EDO - Hanzai Glossary

https://edoflourishing.blogspot.jp/2017/02/hanzai-crime-glossary.html

hanzai crime glossary

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. Edo bakufu 江戸幕府 The Edo Government .
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hanzai 犯罪 crime and punishment - Glossary



江戸の犯罪白書 十手・捕縄・御用提燈-百万都市の罪と罰
重松一義

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- - - - - Alphabetical Index of Keywords - - - - -

- AAA - / - BBB - / - CCC - / - DDD - / - EEE -

- FFF - / - GGG - / - HHH - / - I I I - / - JJJ -

- KK KK - / - LLL - / - MMM - / - NNN - / - OOO -

- PPP - / - QQQ - / - RRR - / - SSS - / - TTT -

- UUU - / - VVV - / - WWW - / - XXX - / - YYY - / - ZZZ -


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. Hasegawa Heizoo, Hasegawa Heizô 長谷川平蔵　Hasegawwa Heizo .
Onihei Hankachō 鬼平犯科帳 Onihei Hankacho

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bakufu　幕府 the Edo government

banya 番屋 prison

bugyoo, bugyō 奉行 Bugyo officials, Commissioners in the Edo government - full list

Buke shohatto 武家諸法度 Laws for the Samurai
(lit. Various Points of Laws for Warrior Houses)


dooshin 同心　Doshin, lesser police officer

gokei 五刑 five judicial penalties

goyoo choochin 御用提燈 Goyo Chochin, police lanterns


Hasegawa Heizô 長谷川平蔵　Hasegawwa Heizo / 鬼平 Onihei　(1745 - 1795)

hitsuke toozoku aratemekata　火付け盗賊改　special police for arson and robberies


jishinban　自身番　/ kidoban 木戸番 Guardian of a neighbourhood "gate"
- - - nowadays koban　交番 police box in the neighbourhood

jitte, jittei, jutte 十手 / 實手 metal truncheon, "ten hands"


keibatsu 刑罰 punishment

keisatsu　警察 police (after the Meiji restauration)

Kodenma-choo, Kodenma-chō　小伝馬町 Kodenma-cho prison in Edo


machibugyoo 町奉行 Machibugyo, town commissioner, magistrate and metropolitan governor and district court chief justice
(Minami Machibugyo and Kita Machibugyo)

meakashi 目明し semi-official detective

metsuke 目付 inspector

mushuku　無宿 vagabong, homeless


ninsoku yoseba 人足寄場 rehabilitation facility for criminals
- installed as a means to prevent crime


okappiki 岡引 semi-official detective

Onihei　鬼平 / Hasegawa Heizô 長谷川平蔵　Hasegawwa Heizo

oobanya 大番屋　Obanya, main prison

Ooka Echizen 大岡越前守, Ooka Tadasuke (1677 - 1752)　

oometsuke 大目付 Ometsuke, chef of the inspectors, inspector general


rooju, rôjû 老中 "chief elder" - senior counselor

rōya, rooya 牢屋 Roya, the Shogunal prison


seppuku　切腹 death penalty for a samurai, honorable suicide

shirasu　白州 "white pebbles" court room outside the magistrate's office

shisai 死罪 death penalty (of a commoner)

shokei 処刑 execution


Tanuma Okitsugu 田沼意次 (1719 - 1788)

teshita　手下 undercover informants of the Doshin

Tooyama 遠山景元 Toyama Saemon no Jo Kagemoto - (1793 – 1855) Tōyama no Kin-san 遠山の金さん


torimono 捕物 police arrest

torimonochoo 捕物帳 document about an arrest

torinawa (hojoo) 捕縄 policeman's rope, "capture-rope" - arresting cord


yakuza　やくざ　/ ヤクザ gangster, gang of gangsters

yoriki 与力 police inspectors


zenka 前科 criminal record

zanzai 斬罪　beheading (of a samurai)


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- to be updated regularly -



十手・捕縄事典 - 江戸町奉行所の装備と逮捕術
名和弓雄 Nawa Yumio (1912 - 2006)

. Nawa Yumio - Contents of the book .

