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06/01/2017

Kose Kanaoka

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Kosei no Kanaoka 巨勢金岡 / こせ の かなおか Kose Kanaoka
Kose no Kanaoka

( ? 802 — ? 897)



- quote
Kose Kanaoka was a proponent of the artistic styles of the Tang dynasty of China. Though few of his works have survived, he is known to have painted landscapes and portraits. He also founded the Kose School of Art, which is named for him. He made the first tonal gradation, and the first Buddha in crayonage style.

Active during the formative days of the aristocratic culture of the Heian period (794–1185), he was reputed to have moved beyond Chinese-inspired subject matter and techniques and to have forged a new style of painting that was uniquely Japanese. As the scion of an aristocratic family, he held court rank and the office of director of the imperial garden.
© More in the WIKIPEDIA !

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内部の襖(ふすま)や屏風(びょうぶ)には唐絵に変わり日本の風物を題材に、
なだらかな線・美しく上品な彩色
初期の大和絵の画家は巨勢金岡(こせのかなおか)
- reference source : heian-heyan.blog.so-net.ne.jp -


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Kannon Bosatsu 観音

伝説の絵師・画聖【“巨勢金剛(こせのかなおか)
- reference source : navitown.com/fukusenji/qa -

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source and more photos : kobe-u.ac.jp/~imakoma/mainichi

. Legends and Tales from Japan 伝説 - Introduction .

Many legends about a horse he painted that went off the painting to bring harm to a village. The horse would also eat the 萩の戸の萩 bush clover growing on gates.
There is also a legend from China about a painter of bulls who went wandering around at night.
『清波雑志』にも中国は江南の徐知諤が描いた牛が昼間出てきて草を食べ、夜には戻ってきたとある。

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Gifu 岐阜県 益田郡 Mashita district 下呂町 Gero

At the 蚕飼薬師堂 Kogai Yakushi Hall (with prayers for making silk) was a painting by Kanaoka (or maybe 狩野法眼 Kano Hogen) of a horse running away at night.
So someone painted a horse bridle to keep the horse in place.


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Kyoto 京都府

At the hall 武徳殿 Butokuden, in the eastern Pine Forest, there was a 鬼 Demon who ate humans.
So on the auspicious 19th day of the 9th lunar month in 892, Kanaoka was ordered to paint it on a sliding door to keep it in place.

At the temple 仁和寺 Ninna-Ji the story of the horse is told. To keep it in place the eyes were stamped out.

At the Imperial palace, a horse painted on sliding doors by Kanaoka was eating the bush clover from the gate. So the painting was changed and the horse got a strong bridle.

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Okayama 岡山

. Kibitsu Jinja 吉備津神社 .
Painting of a horse

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Tottori 鳥取県 倉吉市 Kurayoshi 余戸谷町

At the temple 長谷寺 Hasedera - the painted horse got a bridle painted to keep it in place.

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- reference : nichibun yokai database -

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- Reference - 巨勢金岡 -
- Reference - English -


. Introducing Japanese Haiku Poets .

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02/12/2016

Kasane and Yoemon

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Kasane and Yoemon 累と与右衛門

A piece of real life, about a husband killing his wife and her revenge as a ghost.
This story later became a Kabuki play.



- quote
Meiboku Kasane Monogatari
The drama "Date Kurabe Okuni Kabuki"
was premiered in the 7th lunar month of 1778 at the Nakamuraza [casting]. It had an influence on the evolutions of "Meiboku Sendai Hagi". Many scenes from "Date Kurabe Okuni Kabuki" were integrated within "Meiboku Sendai Hagi".
"The play is based on a real event involving the Date clan of Sendai during the 1660's, but censorship prevented contemporary incidents being dramatized, so the drama was set during the Muromachi period (1336-1568), and names were changed to disguise the protagonists' identity."
(text courtesy of Jean Wilson 1998)
- - - Introduction
Kinugawa Tanizô, a sumôtori patronized by Lord Ashikaga Yorikane, assassinated the courtesan Takao, Yorikane's lover, in order to save him from his scandalous love affair about to bring ruin to his household. Kinugawa Tanizô succeeded in escaping and hid himself in the village of Hanyû. Disguising himself as a farmer and calling himself Yoemon, he married Kasane, the younger sister of both Takao and the tôfu maker Saburobei. Soon after their wedding, Kasane was cursed by Takao's evil spirit and her face was horribly disfigured. Kasane was not aware of the change, however, as Yoemon forbade her to use any mirror at home.
- snip -
Dobashi - The Earthen Bridge
When she arrives at the river bank near the earthen bridge, Kasane notices the approach of Kingorô and Princess Utakata. So she hides in a bush and overhears their conversation in which Kingorô persuades Princess Utakata to marry Yoemon. Yoemon arrives and asks Kingorô to hand over Princess Utakata. As he has not brought the 100 ryô, however, Kingorô refuses to comply and, being convinced that Yoemon is in fact Kinugawa Tanizô, threatens to betray him to the magistrate's office. As Kingorô runs off in the direction of the magistrate's office, Yoemon follows him in hot pursuit.



