Tag: Kyoto shrines (Page 1 of 2)

Setsubun

Demon at Kyoto’s Rozanji temple

Feb 3 is Setsubun and a time for throwing beans at demons.  It takes place at shrines, temples and people’s homes.

Here’s Wikipedia’s succinct overview of the custom and its origins:

Setsubun is the day before the beginning of Spring in Japan.  The name literally means “seasonal division”, but usually the term refers to the Spring Setsubun celebrated yearly on February 3 as part of the Spring Festival.  In its association with the Lunar New Year, Spring Setsubun can be and was previously thought of as a sort of New Year’s Eve, and so was accompanied by a special ritual to cleanse away all the evil of the former year and drive away disease-bringing evil spirits for the year to come. This special ritual is called mamemaki (literally “bean scattering”). Setsubun has its origins in tsuina, a Chinese custom introduced to Japan in the eighth century.

For an explanation of the beans, click here.
For some interesting facts about the festival, see here.
For a description of the festival at Kyoto’s Yasaka Jinja, see here.
For a photo story of Setsubun at Shimogamo Jinja, see here.

Purification of place prior to a Shugendo ceremony
The Shugendo ceremony involves smoke from burning pine as wooden prayer tablets are thrown into the flames to be ritually burnt
Maiko descend from the stage after distributing lucky beans at Yasaka Jinja in Kyoto
Geisha join senior parishioners to throw lucky beans at Heian Jingu in Kyoto
Demons personifiying all things bad appear at many festivals
Eating a specially fat sushi roll (ehomaki) in the year’s lucky direction is a Setsubun custom
Priests at Shimogamo Jinja show there’s a religious aspect to all the jollity

Oharano Jinja (Kyoto)

Entrance torii and approach to Oharano Shrine, reflecting its one-time importance

It’s on the outskirts of Kyoto. It’s in spacious woodland. It dates back to the eighth century and pre-Heian times. It’s little-known, but once it was counted amongst the top 22 shrines of Japan.

Oharano Shrine is closely associated with the powerful Fujiwara clan. It was set up by the dominant family at the time of the Nagaoka Capital (784-794), which preceded Heian-kyo (i.e. Kyoto). The area was said to be a favourite of Emperor Kammu (737-806), who hunted around the foothills, and the shrine later featured in such literary works as Tales of Ise and The Tale of Genji, while its pure spring water was celebrated in many a poem.

The deities here were installed from Kasuga Taisha, clan shrine of the Fujiwara whose symbol was the deer on which their kami rode.

Misfortune and an ‘angry spirit’ drove Emperor Kammu to abandon the Nagaoka capital, leading to the foundation of Heian-kyo in 794. The Fujiwara continued to keep up patronage of Oharano, even despite the establishment of Kyoto’s Yoshida Shrine in 859 as a new base for the clan.

The Fujiwara were descendants of the powerful Nakatomi clan, whose authority derived from having charge of court rituals and purification rites. Their ancestor, Ame no Koyane, was one of the five clan leaders who descended from heaven with Ninigi no mikoto in the so-called Tenson Korin.

One of the Fujiwara was the famous poet, Ariwara no Narihira (825–880), a courtier and grandson of Emperor Kammu. A renowned lady’s man, he was in love with Takako, the wife of Emperor Seiwa. Though he was banned from seeing her, he wrote the following poem on the occasion of her visit to Oharano (she was a distant relative of Narihira and as a Fujiwara was visiting her ujigami clan shrine).

おほはらやをしほの山もけふこそは神世のことも思ひいつらめ
Ohara ya Oshiho no yama mo kefukoso wa kamiyo no koto mo omohitsurame

Oharano and Oshio Mountain
on this day in particular
bring to mind
the Age of the Gods

The poem suggests that Takako’s visit conferred on the setting the majesty of a time when gods strode the earth, as portrayed in Japanese mythology. It was included in the first of the great imperial anthologies, Kokinwakashū (c.905).

There’s an interesting anecdote that goes with this poem, which is included in my Cultural History of Kyoto. According to tradition, Narihira lived on the site of the present-day temple of Jurin-ji, a fifteen minute walk away from Oharano Jinja. Like other aristocrats, he enjoyed salt making by boiling water, which resulted in steam rising into the sky. On the occasion of Takako’s visit, he added purple dye to the water thereby colouring the sky with evidence of his love for her.