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. Criminal Punishment in Edo .
a glossary of terms



Kozukappara keijoo 小塚原刑場 Kozukappara execution grounds
Suzugamori keijoo 鈴ヶ森刑場 Suzugamori execution grounds　



. Kubizuka 首塚 memorial stone pagodas and mounds for the beheaded .

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Edo period police
In feudal Japan, individual military and citizens groups were primarily responsible for self-defense until the unification of Japan by Tokugawa Ieyasu in 1603. During the Edo period (1603–1868), the Tokugawa shogunate formed a centralized feudal government.[1] Samurai warriors who once protected Japan from foreign enemies and fought each other for supremacy became the new police and internal security force.[2] Their new job would be to ensure civil peace, which they accomplished for over 250 years.
----- History
During the Edo period the authoritarian Tokugawa shogunate instituted an elaborate police/security state, an administrative hierarchy was developed, and rules and regulations controlling many aspects of life in Japan went into effect. This new system of government has been called a police state,[4] possibly the world's first.
In 1868
the samurai era ended with the overthrow of the Tokugawa shogunate and a new government came into power (Meiji government) and the samurai class was eventually abolished. In 1872, a former samurai [Kawaji Toshiyoshi] was sent to Europe to study systems of policing and he recommended a restructuring based partially on French and Prussian systems. In 1874, a nationalized police force was created using European police systems as a model. This new police force was the start of the modern police system in Japan, though it was initially dominated by former samurai from Satsuma who were part of the driving force behind the removal of the Tokugawa shogunate. The new Meiji period police continued the Edo period method of Japanese police controlling societal behavior and internal security as well as preventing and solving crimes.
----- Organization
The Edo period police apperatus utilized a multi-layered bureaucracy which employed the services of a wide variety of Japanese citizens. High and low ranking samurai, former criminals, private citizens and even citizens groups (Gonin Gumi) participated in keeping the peace and enforcing the laws and regulations of the Tokugawa shogunate.
----- Samurai police
Machi-bugyō
During the Edo period, high ranking samurai with an allegiance to the Tokugawa shogunate (hatamoto) were appointed machi-bugyō (city administrators or commissioners). The machi-bugyō performed the roles of chief of police, prosecutor, judge and other judicial related business both criminal and civil in Edo and other major towns.
Yoriki
Working under the machi-bugyō was the yoriki. Yoriki were samurai—they managed patrols and guard units composed of lower ranking police officials. Yoriki, being of a higher class, were able to ride a horse while performing their duties and were trusted to carry out assignments of high importance.
Dōshin
Working under the yoriki was the dōshin. Dōshin were samurai but of a lower class than yoriki—they performed the duties of prison guard and patrol officer which required close contact with commoners (chonin). They investigated crimes such as murder and helped with executions.
Non-samurai police assistants
Edo period police
relied heavily on commoners for assistance, from average village dwellers to the outcast hinin and eda castes. Members of the Japanese outcast were particularly helpful with guarding and executing prisoners, and disposing the bodies, something that samurai found to be repugnant (distasteful).
Komono
Komono were non-samurai chōnin who went with the dōshin on patrols and provided assistance.
Okappiki
Okappiki were non-samurai from the lowest outcast class, often former criminals who worked for the dōshin as informers and spies.
Gōyokiki/meakashi
Gōyokiki or meakashi were a non-samurai chōnin or outcast class who were hired by local residents and merchants to work as police assistants in a particular neighborhood—they were often former criminals. The term "tesaki" was used to describe gōyokiki or meakashi later in the Edo period.
----- Duties
Investigating crimes, arresting and interrogating arrested suspects, torturing criminal suspects in order to obtain a confession, punishing convicted criminals including executions.
----- Equipment
Edo period police used a variety of armor and carried lethal and non-lethal weapons to capture criminal suspects. If possible, suspected criminals were taken alive. This meant that special weapons and tactics had to be created in order to accomplish this task.
- - - Weapons
Bansho rokugin or keigo roku-go:
Edo period police stations were required to keep six kinds of weapons (bansho rokugin or keigo roku-go) available for use in case of disturbances.[16] these were the kanamuchi, the kiriko no bo, the tetto, the sodegarami, the tsukubo, and the sasumata.[Three of these tools were called torimono sandōgu ("three tools of arresting"), which consisted of the sodegarami, sasumata, and tsukubō. They were symbols of office and were often displayed in front of police checkpoints or used in processions, especially while convicted prisoners were being led to their execution.
Sodegarami
Sasumata
Tsukubo
Kanamuchi
Kiriko no bo
Tetto
Metsubushi
Jitte, Jutte: an iron or wooden club or truncheon, the jutte was a non-lethal weapon and an official symbol of office.
Te yari (hand spear): a small version of the yari suitable for use in confined spaces.
Kusari fundo/manriki
----- Armour
Edo period police and assistants wore chain armour clothing, armour for the hands, and armour for the head.
Hachi-gane (forehead protector).
Kusari katabira and kusari zukin (chain armor jacket and hood).
Han kote (gauntlets).
- - - More in the WIKIPEDIA !