Kasane appears from the bush and, jealous of Princess Utakata who is going to marry her husband, attacks her with a sickle. Yoemon comes back and tries to stop Kasane and in so doing accidentally cuts her wife's throat with her sickle. When she dies her face miraculously recovers its original beauty.

The tôfu maker Saburobei, Kasane's elder brother, who has been hiding in a bush, appears and goes near his sister's body. Yoemon attempts to kill himself with the sickle to atone for the horrible murder of Kasane but is dissuaded by Saburobei. He cuts off Kasane's head and takes it to the magistrate's office to pass it off as that of Princess Utakata, who is wanted by the magistrate.
- source : kabuki21.com/kasane2



Utagawa Kunisada

「与右衛門 - 松本幸四郎」Yoemon - Matsumoto Koshiro
「累 - 尾上菊五郎」Kasane - Onoe Kikugoro


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source : mfa.org/collections/object/unuma-yoemon ...

Unuma: Yoemon and His Wife Kasane,
from the series Sixty-nine Stations of the Kisokaidô Road (Kisokaidô rokujûkyû tsugi no uchi)
「木曾街道六十九次之内 鵜沼 与右ヱ門 女房累」
by Utagawa Kuniyoshi 1852


. Nakasendoo 中山道 Nakasendo Road - Kiso .
Gifu Prefecture
52. Unuma-juku 鵜沼宿 (Kakamigahara)


- quote -
Unuma-juku 鵜沼宿
was the fifty-second of the sixty-nine stations of the Nakasendō.
It was also the last post station on the Inagi Kaidō. It is located in the present-day city of Kakamigahara, Gifu Prefecture, Japan. The eastern and western portions of the old post town joined together to become a formal post town in 1651. Unuma-juku is approximately six kilometers from the preceding post town, Ōta-juku.


print by Keisai Eisen

The old post town contains such historical treasures as Kuan-ji Temple, the ancient tomb of Ishozuka, and haiku-engraved monuments left by Matsuo Bashō.
- source : wikipedia -

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. Edo Kabuki .

. Welcome to Edo 江戸 ! .


. Famous Buddhist Priests - ABC-List .

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. Legends and Tales from Japan 伝説 - Introduction .

Kasane カサネ / かさね
On the 11th day of the 8th month in 1647, Kasane was killed by her husband Yoemon at the river Kinugawa.
He later married again, but his wives were all killed by the jealous Yurei ghost-spirit of Kasane. His 6th wife bore him a child named 菊 Kiku, but this wife was also killed in September of 1671.



When Kiku was 13 years old, Kasane tried to possess Kiku, but was finally enlightened, healed from her jealousy and could pass on to the Buddhist Paradise.

- reference : nichibun yokai database -




死霊解脱物語聞書 - 江戸怪談を読む
小二田誠二 Konita Seiji (1961 - )

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rui, kasane 累(るい、かさね)

Yurei Attack!: The Japanese Ghost Survival Guide
By Hiroko Yoda, Matt Alt
O-Rui (Orui) お塁 (another reading for Kasane)
- Read the story at google books :
- source : Matt Alt, google books -

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- Reference - 累と与右衛門 -
- Reference - kasane yoemon -


. Introducing Japanese Haiku Poets .