Today Jurin-ji is keen to celebrate its link with the poet, and his supposed grave is prominently displayed while a site is marked out where his salt making could have taken place. Buddhist temple and Shinto shrine thus continue to be linked by poetry, even though the artificial separation of the Meiji Restoration in 1868 drew a line between them. Love conquers all!

From Oharano Shrine to Hana Dera where Saigyo’s cherry tree stands is a pleasant woodland walk.

Close to Oharano Jinja, less than a ten minute walk away, is another temple with strong poetic connections. Hana Dera (Flower Temple) is the popular name of Shoji-ji, famed for its cherry blossom.

The wandering monk, Saigyo (1118 – 1190), stayed in a hut in the grounds as a young man when he was on retreat, and one of his poems describes the nuisance of noisy tourists coming to visit a flowering cherry tree at the temple – a sentiment with which contemporary Kyotoites might well sympathise! The poem blames the tree for attracting the crowds and forms the basis for a famous Noh play, Saigyo-zakura, written by Zeami (c. 1363 – c. 1443).

花見にと 群れつつ人の 来るのみぞ あたら桜の 咎(とが)にはありける
Hanami ni to mure tsutsu hito no kuru nomi zo atara sakura no toga ni wa arikeru

Throngs of visitors
One after another
To view the cherry blossom –
It’s all the fault of the tree, regrettably,
For being so beautiful

The poem was included in Saigyo’s anthology, Gyokayoshu, with a heading by the poet that ran: ‘Composed on the occasion of a visit by people come to see my blossoms, just as I had planned to spend my time in peace.’

According to the temple, this is the third generation of a cherry tree that Saigyo himself planted in the grounds. The board calls it ‘Saigyo Zakura’, just like the Noh play.

The lily pond is part of the spacious landscaped grounds at Oharano, evidence of the shrine’s former opulence

The deer motif which runs throughout the shrine is seen here at the water basin.

A cute version of the shrine’s totemic animal is found on the ’ema’ prayer boards.

Another trademark of Fujiwara shrines is wisteria, which in Japanese is called ‘Fuji’.

Even today the main compound impresses with its peace and stately nature. Unlike Saigyo’s poem, the shrine is now a place to get away from the downtown crowds of Kyoto – but please keep that secret!

Gokonomiya Shrine (Kyoto)

KomainuGokonomiya Shrine is not one of the better-known shrines of Kyoto, though in any other town it would certainly be a focus of attention.  It was first mentioned in 862 as having been restored – which means it dates from an earlier time.  It is said to have been built on the site of an imperial villa (Kyoto was founded in 794).  The imperial connection is reflected in its enshrined deities, the legendary Empress Jingu and Hachiman (also known as her son, Emperor Ojin).

Ritual for a first shrine visit for a baby (Hatsumiyamairi)

Ritual for the first shrine visit of a baby (Hatsu miyamairi)

According to the noticeboard at the shrine, spring water gushed out of the land in 863 with a particularly fresh aroma – hence the name of the shrine, which could be translated as Shrine of Fragrance.  The water acquired a reputation for its protective and curative properties, and it is still treasured by parishioners who bottle it for home consumption.

Though the spring dried up in Meiji times, it was restored in 1982 and in one of those typical Japanese listings, it’s now included in the top 100 natural water sources of Japan.  Unsurprisingly, the shrine has close relations with the nearby saké breweries which were established in Fushimi because of the purity of the underground water.  Kizakura and Gekkeikan are the best known.

The shrine’s entrance gate was relocated from Fushimi Castle in the early Edo period, but the pride of the shrine is its fine Momoyama colouring.  The Honden (Sanctuary) was built in 1605 and the Haiden (Worship Hall) in 1612.  The bright distinctive paintwork, with its colourful decorations, were renewed in 1990.

In modern times the shrine served as headquarters for the Satsuma Clan at the Battle of Toba-Fushimi (1868), though fortunately suffering no damage.  Other items of interest include an astonishingly vigorous ‘sotetsu’ tree, normally associated with tropical climes, a collection of rocks that once belonged to Hideyoshi’s Fushimi Castle, and a stone garden by Kobori Enshu.  There’s also a white horse statue standing ever ready for the kami to mount, and an Ema Hall with some fine old votive plaques donated by various groups in the past.