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- - - To join me on facebook, click the image !

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. Edo bakufu 江戸幕府 The Edo Government .

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

. Doing Business in Edo - 商売　- Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. senryu, senryū 川柳　Senryu poems in Edo .

. Japanese Architecture - Interior Design - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .


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- - - - - #hanzai #edocrime #edopolice #torimono - - - -
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TENGU - Takao Naigubu

http://darumapedia-persons.blogspot.jp/2016/03/kakinomoto-hitomaro.html

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Katsuragi Kakinomoto Jinja 葛城　柿本神社
187-1 Kakinomoto, Katsuragi City, Nara

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The shrine is dedicated to Kakinomoto no Hitomaro, one of the first ranked poets in Manyoshu, Japan's oldest anthology of poems. He died in Iwami no kuni in Masuda City, Shimane Prefecture, but was reburied in 770, and this shrine was built by his tomb.



Together with Yogenji Temple next to the shrine, on April 18, which is the anniversary of Hitomaro's death, every year, the Chinponkanpon Festival is held.
People recollect him by his poem concerning Katsuragi:

Spring willows, the clouds over Mt. Katsuragi,
Remind me of my sister, Standing or sitting.

- source : city.katsuragi.nara.jp -


柿本山　影現寺 Kakinomotozan Yogen-Ji
奈良県葛城市柿本161 / 161 Kakinomoto, Katsuragi City, Nara

- HP of the temple
- reference source : yougenji.jp/guide -

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高雄内供奉 - Takao Naigubu

He is one of the
. 四十八天狗 48 important Tengu of Japan .

also known as[
Shinzei 真済（しんぜい）
高雄僧正 Takao Sojo - "Priest with high learning" (attained at Jingo-Ji)
柿本僧正 Kakinomoto Sojo

Shinzei practised for 12 years at the temple 神護寺 Jingo-Ji and later came to attend to the Emperor as a teacher 御斎会.

He is venerated at founder of the temple 影現寺 Yogen-Ji in Nara, Katsuragi town 奈良県葛城市.

He studied Mikkyo Buddhism with Kobo Daishi. He often practised austerities at Takao 高雄の峯. Once he saw the honorable Lady 藤原明子 Fujiwara no Meishi (染殿后 Somedono no Kisaki) and felt love trouble in his heart. He died soon afterwards and became a blue demon. First he tormented Somedono and later he turned into an Ootengu 大天狗 Great Tengu.

欲に惑い天狗・鬼と化す
文徳天皇の女御で清和天皇の母である藤原明子（染殿后）に一目惚れした真済が、死後、紺青色をした鬼、あるいは天狗と化して彼女のもとに現れ悩ませる。そして比叡山無動寺の相応和尚に退治されるという話。延喜18年（918年）～23年の間に書かれたとされる『天台南山無動寺建立和尚伝』をはじめ、『拾遺往生伝』巻下の相応伝、『古事談』巻三、『宝物集』巻二などに載っている。なお、類似の説話に『今昔物語集』巻二十、第七話「染殿ノ后、為天宮嬈乱事」があるが、この話では紺青鬼（表題は「天宮＝てんぐ」だが本文では鬼）と化すのは真済でなく大和葛木の金剛山の聖人で、相応和尚による退治もなく、后は衆人環視の中、鬼と情交に及ぶに至り、天皇もなすすべがなかったという絶望的結末となっている。この真済や相応和尚が登場しない形の説話の出典は、延喜17年～18年ころ三善清行が書いた『善家秘記』（散逸）とされる。[7]時期的に相応和尚の伝記成立とほぼ同じだが、おそらくは、『今昔』型の説話が先にあって、それを相応和尚の伝記に素材として取り込んだ際、天台宗対真言宗という構図が持ち込まれ、真済が紺青鬼・天狗にされたのであろう。
ー More legends about Shinzei
- reference source : wikipedia -

