Monumenta Nipponica, vol. 16, no. 1/2, 1960, p. 94) wrote: We may note that long into historical timer; the nobles of Japan used a so-called kazashi", a fan-shaped object with a long handle, to
have their faces screened from the plebeian eyes when they had to pass through a street, and that such ornamental kazashi are still carried in certain religious processions. Symbolically the deity is similarly protected from the profane eyes of mortals
while on his way from one shrine to the other."

For more information in general on fans see our entries on ōgi and uchiwa.

Kebori

毛彫

けばり

Hair ( or hair line) carving: Some sources state that it takes the most experienced carvers to create the fine hairs seen in some prints. It is far too difficult for beginners. Only a master can do this. The lines had to be cut in a precise, but not boring way.

This term is also applied to metal work carving techniques. In this case skill and uniformity count a great deal, but some experts say kebori is not the most important or difficult form of engraving.

Note: I have no idea why, but kebori, written with the same characters, can mean 'fishing lure or fly'.

Keene, Donald

ドナルド・キーン

Contemporary expert on Japanese literature and culture. 1, 2

Keisai Eisen

渓斎英泉

けいさい.えいせん

Artist 1790-1848 1, 2, 3

"A popular and prolific painter, book illustrator, and designer of ukiyo-e woodblock prints; a playwright, novelist, biographer, and amateur historian. Real name Ikeda Yoshinobu. Eisen was born in... Edo... the son of Ikeda Yoshiharu, a poet, calligrapher, and devotee of the tea ceremony. His earliest works are thought to be two illustrated novelettes published in 1808 and 1809 signed Keisai Shōsen; he adopted the name Eisen in 1816. He wrote plays as Chiyoda Saiichi, fiction as Ippitsuan Kakō, biography as Mumeiō, and historical essays as Kaedegawa Shiin. He designed erotica... as Insai and Insai Hakusai..." As a child he studied painting with Kanō Hakkeisai, ukiyo-e with Kikukawa Eiji and studied Chinese painting and the work of Hokusai. ¶ In 1833 he wrote his autobiography. "Close to that date he became proprietor of the Wakatakeya, a brothel in the Nezu district of Edo. The brothel burned and Eisen was accused of misappropriating another man's seal and absconding." This may explain a disruption in his print work. He stopped designing woodblocks in the late 1830s and devoted the rest of his life to literature.

Source and quotes from: Kodansha Encyclopedia of Japan, entry by Roger Keyes, vol. 4, pp. 189-90.

"A new style emerges in Kunisada's beauty prints following his return to Edo. The 1823 triptych Morning After Snow is an example. The rounded, elegant quality that distinguished his earlier prints has given way to an angular, sharp-edged line, Suzuki Jūzō suggests that Keisai Eisen... a student of Eizan, was the artist who initiated this change."

Quoted from: Kunisada's World, by Sebastian Izzard, Japan Society, Inc., 1993, p. 26.

The first use of Prussian blue on oban prints of women may have been on those of Eisen in ca. 1830. See our aizuri-e entry on our first index/glossary page.

Ibid, p. 29.

"Eisen... began to design his typical standing courtesans in a bout 1821 and the curves of Eizan gave way to compositions made up of short straight lines showing the increasingly stooping, 'hunchbacked' women, who all seem to be in the grip of intense emotion. In 1823 for three or four years he started to produce some striking half-length portraits of geisha... In 1829 he started quite a vogue by designing prints coloured almost entirely in different shades of berorin, a new, blue pigment. These are known as aizuri-e. His pupil Teisei Sencho continued to produce prints of courtesans in the same style and Eisen became increasingly involved in landscape prints... and kacho-ga [i.e., bird and flower pictures]..."

Quote from: The Art of Japanese Prints, by Richard Illing, published by Gallery Books, 1983, p. 82.

"Eisen... is less well known as a designer of kacho-ga but his working this field shows a sensitive artistic talent and can well stand comparison with his more famous contemporaries."

Ibid., p. 106.