- - - #kasane #yoemon - - -
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02/08/2016

Keichu Priest

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Keichuu, Keichū 契沖 阿闍梨 Keichu Ajari
(1640 - 1701)

- quote -
a Buddhist priest and a scholar of Kokugaku in the mid Edo period. Keichū’s grandfather was a personal retainer of Kato Kiyomasa but his father was a rōnin from the Amagasaki fief. When he was 13, Keichū left home to become an acolyte of the Shingon sect, studying at Kaijō in Myōhōji, Imasato, Osaka. He subsequently attained the post of Ajari (or Azari) at Mount Kōya, and then became chief priest at Mandara-in in Ikutama, Osaka. It was at this time that he became friends with the poet-scholar Shimonokōbe Chōryū (下河辺長流:1624 – 1686).



However, he disliked the worldly duties of his work and, after wandering around the Kinki region for a while, made his way back to Mount Kōya. Deeply influenced by the thinking of Kūkai, he also read widely in the Japanese classics under the patronage of Fuseya Shigeta (伏屋重賢), a patron of the arts in Izumi Province. After serving as chief priest at Myōhōji, Keichū spent his last years at Enju’an in Kōzu in the Province of Settsu.

His prolific works set a new standard in the study of the classics, though building on recent revivals of interest in the subject. When the daimyo of Mito, Tokugawa Mitsukuni, decided to sponsor an edition of the Man'yōshū, he commissioned Shimonokōbe Chōryū, heir to the learning of the great poet and Man’yō expert Kinoshita Chōshōshi (木下長嘯子:1569 – 1649), to undertake the project. However his dilatory approach, combined with illness, and finally death, impeded his work and the task fell to Keichū, a close friend.
The result was the latter’s Man’yō Daishōki (万葉集大匠記:1687-1690), which had a profound effect on kokugaku scholarship.


Manyo Daisho-Ki 万葉集代匠記 / 萬葉代匠記

Similarly his Waji Seiranshō   和字正濫鈔 (1693: A Treatise on the Proper way to Write Japanese Words) challenged the standard orthographical conventions set by Fujiwara Teika and reconstructed distinctions in the old Japanese lexicon based on the earliest texts. In addition to these Keichū wrote the
Kōganshō  厚顔抄 1691 A Brazen-faced Treatise, the Kokin Yozaishō, the Seigodan, the Genchū Shūi, and the Hyakunin Isshu Kaikanshō.
- source : wikipedia

kokugaku 国学 Japanese studies

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- quote -
Keichū
a commentary to the Nara-period poetry collection Man’yōshū (Collection of Ten Thousand Leaves, mid-8th c.).
Keichū’s aim in writing this work was to reconstruct as closely as possible the original meaning of the text by looking at a wide range of contemporary and near-contemporary sources. Within the work, Keichū discusses the basic principles of his approach to the study of the past, which can be summarized as follows:

Reconstruct the contemporary meaning of the work and avoid at all costs any interference from the modern reader’s expectations and beliefs.
Make use only of sources from the same time period or thereabouts.
Do not take for granted the theories contained in later commentaries, including traditionally authoritative ones, because they may not be accurate or not apply directly to the age of the Man’yōshū.

Keichū applied these principles not only to the Man’yōshū, but also to the Kokinshū and other important works of the past. Through his method he made a number of important breakthroughs that forever changed the face of scholarship on the classics.

Although Keichū’s method may seem obvious today, no one before him had used such a rigorous philological approach in waka studies. Traditionally, waka scholars studied under a master and the emphasis was on amassing the transmitted teachings of one’s school or “house” (ie) rather than on textual study. Keichū never studied under a specific master, and so was never bound by a master-disciple type of relationship. Even more important was the boom of book publishing, which enabled Keichū to obtain the texts he needed for his research with ease.

As sources for his commentary to the Man’yōshū, Keichū names the Nihon shoki (Chronicles of Japan, 720), the Kaifūsō (Collection of Fond Recollections, 751), the Shoku Nihongi (Later Chronicles of Japan, 797), the Kogo shūi (Gleanings of Ancient Words, 807), the Shinsen Man’yōshū (Newly Edited Man’yōshū, 894), and the Wamyō ruijūshō (Japanese Words by Category, ca. 938), all of which were written between the 8th and 10th centuries, and all of which were available in print when Keichū wrote Man’yō daishōki in 1683.
None of them had ever been printed prior to the late 17th century, so it can be said that Keichū’s text-based scholarship would have been impossible in earlier periods. That Keichū’s approach relied heavily on printed editions of the texts he studied can be seen from the many notes and comments that he personally wrote on his own printed editions of the classics. Keio University Library owns one such book (Fig.2).
- source : futurelearn.com/courses - Keio university -