- quote -
The Empress Somedono is possessed by a tengu (天狗).
The Empress Somedono (829-900) was the wife of Emperor Montoku (r. 850-858).
Also known as Akirakeiko, she was the daughter of the Regent Fujiwara no Yoshifusa (804-872), chief adviser to the Emperor. She was the mother of Emperor Seiwa (r. 858-876).
"Empress Somedono was possessed by a tengu. Several months passed by, but nobody could exorcise the tengu. The tengu announced: 'Unless the buddhas of the three eras appear, who could dare oppose me.'
After some time
the priest Sõõ (831-918) who had founded Mudõ Temple on sacred Mount Hiei was summoned to perform an exorcism.
Sõõ prayed to Amida Buddha for a week, but his prayers had no effect on the tengu. Sõõ then returned to Mount Hiei to pray instead to Fudõ Myõ-õ, the Immovable Wisdom King.
Fudõ Myõ-õ
sat upon his great dais facing the south. When Sõõ sat to pray to Fudõ Myõ-õ, the Wisdom King turned away from Sõõ and faced the west. When the priest seated himself in the west, Fudõ Myõ-õ turned to face the east. The priest again sat in the east facing Fudõ Myõ-õ, but the Wisdom King again turned to face the west. After a few more times at trying to pray to Fudõ Myõ-õ, the Wisdom King finally returned to his original position facing the south.
The priest seated himself again in the south and with tears in his eyes, begged Fudõ Myõ-õ, 'I request an answer to my prayers, why do you turn away from me?' Fudõ Myõ-õ looked into the teary eyes of the priest and spoke, 'In accordance with my vow that if a person keeps my spell even once, I will protect him for lives to come, I have not responded to your petitions and have turned away from you. This is my reason, in the past, the priest Shinzei of Ki kept my spell; however, because of a slightly wrong attachment, he fell into the realm of tengu and now torments the Empress.



Because of the original vow, I must protect this tengu. You must go to the palace and secretly whisper to the tengu, 'Are you the tengu of Kaki no moto, the priest Shinzei of Ki known as Ki no Sõjõ? As he answers, lower your head and perform an exorcism by quietly chanting the magic Buddhist spell of the Daiitoku. The tengu will then be bound by this spell. Meanwhile, I will absolve him of his wrong attachment and lead him back to the path of the Buddha.' Sõõ was deeply moved by the words of Fudõ Myõ-õ. He did as he was instructed, asking the question and performing the exorcism. He was able to successfully seize the tengu and banish it. The Empress Somedono recovered soon after."

The tengu that possessed Empress Somedono was Shinzei (800-860), the priest of Ki known as Ki no Sõjõ. Shinzei was a disciple of Kõbõ Daishi (774-835), the founder of Shingon-shu Mikkyõ (esoteric) Buddhism. He transformed himself into a tengu and possessed the Empress because he supported Prince Koretaka as the new emperor in place of Prince Korehito.
- more is here :
- source : hayakawajunpei.tumblr.com © James Kemlo -

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Other high priests who turned into Tengu
玄隈 Genbo - 、慈恵 Jiei Daishi (Hieizan), 尊雲 Sonun

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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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KOMAINU - water basin

https://japanshrinestemples.blogspot.jp/2015/10/temizu-hand-purification.html

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. komainu 狛犬 / 高麗犬 / 胡麻犬 "Korean Dog" .


source : Maruoka on facebook
櫛原天満宮(久留米市東櫛原町) Kushihara Tenmangu, Kurume

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尾道・向島・厳島神社の手水鉢 Onomichi, Mukojima Itsukushima Jinja
source : 郷土愛好