In the past the shrine was visited by the likes of Hideyoshi and the emperor.  It’s said many from the Tokugawa lineage used the protective spring water for their baby’s first bath.  People of Fushimi are said to be very attached to their shrine, and the grand festival which lasts nine days is of greater importance to locals than even the grand Gion Festival.

Gokonomiya may not be among the city’s most prestigious shrines, but it’s well worth a visit and there are quiet corners of the large shrine where one can sip the curative water at peace and perhaps write a haiku or two. as suggested by a stone monument commemorating Basho and Kyorai’s poetry here in 1694).  The first is by Basho  and the reply by Kyorai (tr. Blyth).

In the plum blossom scent
the sun pops up —
a mountain path

‘Yes, yes!’ I answered,
But someone still knocked
At the snow-mantled gate

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Acquiring a taste for sacred water at a young age

Acquiring a taste for sacred water at a young age

Tied up but ever ready – the Gokonomiya white horse

Tied up but ever ready – the Gokonomiya white horse

The magnificently fertile 'sotestsu' tree – testament to the potency of the water

The magnificently fertile ‘sotestsu’ tree – testament to the potency of the water

The ghostly outline on an ema donated to the shrine in the past

The ghostly outline on an ema donated to the shrine in the past

 

Ryozen Gokoku Shrine (Kyoto)

View of Kyoto from the Ryozen area on the city's Eastern Hills

View of Kyoto from the Ryozen area on the city’s Eastern Hills

The Ryozen Gokoku Shrine is not a name that springs to mind when thinking of Kyoto, yet it draws a continual stream of visitors.  The reason is that it houses the grave of Sakamoto Ryoma, one of the great heroes of Japanese history.  Indeed, some accounts consider him the architect of the Meiji Restoration which turned Japan into a modern Western-oriented country.

Ryoma Sakamoto and Nakaoka Shintaro

Ryoma Sakamoto and friend Nakaoka Shintaro

Another important aspect of Ryozen is that it was the origin of Tokyo’s Yasukuni Shrine, as can be read in the account below.  Like other Gokoku Shrines, there is a strongly patriotic atmosphere and I was bemused on my first visit to the graveyard to hear a recording being broadcast in English which turned out to be the voice of Judge Pal, who was the only dissenting voice at the Tokyo War Crimes Tribunal (he claimed all defendants were not guilty).

The article below comes from the Yomiuri newspaper, a noted rightwing publication.  It explains the lack of mention of any controversy about the nationalistic nature of the shrine’s museum. It also explains the curious usage of ‘patriot’ in the article.  The term is used to refer to those who fought on the imperial side in the war of liberation against the shogunate.

Why should only those who fought on the emperor’s side be considered patriots?  It’s a subtle ideological ploy by the writer and a reminder that, as the saying goes, history is written by the victors.

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Finding Ryoma in the Hereafter
Japan News September 17, 2015  By Yasuhiko Mori / Yomiuri Shimbun Staff Writer

An endless line of people visit the grave of legendary samurai Sakamoto Ryoma, commonly called Ryoma, in the Ryozen area in Higashiyama Ward, Kyoto. Next to his grave is the grave of a close associate, Nakaoka Shintaro. There are also graves of other patriots from the closing days of the Edo period (1603-1867), including Kido Takayoshi, Umeda Unpin, Maki Izumi, Hirano Kuniomi, Hashimoto Sanai and Rai Mikisaburo. Why were so many patriots buried there?

Shinto funeral rites

The Ryozen area was originally part of Jishu Shoboji temple. Murakami Kuniyasu, who served in the Imperial court, purchased part of the premises in 1809 to use it for Shinto funeral rites and established Reimei Shrine.

The grave of Sakamoto Ryoma at the Ryozen Shrine in Kyoto

The grave of Sakamoto Ryoma at the Ryozen Shrine in Kyoto

Under the religious policy of the Tokugawa shogunate during the Edo period, everyone became a parishioner of a Buddhist temple, in principle, and funerals and memorial services were conducted by temples. Shinto priests were not excluded from this rule.