. Man'yōshū 万葉集 / 萬葉集 Manyoshu Poetry Collection .
Manyoo-Shuu, Manyo-Shu, Manyoo'shuu, Manyōshyū
"Collection of Ten Thousand Leaves"

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- - - - - H A I K U - - - - -

Keichuuki, Keichuu Ki 契沖忌 Memorial Day for Keichu
契沖の忌日 / 正月二十五日 / 25th day of the first lunar month
- kigo for the New Year, late Winter or Spring -

一扇の軸を上座に契沖忌
issen no jiku o jooza ni Keishuu Ki

a scroll
of one fan on the seat of honor -
Keichu Memorial Day


. Iida Dakotsu 飯田蛇笏 .





. Memorial Days of Famous People - Saijiki .

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- reference : 契沖 -


. Famous Buddhist Priests - ABC-List .

- - - #keichu #manyoshu - - -
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20/07/2016

Kamada Matahachi Kamata

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Kamada Matahachi (Kamata Matahachi) 鎌田又八
(? 1657)

A fictional figure. Taken up in Kabuki.
梅鎌田大力巷説 Ume Kamata Daikikibanashi

There was a feud in a local samurai family of Iga (Mari) no Kanemitsu, who was having an affair with his brother's widow. The loyal retainer, Matahachi and the mistress of the Lord, 菊野 Kikuno, have to take the blame for it all.
They are set up as adulterers by 毬埜兼満 Mari no Kanemitsu and murdered for that crime by putting them in a basket, bound firmly back to back, and thrown in a river to drown.
But later the nun 経題尼 Kyodai-Ni tells the true story to rehabilitate them.

Matahachi was known as a strong man killing various Yokai monsters.

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source : museums.fivecolleges.edu/detai
Katsushika Hokusa 葛飾北斎

Kamada Matahachi Chikara [Kamada Matahachi (has) strength]
鎌田又八ちから
from the book Ehon Wakan Homare [Picture Book of Noted Japanese and Chinese (Heroes)]

A vertical print of a half-naked man sitting on the floor with a box to his right and a pipe container and a small box to his left. Grabing his left leg with his left hand and smoking a kiseru pipe, he inserts a brush in his sandal and uses it to write inscriptions to the left. The expert brushman, Kamata Matahachi, demonstrates his deftness with the brush. He is seated smoking a kiseru pipe, a brush is inserted in his sandal.

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Here Matahachi is shown killing a monstrous nekomata cat in the mountains of Ise Province.

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Utagawa Kuniyoshi 歌川邦芳

Kamada Matahachi of Matsuzaka fighting off wolves with a huge iron bar in the Ashigara Mountains of Izu

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Sadashige aratame Kuniteru 貞重改国輝

The immensely strong man Kamata Matahachi lifts up a huge temple pillar to put his sandal under it, in order to demonstrate his strength. A flock of disturbed pigeons fly up in front of the temple altar.
This scene happened in Karuizawa.

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source : artic.edu/aic/collections/artwork
Torii Kiyonobu I 鳥居清信

The Actors 市川団十郎 Ichikawa Danjuro II as Kamada Matahachi and
市川門之助 Ichikawa Monnosuke I as 久松 Hisamatsu
in the play "Osome Hisamatsu Shinju Tamoto no Shirashibori,"
performed at the Morita Theater, 1720, 1720

Osome Hisamatsu tamoto no chirachibori (Story of Osome and Hisamatsu, 1711)
A play written by Ki no Kaion.

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Utagawa KUNISADA

- quote -
The ghost of Kamata Matahachi
This print represents a scene from the kabuki play True record of the famous song for hand-balls, which was performed in the Nakamura Theatre in the seventh month of 1855.

The tragedy of the play concerns the Mari family. Mari Yashiro made love to his brother's widow, who had become a nun after her husband's death. When his wrong-doing came to be known to his servant Kamata Matahachi and his dead brother's concubine Kikuno, Yashiro had them both killed.