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KOMAINU - Hokusai

https://darumapilgrim.blogspot.jp/2005/06/hokusai.html

Katsushika Hokusai (1760-1849) 葛飾北斎


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. komainu 狛犬 / 高麗犬 / 胡麻犬 "Korean Dog" .


source : facebook / Kitao Masayoshi






source : shun-ukiyoya.co.jp

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EDO - chomin townspeople culture

https://edoflourishing.blogspot.jp/2013/05/mibun-seido-class-system.html



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craftsmen and merchants were also called
choonin, chōnin 町人 "townspeople", Chonin

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Chōnin 町人, "townsman"
was a social class that emerged in Japan during the early years of the Tokugawa period. The majority of chōnin were merchants, but some were craftsmen, as well. Nōmin (農民, "farmers") were not considered chōnin. The socioeconomic ascendance of chōnin has certain similarities to the roughly contemporary rise of the middle class in the West.
- - - - - Origins
By the late 17th century the prosperity and growth of Edo had begun to produce unforeseen changes in the Tokugawa social order. The chōnin, who were theoretically at the bottom of the Edo hierarchy (shinōkōshō, samurai-farmers-craftsmen-merchants, with chōnin encompassing the two latter groups), flourished socially and economically at the expense of the daimyo and samurai, who were eager to trade rice (the principal source of domainal income) for cash and consumer goods. Mass-market innovations further challenged social hierarchies.
For example, vast Edo department stores had cash-only policies, which favored the chōnin with their ready cash supply.
- - - More in the WIKIPEDIA !


CLICK for more photos of the Chonin life in Edo !
江戸町人の生活 （目で見る日本風俗史１）
岸井良衛監修



江戸町人の生活空間 -- 都市民の成長
戸沢行夫

Coming mostly from far-away regions to Edo with the Daimyo lords, these new "townspeople" had to adjust to the new life, with flooding, fires and epidemics. They were a strong and proud kind and always fell back on their feet, helping each other to rebuild, restructure, renovate and live as best and joyful as they could.

Edo Culture: Daily Life and Diversions in Urban Japan, 1600-1868
Matsunosuke Nishiyama, ‎Gerald Groemer - 1997
This team undertook a detailed examination of the social history of Edo's artisan and merchant classes (collectively known as chonin, "townspeople") ...
- reference source : books.google.co.jp -



- quote -
Nishiyama Matsunosuke
is one of Japan's most prominent historians of Edo popular culture. Edo Culture. Daily Life and diversions in Urban Japan, 1600-1868 contains thirteen of his articles in English translation. The translator and editor Gerald Groemer added an introduction, notes, a bibliography, and a glossary to facilitate the English reader. The articles included in this volume are a small selection of Nishiyama's complete works.

Nishiyama's most influential work, his study of the iemoto system (Iemoto no kenkyu-) appeared in 1959. Iemoto is defined in Groemer's glossary as 'a hierarchical system in which a real or nominal family head (iemoto) passes on a 'house art' to disciples who in turn may have their own pupils' (p. 272). The iemoto system as the central organizing principle of the life of Edo artisans and merchants is an important element in all of Nishiyama's writings. Other recurrent themes are the adoption of elite traditions by the emerging class of townspeople and the cultural exchange between urban and rural areas. Nishiyama also led the 'Edo Townspeople Study Group' (Edo cho-nin kenkyu-kai), which resulted in the publication of the five-volume Edo cho-nin no kenkyu- (1973-1975). This work still stands out as one of the most important publications on the daily life and activities of the people of Edo. Nishiyama's collected works appeared as a set of seven volumes in the 1980s.

In the author's introduction, Nishiyama explains his basic ideas regarding Edo popular culture. In Nishiyama's view, scholars in the past have too easily dismissed Edo-period culture as inferior to other periods. However, the value of Edo culture should not be looked for in extant artefacts, but in the unprecedented breadth and diversity of cultural activities. The general involvement of all kinds of people in artistic life and cultural pursuits constitutes the unique quality and importance of Edo culture, and it is this aspect that should be the focus of study.