“Kuniyasu apparently opposed the rule,” said Shigeki Murakami, the eighth Shinto priest of Reimei Shrine, where Kuniyasu served as the first Shinto priest. According to Murakami, based on the idea that Japan is the country of the Emperor, Kuniyasu rejected Buddhism, considering it to be a foreign religion, and only carried out Shinto-style funerals.

Retainers of Choshu domain

During the final days of the Tokugawa shogunate, the Choshu domain — where the “sonno-joi” doctrine, which wanted to restore the Emperor while expelling “foreign barbarians,” was popular — buried its retainers who died in Kyoto at the cemetery at Reimei Shrine. The domain’s first burial at the shrine took place in 1862 when Matsuura Shodo, who was taught under Yoshida Shoin at the Shokasonjuku academy, was buried.

Following this, many supporters of the sonno-joi movement from the Choshu and other domains were buried there. That same year, the shrine conducted a rite for the souls of the supporters of the movement who died during and after the Ansei no taigoku purge, or the suppression by the shogunate of those who did not support its policies in the late 1850s.

There is a record showing that Kusaka Genzui, who was a key figure among supporters of the sonno-joi movement in the Choshu domain and is known to have met Ryoma, asked the shrine to perform memorial services for his ancestors for the rest of time.

"Dream" - the inspirational Ryoma Sakamoto ema at the shrine

“Dream” – the inspirational Ryoma Sakamoto ema at the shrine

Reimei Shrine was regarded as a holy place among supporters of the sonno-joi movement, according to Kiyoshi Takano, a novelist who is familiar with the history of Kyoto during the last days of the Tokugawa shogunate.

On Nov. 15, 1867, of the lunar calendar, Ryoma and Nakaoka were assassinated at the Omiya shop and inn in the Kawaramachi district of Kyoto, and their bodies were transported to Reimei Shrine in the evening of the 17th by their associates, including Kaientai, a corporation established by Ryoma. There is a record showing that the shrine conducted a Shinto funeral rite for them before burying them. In some cases, shrines enshrine only the souls of the dead, but Ryoma and others were actually buried at the site.

Managed by Shokonsha shrine
The Meiji government, launched following the Imperial restoration, established Shokonsha shrine at the Reimei Shrine’s cemetery in 1868 to enshrine the souls of people who died because of the chaotic state of affairs after the arrival of U.S. Commodore Matthew Perry in 1853, as well as of the war dead in and after the Battle of Toba-Fushimi in 1868.

In 1877, the government confiscated most of the Reimei Shrine’s cemetery and precinct, and had the government-owned Shokonsha shrine manage them. Shokonsha shrine was later renamed to what it is currently known as, Kyoto Ryozen Gokoku Shrine.

"I want to be the present-day Sakamoto Ryoma," runs a heartfelt tribute

“I want to be the present-day Sakamoto Ryoma,” runs a heartfelt tribute at his grave

During that time, Tokyo Shokonsha shrine was established in the Kudan district of Tokyo, and the enshrined “divine spirits” in the Shokonsha shrine and the Reimei Shrine in Kyoto were moved to the Tokyo shrine. Tokyo Shokonsha shrine was later renamed Yasukuni Shrine.

This means it is possible to revere Ryoma at Yasukuni Shrine, but if you really want to show your esteem for the legendary samurai, visit Ryozen, where his remains are buried.

Influence of Emperor Kokaku
Murakami Kuniyasu, who established Reimei Shrine, served the Imperial court ruled by Emperor Kokaku, whose reign was from 1779 to 1817.

Emperor Kokaku was a descendant of the Kanin-no-miya branch of the Imperial family, but he revived a range of rituals of the Imperial court, which were lost in the medieval period, in an attempt to restore the authority of the Imperial court. Such efforts had an impact on the sonno-joi movement later.

The origin of the Gakushuin schools lies with Emperor Kokaku. The emperor planned to establish an educational institution for sons of kuge aristocratic class families, similar to the daigakuryo (university) in the Heian period (late eighth century to early 12th century). While the plan was not realized during his reign, it was decided that such an institution would be established in 1842 when Emperor Ninko, Kokaku’s successor, was on the throne. The institution was the Gakushuin school, and it was located south of Kyoto Imperial Palace until the first year of the Meiji era. The Gakushuin school in Tokyo was established in 1877.