In this print, Kamata Matahachi and Kikuno appear as ghosts tied facing in opposite directions, accompanied by their spirit fires. Both are identified by the inscriptions in the cartouches.
The print is signed 'Toyokuni', the name of his teacher who Kunisada had adopted in 1844.
- source : ngv.vic.gov.au/ngvschools -

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source : ukiyo-e.org/image/mfa/sc

Actors Ichikawa Kodanji IV as Marino Kanemitsu (R),
Ichikawa Kodanji IV as Ghost of Kamada Matahachi (Kamada Matahachi bôrei) and
Ghost of Kikuno (Kikuno ga bôrei) (C),
Iwai Kumesaburô III as the Nun Kyôdai (L)




- quote -
OSOME NO NANAYAKU - "Osome's seven roles"
Osome Hisamatsu Ukina no Yomiuri

Act I, scene 1: within the precincts of the Myôken Shrine in Yanagishima
Act I, scene 2: the zashiki of the Hashimotoya
Act I, scene 3: the Koume Tobacco Shop
Act II, scene 1: at the Aburaya in Kawara-machi
Act II, scene 2: on the 2nd floor behind the Aburaya in Kawara-machi
Act III, scene 1: the michiyuki at Mukôjima
- Read the full text here:
- source : kabuki21.com/osome_no_nanayaku-

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. yookai, yōkai 妖怪 Yokai monsters .

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- reference - 鎌田又八 -
- reference : 梅鎌田大力巷説 -
- Reference - kamada matahachi -
- reference - kamata matahachi -

. Join the Ukiyo-E friends on facebook ! .




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24/05/2016

Kato Gosuke

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Kato Gosuke 加藤五輔
(1839 – 1905)
He comes from a family of ceramic artists, now in the 5th generation.



加藤五輔(一八三七-一九一五年)(1837 - 1915)
は名工として誉れ高く、多治見の市之倉にあった五輔の窯は、染め付けの細密画という、髪の毛よりも細い線を多用した絵付けを得意としていた。曲面をなす磁器の素地に描いていくのであるから、並大抵のことではないが、その絵をみると、動物も植物も、繊細な筆致によって生き生きとした表情に仕上がっている。

むろん海外での評価が高く、明治九(一八七六)年にフィラデルフィア万国博覧会に出品された作品は、現在、イギリス屈指の名門、ヴィクトリア・アンド・アルバート美術館に収蔵されている。また、同十一(一八七八)年のパリ万博では銅賞を受けて、その地位を確固たるものとした。当時はジャポニスムの全盛期であり、細やかな絵付けをみた欧米人たちの感嘆の声が聞こえてきそうである。
- reference : ss-info.com/contents/chunichi -


Mino ceramic artist from Gifu.



Mino ware, Japan made 1875

The glassy quality of the glaze and the vibrant hue of the blue found on this cup and saucer are typical of late nineteenth-century porcelains from Mino, which is located to the northeast of Nagoya in central Japan.
Kato Gosuke was a renowned painter of birds and flowers who went on to win several awards at the 1878 Paris Exposition Universelle. The cup and saucer were part of a group of over 200 ceramics bought on behalf of the V&A by the Japanese Exposition commissioners with funds provided by Philip Cunliffe-Owen, an ardent Japanophile who was director of the V&A from 1874 to 1893. The instructions sent to the commissioners were that they should ‘make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.’
- source : collections.vam.ac.uk -


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- - - - - His artwork at

- source : google search

- source : yahoo search

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- quote -
His artwork at Yahata Kumano Shrine Ichinokura
It’s not a big place, and very old, but it is quiet there and just a quick walk down the hill from our house. And like so many old Shinto shrines, it has its art treasures…but you have to look for them. In this case, the ceiling of a small, auxiliary building is where you can find the treasures…



treasures more than 150 years old, some by our local National Art Treasure, Kato Gosuke IV (1839–1905) and all by local artists who long ago lived in Ichinokura and who have passed on . All one has to do is walk up the time-worn wooden stairs and look up. Some of the paintings are so old that they have faded them almost beyond recognition, but if you look closely. . .








- source : Thanks to Aoi and Hayato on facebook -


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- Reference - 加藤五輔 -
- reference : Kato Gosuke mino -


. Gifu Folk Art - 岐阜県  .


. Introducing Japanese Haiku Poets .

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01/03/2016

Kakinomoto Hitomaro

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Kakinomoto Hitomaro 柿本人麻呂 Hitomaru 人丸 / 人麿
(c. 662 – 710)

- quote
a Japanese waka poet and aristocrat of the late Asuka period. He was the most prominent of the poets included in the Man'yōshū Poetry Collection (万葉集 Manyoshu), and was particularly represented in volumes 1 and 2. He is ranked as one of the Thirty-six Poetry Immortals.
From the Heian period period on, he was often called "Hito-maru" .