The subsequent twelve chapters are divided into three parts. In Part One, called Edo: The City and Its Culture, the first chapter describes Edo as the capital of the Tokugawa shogun and as a warrior city. The second chapter focuses on the other inhabitants of this town: artisans and merchants who were proud of their own distinct city culture and their identity as Edokko (children of Edo). The third chapter considers aesthetic concepts which were central to the life and ideals of Edo in general and of the pleasure quarter, Yoshiwara, in particular. In the fourth chapter Edo publishers and the production process of books and prints is described. The final chapter of this part is devoted to the religious life of Edoites and is based mainly on Edo meisho zue, a 26-volume guide on annual customs which was published between 1834 and 1836.

The second part of the book, called The Town and The Country,
consists of three chapters which describe various aspects of the relation between urban and rural culture. Chapter Six discusses the provincial culture of the Kasei period (1804-1830) in which contacts and cultural exchange between urban centres and rural areas became particularly strong. Increased cash-crop cultivation and other forms of trade intensified the communication between city people and rural population. Chapter Seven focuses on the numerous travellers in Japan and their role as cultural intermediaries. Both professional travellers such as performing artists, exorcisers, priests and monks, as well as the huge crowds of common pilgrims are taken into consideration. Chapter Eight examines the iemoto of culinary schools and the transmission of secret culinary information.

The third part of the book is called Theater and Music: From the Bakufu to the Beggar.
Chapter Nine considers the widespread influence of No-, which is usually viewed in the limited context of samurai cultural life. Nishiyama however, shows the considerable influence that No- music and songs exerted on popular culture, and follows the process of adaptation of some No- schools to the rapidly increasing numbers of students. Chapter Ten continues on the theme of iemoto and performing arts, and highlights the possibilities for upward social mobility of musically talented individuals. In Chapter Eleven the Kabuki theatre is considered in relation to annual events. It also discusses the role of actors as instigators of new forms of fashion. The final chapter examines various forms of performing arts in the period of transition to the modern era.

Nishiyama is a pioneer in the study of the popular culture of the Edo period. Although his essays tend to be somewhat superficial and often lack the precise data and definitions required by modern scholarship, his importance in the development of the study of Edo popular culture cannot be overestimated. By adding valuable background information, the translator and editor Gerald Groemer has made up for much of the lack of concrete data. One of the good aspects of Nishiyama's work is his strong reliance on contemporary publications as sources of evidence. In the English translation, this use of contemporary works is elaborated by including many illustrations from Edo-period publications.
Edo Culture is well worth reading for anyone interested in Edo literature and in the social context of art production and consumption in the Edo period.
- source : Margarita Winkel - Leiden University -

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TENGU - Sankibo from Miyajima, Hiroshima

https://wkdfestivalsaijiki.blogspot.jp/2011/01/itsukushima-shrine-miyajima.html

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. Tengupedia - 天狗ペディア　- Tengu ABC-List.

Sankiboo 三鬼坊 Sankibo, Sanki-Bo
厳島三鬼坊 Itsukushima



Sanki Daigongen 三鬼大権現
The local people call them 三鬼さん Sanki San.
Sanki Daigongen are three fierce guardian gods of 弥山 Mount Misen.

- 追帳鬼神 Tsuicho Kishin ：福徳 Good Fortune - 大日如来 Dainichi Nyorai
- 時眉鬼神 Jibi Kishin：知恵 Wisdom - 虚空蔵菩薩 Kokuzo Bosatsu
- 魔羅鬼神 Mara Kijin ：降伏 Surrender - 不動明王 Fudo Myo-O



- - - - - Amulet bell of Sanki-Bo


With the separation of Buddhism and Shinto during the Meiji period, they were moved to the 三鬼堂 Sankido Hall from their shrine 御山神社 Miyama Jinja.


source : amakara tosan
- 徳、智恵、降伏 -

大小の天狗 Big and small Tengu, long-nosed goblins, are their servants. Many people visit here to pray for the happiness of their family and the success of their business.
The first Prime Minister of Japan, 伊藤博文 Ito Hirobumi is said to have been an earnest devotee. He contributed a large amount to construct the climbing path.
A special hall is dedicated to this deities:
Sankodoo 三鬼堂 Sankido



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[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]

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MINGEI - Niigata

http://omamorifromjapan.blogspot.jp/2011/07/niigata-folk-toys.html

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Hachiman villag 八幡新町 - Sado



clay dolls 八幡の土人形
Made at the end of the Edo period by 村田多平 Murata Tahei. Tahei had been to Kyoto to learn about dyeing techniques.
The production went on till the sixth generation.