Worshippers at Ryoma's grave

Worshippers at Ryoma’s grave, before which handwritten tributes are placed.  Unusually he was not only given a Shinto funeral but his body was buried in the shrine’s cemetery.

Umenomiya Shrine

The entrance gate to the shrine, with saké barrels.  The shrine has strong saké connections.

The entrance gate to the shrine, with saké barrels. The shrine has strong saké connections.

Kyoto has so many treasures it would take more than a single lifetime to get to see them all.  Though I’ve lived here for 20 years and written a book about the city, I’d not come across Umenomiya Taisha over in the west of the city, near Matsuoo Taisha.  After my visit yesterday, it’s hard to understand how it could have passed me by.

DSC_2078Umenomiya was once a high-ranking shrine with strong imperial connections. It boasts a large wooded pond area adjacent to the compound, where seasonal flora are on display throughout the first half of the year.  At the moment it’s full of iris, azalea and hydrangea.  Simply stunning!

The shrine was founded around 1300 years by the Tachibana family and relocated to its present location in the early Heian period.  It is dedicated to the mythical Oyamazumi no mikoto, father of the beautiful Princess Konohana no Sakuya, associated with Mt Fuji.  The story goes that he was so delighted with his daughter’s first child that he invented saké to celebrate the occasion, and the shrine is popular to this day with saké brewers.

DSC_2109According to tradition, Konohana no Sakuyahime gave birth to a god on the day following her marriage to Ninigi no mikoto (ancestor of the imperial line).  The speed with which she bore the baby led to her being patronised as a goddess of easy childbirth, as a result of which pregnant women come to pray for a safe delivery.  The association with childbirth is furthered by a stone to the right of the Honden known as Matage ishi (Matage rock), for it’s said that the Empress Danrin who had been childless was able to conceive after stepping over it.  She took some of the white sand in which the rock stands and spread it under her bed, which supposedly eased her in giving birth.

The garden area is home to the attractive Sakuya Pond, in which a thatched teahouse stands on a small island.  Water lilies, azalea, and irises throng the borders of the pond, and in the surrounding grounds is a dazzling diversity of hydrangea.  A short distance away, through a thicket of plum trees and bamboo, lies the Magatama Pond, so-named because of its shape.

DSC_2105Since the word for ‘giving birth’ is similar to plum (ume), there are about 500 plum trees at the shrine and pickled plums are on sale at the office. When the eighteenth-century Shinto scholar Motoori Norinaga donated a plum tree, he penned a short verse to go with it…

May a plum be planted,
nay, may a thousand
or eight thousand be planted
so that seen from afar
they appear as a sacred shrine fence

Here at Umenomiya is the very best of Shinto – ancestral devotion allied to a deep love of nature.  The gods are rooted in rock, and the human heart stirred by the exquisite beauty of a divinely appointed world.  Continuity stretches way back into a mythical past, and there’s a sense of gratitude for a world of wonder inherited from former times.  In such surrounds one feels blessed indeed.

Rocks representing Sarutahiko and Ame no Uzume

Rocks representing Sarutahiko and Ame no Uzume

Umenomiya’s seasonal round
plum blossom – mid Feb to mid March
camellia – Nov to April
daffodil – early April
double cherry blossom – mid-late April
Kirishima azalea – late April
Hirado azalea – early May
iris variety – late April to early May
iris variety – late May to early June
hydrangea – June

Third Sunday of April – cherry blossom festival with gagaku
May 3 – Shinko Festival, when mikoshi are carried around the vicinity
Last Sunday of August – some five hundred children participate in a sumo competition

The main compound with the Hyakudo mairi (One hundred times) markers in the foreground.  Devotees walk between the two rocks 100 times with a deep wish in their hearts, paying respects to the kami at the start and end at the Worship Hall.

The main compound with the Hyakudo mairi (One hundred times) markers in the foreground. Devotees walk between the two rocks 100 times with a deep wish in their hearts, paying respects to the kami at the start and end at the Worship Hall.