Eisen was one of the artist who illustrated the first four of eighteen volumes of the Iroha Bunko (いろは文庫) by Tamenaga Shunsui (1790-1843: 為永春水 or ためなが.しゅんすい), originally published in 1842. ¶ He also worked with Takizawa Bakin (1767-1848: 滝沢馬琴 or たきざわばきん) in 1823, 27 and 41 on his 'Biographies of the Eight Dog Heroes' or Nansō Satomi Hakkenden (南総里見八犬伝 or なんそうさとみはっけんでん) and on numerous other occasions. . ¶ Ryūtei Tanehiko (1783-1842: 柳亭種彦 or りゅうていたねひこ) was another one of the famous Japanese writers he worked with. And there were many more.

Kemari

蹴鞠

けまり

An ancient ball game akin to hacky-sack in which a small group of noblemen attempt to keep a ball in the air for the longest time. It originated in China and was first mentioned in ca. 720 in the Nihon Shoki. The field was a small area bounded by trees and the ball was covered in deerskin. Soccer players practice similar moves among themselves as warm up exercises.

Lea Baten in her Playthings and Pastimes in Japanese Prints (p. 138) notes that there were two versions of this 'game'. In the other one "...a leather ball, stuffed with horsehair and shaped like two flattened ball halves sewn together, was kicked between goalposts of flowering trees."

The image to the left is a detail from a print by Chikanobu. It was sent to us by our generous contributor Eikei (英渓). Thanks Eikei!

Kensaki

剣先

けんさき

Point of a sword and a term describing the shape of a squid.

Kensaku and riken

羂索 & 利剣

けんさく & りけん

As I have noted before there seems to be a word for just about everything. And so it is with the two items held by Fudō Myōō, one of the five wise kings of Buddhism. He carries a sword referred to as riken with which he will destroys all of the enemies of Buddhist doctrine and the special cord called kensaku with which he lassoes souls worthy of salvation.

The image to the left is a doctored detail from a print by Toyokuni III.

"The noose (pāśa) is the attribute of other Buddhist divinities, most notably the wrathful Acalanatha (Jap. Fudō Myō-ō, 'the Dhāraṇī - King, Immovable'), who embodies the Wisdom that cuts away the passions and the erroneous forms of knowledge that impede the attainment of Enlightenment. He holds the sword of Wisdom in the right hand, with which he severs these hindrances, and in his left he holds the 'binding rope' (Jap. baka no nawa) with which he hobbles the demons of obstruction and draws in beings toward liberation." Quoted from: The Symbolism of the Stupa by Adrian Snodgrass, p. 124.

Kentō

見当

けんとう

The kentō is the registration marks carved on the printing block which allows the accurate alignment of numerous colors using many blocks for a single image. It is made up of two parts: The "L" shaped section called a kagi (鍵 or かぎ); and the "straight-line guide or trait carved on the block at a short distance from..." the kagi called the hikitsuke (溝? or ひきつけ).

The image to the left was provided by David Bull the originator of the Baren Forum. Clearly it does not represent the carved block itself, but rather comes from the printing of the hanshita (see our entry on that term) from that block. A printed image done in this manner obviously reverses the lines of the block. That is, the kagi on the carved block is placed in the lower right hand corner.

After posting the original entry the other day with the print of the little boy in the boat by David Bull our generous contributor E. sent us a fanciful example by Kuniyoshi which distinctly shows the kagi in the lower right. Unfortunately the hikitsuke does not appear on this copy.

Thanks E!

Ken'yakurei

儉約令

Sumptuary laws: [Think 'sumptuous'] - Laws meant to maintain traditional distinction between classes by regulating the consumption of articles or controlling luxuriant life styles. "They appear to increase in frequency and in minuteness from about the middle of the seventeenth century through the next two centuries of the regime."

Source and quote: 'Sumptuary Regulation and Status in Early Tokugawa Japan’ by Donald H. Shively, Harvard Journal of Asiatic Studies, Vol. 25, (1964 - 1965), p. 124.