敷島の 大和の国は 言霊の 助くる国ぞ まさきくありこそ
Shikishima no Yamato no kuni wa kototama no tasukuru kuni zo asakiku ari koso

..... In the prefatory essay to the Kokin Wakashū compilation of poetry, Ki no Tsurayuki called him Uta no Hijiri — a divine poet equal to the Nara period poet Yamabe no Akahito, a high regard echoed by later poets such as Fujiwara no Teika. Ikeda Munemasa wrote Portrait of Hitomaro and His Waka Poem. Modern waka poets like Masaoka Shiki and Saito Mokichi considered him one of greatest poets in the history of Japanese literature.

In Masuda, Iwami Province in Shimane Prefecture, there are two Kakinomoto shrines, Takatsu Kakinomoto Shrine and Toda Kakinomoto Shrine. It is said that Kamoshima in Masuda is Hitomaro's death place and Toda is Hitomaro's birthplace. The priest of Toda Kakinomoto Shrine is Ayabe, and he is the 49th of Hitomaro's mother's line.

In Akashi, Hyōgo Prefecture there is Kakinomoto Jinja, a shrine devoted to Hitomaro. The shrine holds an annual utakai (waka party) devoted to him.
© More in the WIKIPEDIA !

かきのもと‐の‐ひとまろ - 柿本人麻呂

敷島の 大和の国は 言霊の 助くる国ぞ まさきくありこそ
My country, Shikishima, the country of Yamato, is a country to which kotodama has imparted
prosperity / good fortune. So I hope/pray that it comes to no harm.

The Question of Kotodama
- source : Peter Goldsbury
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Kakinomoto Jinja 柿本神社 Shinto Shrine in Akashi, Hyogo
Hitomaru Jinja 人丸神社 / Kakimoto Sha 柿本社

1-26 Hitomarucho, Akashi, Hyogo / 明石市人丸町1-26

This shrine was relocated to Mount Hitomaruyama in 1620 by 小笠原忠政 Ogawawara Tadamasa, Lord of Akashi, who was a great admirer of Kakinomoto.



on top of Mount Hitomaruyama 人丸山 Founded in 887.
Deity in residence : 柿本人麻呂朝臣
- - - More in the WIKIPEDIA !


A shrine in his honor, with amulets and pottery figures :

okutopasu - オクトパス - oku to pass - octopus
if you put it up there (on your desk) you pass the examination !



. Octopus (tako 蛸 / たこ) .

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source : city.tatsuno.lg.jp/rekibun

Kakinomoto from Akashiyaki pottery 明石焼
They were made for the shrine, but in a typoon in 1957, the kiln was destroyed.

. Hyogo Folk Art - 兵庫県  .


天離る 夷の長通ゆ 恋ひ来れば
明石の門より 大和島見ゆ

amazakaru hina no nagachiyu koi kureba Akashi no to yori Yamatoshima miyu

Far away from the capital I come to Akashi Strait
longing for the capital, the Island of Yamato will be out of sight





In the compound of the shrine is a tree called 盲杖桜 "Blind Stick Cherry"
Once upon a time a blind person from Tsukishi, Fukuoka came here to pray for health, reciting the following words :


amulet for good health

ほのぼのと まこと明石の 神なれば  我にも見せよ 人丸の塚
honobono to makoto Akashi no kami nareba ware ni miseyo Hitomaru no zuka

and was healed in an instant, leaving his walking stick, which turned into a cherry tree.

. Health Amulets 健康御守 kenkoo omamori .

- - - - - HP of the shrine
- source : kakinomoto-jinja.or.jp -




燈火の明石大門に入らむ日や漕ぎ別れなむ 家のあたり見ず
tomoshibi no Akashi no ooto ni iramu hi ya kogiwakarenamu ie no atari mizu

Down into the straits
of Akashi, land of torchlight,
the sun will soon sink:
and I - mist I row away,
beyond sight of my home?