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Sponsorship

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Gratitude for water, streams, and underground springs are an essential part of Shinto – and especially of Kamigamo Jinja. ‘Revering, cherishing and celebrating water,’ runs a shrine leaflet.

Green Shinto has posted recently on the financial woes of certain shrines in Kyoto.  The terrible state of Shimogoryo Jinja was notedThe decision of Shimogamo Jinja to build an apartment block next to the sacred woods of Tadasu no mori.  Plus the unfortunate erection of a ‘mansion’ within the outer torii of Nashinoki Jinja.

A packet of Koyama-Yusui Kohi (Coffee), specially prepared for the divine spring water

An interesting way of raising money was recently in evidence at the Aoi Festival, jointly held by Shimogamo and Kamigamo Shrines.  As the procession wound up at Kamigamo, those amongst us in the crowd were intrigued to be handed packets of ‘holy coffee’.  The idea was part of a scheme by the well-known Ajinomoto General Foods company, who are co-sponsoring various events related to the shikinen sengu renewal of the shrine.

Together with the coffee, a leaflet was handed out explaining its nature and purpose.  Perhaps as an effect of prime minister Abe’s efforts to make a ‘beautiful Japan’, there’s a chauvinistic ring to what one might have imagined would be a universal taste:

“We at Ajinomoto General Foods have a deep sense of admiration for Kamigamo Jinja for preserving the source of renowned spring water Koyama-Yusui for such a long time in history and wanted to make its efforts known to a wide range of people.  On this occasion, we made a premium quality coffee called Koyama-Yasui Coffeee which brings the most out of the pure spring water of Koyama-Yasui and satisfies the hearts of Japanese.  Blended with the renowned natural water, the coffee is sure to be a great companion for a time spent on thinking about beautiful nature of Japan, its waters and forests.”

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In sponsoring the spiritual, Japanese companies are sponsoring Japanese heritage

As well as handing out packets, the company put up a booth at the festival constructed out of Yoshino cedar by carpenters whose families had been involved with the shrine for centuries.  Clearly here was an ideal form of sponsorship that worked to the benefit of both parties – on one side material gain and on the other a spiritual glow.

Perhaps sponsorship will become an attractive alternative to selling off land or using shrine woods for car parks.  It’s a traditional part of shrine practice after all, evident in the company names written on sponsored torii or bottles of saké.  It’s evident too in sponsored festival floats.  It’s not inconceivable that in the future whole festivals and shrines will be sponsored as soccer teams in Japan once were, with names like Toyota Hachiman Jingu or Kawasaki Jidai Matsuri. Now there’s a thought…

Oh – and by the way, the coffee tasted divine!

(Next chances to sample the coffee will be at Kamigamo Jinja on July 25-26 and Oct. 17.)

Awata Jinja's festival floats bear prominent sponsors names

Awata Jinja’s festival floats bear prominent sponsors names

The shrine water at Kamigamo Jinja is not only good for coffee making but for purification too.

Poetry contests

Heian Verse and Winding-River Parties

Think of Heian-kyo (the old name for Kyoto), and what comes to mind?  Aristocratic villas, perhaps, and The Tale of Genji for sure.  Behind the images this evokes is an aesthetic called miyabi, or courtly refinement.  It affected all areas of life, from clothing to pastimes such as moon-watching.  At a time when much of Europe was mired in feudal struggle, the Heian court produced one of the world’s great cultural flowerings.

To convey their delicate feelings the aristocrats used verse as a means of expression, in particular the short poetry form known as waka.  This was based on a 5-7-5-7-7 syllable pattern (haiku was formed later by dropping the last two lines).  Topics ranged from nature appreciation through the whole gamut of love found and lost.

Of the many anthologies, the most famous are the tenth-century Kokinshu (Collection of Ancient and Modern) and the thirteenth-century Ogura Hyakunin Isshu (One Hundred Poems by One Hundred Poets).  The former, containing 1,111 poems in all, was the first of twenty-one imperially sanctioned collections.  In a perceptive preface by Ki no Tsurayuki, it identified the characteristics of the genre as sensitivity to nature, awareness of transience, and cultivation of harmony.