It was galling to the upper classes, i.e., samurai and daimyo, to see commoners wearing expensive garments. "The government therefore prescribed that consumption should be correlated precisely with status." (p. 126) There had been an attempt to prohibit embroidery from women's clothes, among other things, but this effort had failed. So, the government decided that only elaborate embroidery should be banned. More warnings were posted. Word was spread that a woman had been jailed for this offense. (p. 127) [One can't help but think of modern attempts being made in Christian and Islamic nations to impose dress codes on their populations.] An account from 1681 states that the shogun noticed that the women from a merchants household were 'over-dressed'. For this effrontery the man's lands and property were confiscated and he was banished. (128)

Shively relates the story of the wives of two wealthy merchants trying to outdo each other. One, a visitor to Kyōto, dazzled the locals with her stunning kimono. Her competitor, a resident of that city, then showed up with a robe embroidered with a pattern of nandina or nanten (南天 or なんてん) leaves. (Also known as heavenly or sacred bamboo.) The visitor would have won this competition until someone noticed that the berries of the nandina were made with real coral. (Ibid.) Note: This story is about the same merchant and his wife who were later banished for thier extravagance.

As early as 1648 Edo townspeople were told that their servants were not to wear silk, at least, not refined silk. In Osaka servants were forbidden from wearing obis made of silk or velvet and the same was true for their loincloths or shita-obi (下帯 or したおび). "As a garment in which forbidden materials could be worn with the least danger of detection, fancy loincloths were in favor among both men and women throughout the Tokugawa period. In the same year there was another proclamation on this subject: 'The loincloths of sumō wrestlers should not be made of silk. Even when they were invited to the mansions (of samurai) they should wear cotton loincloths". Ibid.

In 1719 new edicts were handed down which banned townspeople from wearing wool capes, household articles with gold lacquer decoarations, 3 story structures, gold or silver leaf in the architectural details, having fancy gear for their horses, elaborate weddings or funerals (p. 130), wearing long swords or large short swords and... (on and on and on.) Actually the list does not go on and on, but it probably felt that way to the commoner residents of Edo. Besides there were other restrictions: No riding in palanquins; no elaborate altar's to the dead with artificial velvet flowers or gilding of any kind using silver or gold. Ibid.

At least townsmen could carry ordinary short swords or wakizashi (脇差 or わきざし), "but long swords were reserved for samurai." Footnote 15, p. 160.

No more than 2 soups or 5 dishes were to be served during festive occasions. (p. 130) At the time of low rice harvests in 1701 the drinking of sake was not even permitted. (Footnote 18, p. 160)

At one point dyers were told not to apply extra wax to heighten a sheen. Buddhist and Shintō priests were urged to dress simply and to tone down ceremonies and processions including the use of elaborate palanquins and umbrellas. (p. 130)

The popular late 17th century author Ihara Saikaku (1642-93: 井原西鶴 or いはらさいかく) noted that many of the sumptuary laws were often ignored. "Even the loincloth for bathing is a double layer of crimson silk dyed in safflower, while the tabi are made of white satin. These are things that in former times even a daimyo's lady did not have." (p. 131)

In the pleasure quarters money trumped class. It was considered unseemly for members of the samurai class to visit such places, but they did so anyway. However, because of the stigma it was important that they not draw attention to themselves and so they dressed down. As a result, imagine their growing resentment the samurai had toward the conspicuous consumption so lavishly exhibited - even flaunted - by wealthy merchants. ¶ Shively Considering the role prostitutes played in society it only makes sense that they would want to present themselves as sumptuously as possible. However, in 1617 prostitutes were proscribed from the use of gold and silver appliqué on their clothing. Osaka proprietors were told "You should not dress prostitutes in kimono with embroidery or appliqué of gold or silver leaf, dapple tie-dyeing, or [woven material with] gold thread in it." Actors were also subject to clothing restrictions: no embroidery, red or purple linings or even purple caps. Shively notes that the wearing of purple was an Imperial Court prerogative. (p. 132) In 1636 the manager of a puppet troupe was jailed for displaying a purple curtain. (p. 133)

Shively hypothesizes that enforcement of sumptuary laws through confiscation may have been based more in greed or relief of a daimyo's debt than in an effort to punish an offender. He also notes that many merchants who were listed as agents of a daimyo, but who lived lavishly went untouched by the authorities. He adds: "The frequency with which laws were reissued suggests that the government relied more on admonition, exhortation, and threat than on actual penalties." (p. 134) Their lack of effectiveness was mocked by the term mikka hatto (三日法度 or みっかはっと) or 'three-day laws'.