Traditional Japanese Poetry: An Anthology
Steven D. Carter
- source : google books - More poems by Kakinomoto -


人丸塚
More Shrines and places dedicated to Kakinomoto in Hyogo :
- reference source : cultural-experience.blogspot.jp -
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Toda Kakinomoto Shrine 戸田柿本神社
Hitomaro's birthplace
イ856 戸田町 益田市 島根県



The priest of Toda Kakinomoto Shrine is from the 綾部家 Ayabe family, and he is the 49th of Hitomaro's mother's line.

- quote -
This shrine is dedicated to Kakinomoto Hitomaro who was a great Japanese poet in the Nara era, about 1300 years ago. It’s said that the shrine was originally built on Kamoshima Island near the mouth of Masuda River. But the shrine sank off the coast of Masuda due to a tsunami (big tidal wave) in 1026. Only the statue of Hitomaro floated to Matsuzaki and the shrine was rebuilt there.
Afterward in 1681, the shrine was moved and built in Takatsu by Koremasa Kamei who was lord of Tsuwano.
Hitomaro was born in Toda village. After he grew up, he went to Nara( the capital city on that time) and served as a court poet for three emperors: - Tenmu, Monbu and Jitoh.

He traveled various places, supporting these emperors and making many poems. About 450 of his poems were put in Manyoshu, a book of the oldest poems in Japan. When he was older, he came back to Masuda and died at Kamoshima in the year 724.
The successive emperors of the Edo era had dedicated many poems to this shrine.They are displayed in the treasury of this shrine.

On leaving his wife as he set out from Iwami for the capital:

Along the coast of Tsunu
On the sea of Iwami
One may find no sheltering bay,
One may find no sequestered lagoon.
O well if there be no bay!
O well if there be no lagoon!
Upon Watazu’s rocky strand,
Where I travel by the whale-haunted sea,
The wind blows in the morning,
And the waves wash at eve
The sleek sea-tangle and the ocean weed,
All limpid green.
Like the sea-tangle, swaying in the wave
Hither and thither, my wife would cling to me,
As she lay by my side.
Now I have left her, and journey on my way,
I look back a myriad times
At each turn of the road.
Father and father my home falls behind,
Steeper and steeper the mountains I have crossed.
My wife must be languishing
Like drooping summer grass.
I would see where she dwells ...
Bend down, O mountains!


- source : visit-masuda.main.jp/hitomaro -


- - - - - HP of the Shrine
万葉の時代から1300年、
その生誕秘話を今に語り継ぐ「語家 katarai」があった!
- source : hitomaro.com-

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Takatsu Kakinomoto Shrine  高津柿本神社
Kamoshima in Masuda is Hitomaro's death place.
島根県益田市高津町上市イ−2616−1



高津柿本神社(たかつかきのもとじんじゃ)は、島根県益田市高津町に鎮座する旧県社。歌聖柿本人麿を祀る神社で、正式名称は柿本神社。柿本人麿を祀る柿本神社は日本各地に存在するが、その本社を主張している。鎮座地は丸山の東に張り出した尾根筋の鴨山(高角山)山頂に位置し、境内を含めた一帯は祭神にちなんで、昭和50年代から島根県立万葉公園として整備されている。
- - - More in the WIKIPEDIA !


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Fujisaki Hachimangu 藤崎八幡宮 Kumamoto, Kyushu
3-1 Igawabuchimachi, Chuo Ward, Kumamoto

- quote -
founded in 935 by the order of Emperor Suzaku.
Fujisaki Hachimangu was destroyed during the Seinan Rebellion of 1877 and rebuilt at its current location. Being a Hachiman Shrine, the main kami enshrined is Emperor Ojin, but as with most major shrines there are a multitude of secondary shrines within the grounds including Tenmangu, Susano, Onamuchi, and unusually Kakinomoto Hitomaro the famed 7th century poet. ...
- reference source : -

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CLICK for more statues of Hitomaro .

柿本人麻呂にまつわる全国の神社仏閣(まとめ)
(A long list of shrines in Japan in honor of Hitomaro.)
- source : cultural-experience.blogspot.jp -

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source : photozou.jp - 花兄 さん

柿本人麻呂像 statue carved by Enku san !

. Welcome to Master Carver Enku 円空 ! .

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- - - - - H A I K U - - - - -

Hitomaru Ki 人丸忌 (ひとまるき) HITOMARU, Kakimoto Hitomaru
Hitomaru Ki 人麿忌(ひとまろき)
Hitomaru Matsuri 人丸祭(ひとまるまつり)

陰暦3月18日 third lunar month, 18th day
. WKD - Kigo for Spring .