The preface built on the creed of Prince Shotoku (573-621), who had begun the country’s first constitution with the following: ‘Respect above all harmony.  Your first duty is to avoid discord.’  It was not coincidental that the Chinese characters for ‘Japan’ and ‘harmony’ had been collided into one and the same ideograph, pronounced ‘wa’.  Japan literally spelt harmony.  Tsurayuki’s genius lay in the articulation of an aesthetic to underlie this.

OLYMPUS DIGITAL CAMERASince humans resonate in tune with harmony, runs his thesis, the poet can promote unity by capturing the ‘good vibrations’ in words.  These were communicated to others through sound, for waka were not simply written words but meant to be chanted out loud.  (Translated literally, waka means ‘Japanese song’ and the verse are referred to as uta, or songs.)  You could say then that the poems are a form of harmony in more ways than one.

Representative Poets
One noteworthy writer of waka was the ninth–century courtesan, Ono no Komachi.  She is known in Japan as one of the ancient world’s three great beauties (along with Cleopatra and the Chinese, Youkihi).  At her death she left behind some 80 poems, most of which speak of longing and frustration.

Komachi was apparently a lady-in-waiting, who later retired to a hermitage.  The best-known story about her tells of how she once asked a suitor to prove his sincerity by visiting from his distant home for a hundred successive nights.  He completed the journey ninety-nine times, but died on the hundredth occasion when he was caught in a snowstorm.

There is a tragic air to Komachi’s life as she plummets like Greta Garbo from pin-up to recluse, and not surprisingly the transience of beauty forms the theme of her best-known poem:

The flowers withered
Their colour faded away
While meaninglessly
I spent my days in the world
And the long rains were falling

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Another female writer of distinction is Izumi Shikibu (c. 1000), who lived in the Golden Age of Heian-kyo when The Tale of Genji and The Pillow Book were written.  Over 1,500 of her waka remain, from which it is evident she was a woman of passion with a turbulent emotional life.  She was brought up at court and married twice to middle-ranking men, but her great love is described in her Diary where she tells of an affair with Prince Atsumichi.  He installed her in his palace, but not long afterwards died in an epidemic.  Izumi was plunged into grief, and the intensity of her poems echoes down the centuries:

Yearning for you
My heart has shattered
Into a thousand pieces
But never will one particle
Of my love be lost.

A third poet of note is Saigyo (1118-90), a wandering priest who was a forerunner of Basho.  Born into the warrior class, he had a prestigious job as a bodyguard but dropped out to take orders at Shoji-ji in Katsura, south-west Kyoto.  It was here he first wrote of cherry-blossoms, a topic for which he became famous.

They disturb the peace
The crowds of people who come
To view the blossom:
Who is there to blame except
The blossoming tree itself?

Later Saigyo left the capital to base himself at Mt Koya while wandering around Japan.  He identified himself with the moon, whose passage across the sky mirrored his own solitary journeys.  At the same time its ever-changing shape was a reminder of impermanence, and its ethereal beauty suggestive of life’s pathos.  In one of his poems he movingly combined his two poetic passions by asking to die in cherry-blossom time under a full moon.  According to tradition, he did.

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Capturing the Past
Every year in April Kyoto shrines offer two wonderful chances to appreciate ‘Japanese songs’ in recreations of a Heian poetry contest.  These Kyokusui no Utage (Winding–stream Parties) are held at Jonan-gu and Kamigamo Jinja, featuring elegant Heian-era robes Contestants sit by the banks of winding streams penning calligraphic verse to the sound of gagaku. Topics are set in advance, and sake cups placed in the water to float downstream.  Completion of a verse means the writer can take a drink.

Here can be seen the salient traits of the Heian nobility.  The beautiful clothing; the aesthetic care; the sensitivity to nature.  And with the winning waka being performed in song amongst the spring blossoms, one catches a sense of what Tsurayuki meant by cementing harmony between man, kami and nature.

For a brief moment of time one has a sense of having stepped out of the concrete jungle and into a realm of elegance and elevating verse.  As with Alice in Wonderland, you feel you’ve entered another dimension altogether, one where time slows down and the voice of nature can make itself heard.  Try it and who knows: you may start writing waka too.

(The article is adapted from John Dougill’s book on Kyoto: A Cultural History).

A reenactment of Heian-era poetry contests at Hiraizumi in northern Japan

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