In 1668 the government banned the importation of gold thread, coral, exotic woods, Dutch goods and "...curiosities in general." Later red blankets and woolen materials were added. Food items could not be sold too early or too late: Fresh tree mushrooms in the first month, fern shoots in the third, bamboo shoots in the fourth, eggplants in the fifth, etc. As a host don't even think of serving wild geese or ducks, cranes, swans or water chestnuts. And believe it or not these laws in general became even more detailed in the early 18th century: cakes and books, combs and bodkins; tobacco pouches, purses, incense burners, sake stands. Dolls couldn't exceed 9" and Buddhas were to be kept below 3'. By the middle of the 19th century the rules had reached the absurd as if they were already absurd enough. (p. 135)

Shively points out the it wasn't just the Japanese who imposed such rules and regulations. The French, the English, the Swiss and others had their own and very similar laws. And don't even get me started on the Puritans in Massachusetts. When I was younger Missouri still enforced many of its 'Blue laws'. Almost nothing could be sold on Sunday except for groceries so everyone drove across the state line to Kansas to buy most of what they wanted. Kansas merchants prospered and Missouri merchants suffered piously. ¶ Even the ancient Greeks, Romans and Chinese tried to impose their wills. In fact, the earliest Japanese attempts to control the populace through a dress code were modeled on those of T'ang dynasty China. (p. 136)

"Living in a castle town, the chonin [townsman] was constantly reminded of his mean station. Not only the location and size of his residence were restricted, but in theory his furnishings, food, and clothing were all expected to be scaled accordingly. The whole manner of living was determined by status - such motor habits as the manner of walking, sitting, bowing, even to the way of talking and the vocabulary and verb forms." (p. 143)

Note that some townspeople who were in the direct service of the shogun or a daimyo were permitted to carry two swords as the samurai did. (Ibid.)

The sumptuary laws were not applied to the townspeople exclusively. Every group, from the lowest to the highest, had their restrictions. Often this was an effort to maintain social distinctions, but it was also meant to curb spending and encourage thrift. Even the daimyo and their wives were subjected to these rules. Only so much was to be spent on clothing, gifts, weddings, religious celebrations, etc. Even the size of a lord's retinue was governed by his rank - especially when traveling in processions to and from their home territories or on pilgrimages. "All of these instructions seem to have been rather ineffective." (p. 148) Everyone was ranked and within each rank their were further distinctions between the highest and the lowest. These too had their rules.

Marriages between different daimyo families were held by law in Edo in the 17th century. (p. 149)

Prior to the peaceful times of the Tokugawa era daimyos earned glory on the battlefield. However, as residents of Edo their only glory came from opulence and this pitted one against the other financially. (p. 150) The government was not as concerned with this kind of high level competition because it helped drain the purses of the daimyo and thus kept them weak.

Shively quotes a government statement from 1710: "In clothing and houses, provisions for banquets, and articles of gifts, some are extravagant and others are too frugal. Both of these are at variance with propriety. The superior and inferior should observe their proper station..." (p. 152)

*** "We are inclined to consider sumptuary laws (ken'yakurei) as being entirely negative, a device for repressing the lower orders. Although most of the Tokugawa sumptuary regulations carried the message of not exceeding one's level, it was of equal importance to live up to one's level." (p. 153)

Farmers could not wear silk even if they harvested it. They couldn't wear striped material or pattern dyed cloth. "Purple, crimson, and plum colored dyes were forbidden, but pale yellow, grey, dark blue and persimmon could be worn." If a farmer returned from living in a city he had to redye any inappropriate colors or patterns. "Ordinary farmers were not to wear cotton rain capes or use umbrellas." Etc! Farmers were encouraged to eat grains and not consume the rice they grew. They were not to drink sake or brew it. (p. 154) "Ordinary farmers were not to have floor mats (tatami), paper-covered sliding doors, or verandas." Merchants were generally barred from entering agricultural villages and the list of items which could not be sold to farmers was great. This included a ban on books because keeping a farmer uneducated kept him closer to the land. Farmers were even encouraged to divorce lazy wives. (p. 155)

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