小机にもたれ心や人丸忌
kozukue ni motare kokoro ya Hitomaru ki

松瀬青々 Matsuse Seisei (1869 - 1937)


Hitomaru and his "small desk" (kozukue 小机)


source : blog.goo.ne.jp/OTSUMITSU/e
柿本人麻呂像 松村景文筆 - Paintings of Kakinomoto


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人丸をまつると云へる机かな
尾崎迷堂

鳥の名の貝がらひろふ人丸忌
三田きえ子

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CLICK for more specialities !

Hitomaro was a truly "divine" Waka poet and is revered in many shrines in Japan, for various reasons.
. 柿本神社 Kakinomoto Shrines in Japan .
- Introduction -

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. Matsuo Basho in Akashi 松尾芭蕉 .



蛸壺やはかなき夢を夏の月
takotsubo ya hakanaki yume o natsu no tsuki


蝸牛 角ふりわけよ 須磨明石
katatsuburi tsuno furiwake yo Suma Akashi


足洗うてつひ明けやすき丸寝かな
ashi aroote tsui akeyasuki marune kana


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. Manyooshuu, Man'yōshū 万葉集 Manyoshu, Manyo'shu .
Collection of One Thousand Poems

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source : mfa.org/collections - William Sturgis Bigelow Collection

Poem by Kakinomoto Hitomaro: (Actor Iwai Kumesaburô III as) Matsuura Sayohime
from the series Comparisons for
Thirty-six Selected Poems (Mitate sanjûrokkasen no uchi)
「見立三十六歌撰之内 柿本人丸  松浦さよ姫」 三代目岩井粂三郎
by Utagawa Kunisada I (Toyokuni III) (Japanese, 1786–1864),

Honobono to Akashi no ura no asagiri ni shima kagureyuku fune o shizo omou
ほのぼのと あかしの浦の 朝ぎりに 島がくれゆく 舟をしぞ思ふ

Faintly with the dawn
That glimmers on Akashi Bay,
In the morning mist
A boat goes hidden by the isle -
And my thoughts go after it.

Tr. Edwin A. Cranston


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. Legends and Tales from Japan 伝説 - Introduction .

Hyogo, Akashi 明石市
variations about the legend of a blind man getting healed at a Shrine in honor of Kakinomoto.

筑紫の盲人が柿本人麻呂を祭る柿本神社に行き、
「ほのゞとまこと明石の神ならば 我にも見せよ人丸の塚」
という短歌を詠んで祈り続けると、満願の日に視力が回復した。その時いつまでも栄えよと祈りを込めて挿したのを盲杖櫻という。

kame 亀 turtle
水戸の龜屋という穀物問屋の主が、眼病を患いついに失明してしまった。主はたまたま人丸塚の事を聞いて参篭し、不思議な夢を見た。大きな龜が主を乗せて、清水の側に下ろしたという夢で、実際に清水があったので、神のお告げと思い、その水で洗眼すると視力が回復した。

moojoozakura 盲杖櫻 盲杖桜 "Blind Stick Cherry"
明石の人丸社に座頭が参詣して祈請したところ、眼が開いたので、不要になった杖を庭に挿した。翌春、その杖から芽吹き、花が咲き、桜の木になった。

- reference : nichibun yokai database -




CLICK for more dolls !
歌仙人形 百人一首 柿本人麻呂 


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- Reference - Japanese - 柿本人麻呂 -
- Reference - English -

Kakinomoto Hito Maro / Kakinomoto-no asomi Pitomaro
- reference -


- quote -
During the Yamato era, high ranking people had the term “Maro” attached to their names, (e.g. Kakinomoto Hito Maro, a 7th century poet, or “Abenonaka Maro”, an 8th century writer). Later on, the “Maro” became “Maru”. Both “Maro” and “Maru” are derived from the Aramaic word “Mar,” meaning “Lord,” “Sir” or “Saint.” The Church of South India, which was founded by the Apostle Thomas, is called the “Mar Thoma Church,” or “St. Thomas Church.” It is also of interest to note that “Mar” was also a title given to priests of the Eastern Church (Joseph, Jr., 2008).
- source : projectjapan.org-


. Introducing Japanese Haiku Poets .

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