. Sadogashima 佐渡島 Sado Island folk art - Introduction .

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Kamo town 加茂市 / Kamo Matsubara　加茂松原



tsuchi ningyoo 土人形 clay dolls,
not made any more

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Niigata town 新潟市

. kingyo daiwa 金魚台輪　goldfish on wheels .

. 新潟のわら馬 / 藁馬 / 稲馬 straw horse .

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Jamatsu Myojin no Shingu 蛇松明神の神玩 toy amulets from Shrine Jamatsu Myojin
新潟県新潟市中央区一番堀通町1-1
A shrine dedicated to the snake deity which likes eggs.



蛇松明神 is a small shrine in the back of 白山神社 Hakusan Jinja.
It sells special serpents and 土人形 clay dolls as amulets.

- reference source : n-cityguide.jugem.jp -

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Suibara tsuchi ningyoo 水原土人形 clay dolls


source :　blog.nihondorei.com

. hahako 母子 / 母と子 mother and child dolls .




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Tsubame town 燕市

. Tsubame Tsuiki Dooki 燕鎚起銅器　Tsuiki Doki : hammered metal ware .
Reference mentions bronze or copper as the main material used.

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and more
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MINGEI - Sabae town, Fukui

http://omamorifromjapan.blogspot.jp/2011/07/fukui-folk-toys.html

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Sabae 鯖江市

Sabae megane 鯖江眼鏡 / 鯖江メガネ glasses, spectacles from Sabae



- quote -
Sabae Glasses　
he eyewear industry of Sabae City, Fukui Prefecture—including frame manufacturing industry—has a history reaching back over 100 years. It might even be said that Sabae represents the history of eyewear in Japan itself.
The production of eyewear in Sabae
was started by a local man called Masunaga Goemon, who from his youth served as a member of the village assembly while also being active in town development. Known as a wise man with a deep love of his hometown, Masunaga's ultimate goal was to enrich the lives of all the people of Sabae, which, despite its severe snows, relied on agriculture as its primary industry.
Seeing an urgent need to diversify,
Masunaga foresaw the increasing demand for eyewear. Thus, as a side business during the off season, he invited craftsmen from areas such as Osaka and Tokyo, where eyewear manufacturing was already quite active, and drew on his own capital to have them teach their techniques to the young people of his city.
Eyewear manufacturing spread widely in Sabae
beginning in 1905. The various aspects of the process were separated, however, by having individuals specialize in each component of the eyewear, ultimately turning the entire town into a single factory. This methodology eventually bore fruit, and after World War 2, the rapidly expanding economy brought with it increasing demand for eyeglasses, allowing Sabae to grow into a leading eyewear production center.
Even after this period,
production efficiency was improved by automatizing parts of the manufacturing process, and both quality improvement and product variety developed as the city began manufacturing celluloid frames and sunglasses as well. In 1981, Sabae succeeded in developing and producing the world's first durable yet lightweight titanium eyewear, establishing itself as a world-renowned center for eyewear production.
Glasses produced in Fukui in general,
and Sabae in particular, have been acknowledged not only for their innovation, but also for their high quality, and have strongly supported the Made in Japan brand. In 2003, an integrated production brand dubbed
THE291 (an alternate reading of "two-nine-one" in Japanese is fu-ku-i, or Fukui)
was established in Fukui to compete with foreign brands and promote development of new materials. Today, Fukui Prefecture accounts for over 90 percent of national eyewear production, and continues to vigorously advance new innovations as it drives product quality.
めがねミュージアム Megane Museum : http://www.megane.gr.jp/museum/
- source : japan-brand.jnto.go.jp/crafts-

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Sabae kutsubera 鯖江くつべら / 靴べら shoe horn

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Sabae mimikaki 鯖江ミミカキ　ear pick　


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TEMPLE - Toji nana fushigi seven wonders

https://darumamuseumgallery.blogspot.jp/2008/06/temple-toji.html

Tooji, Tō-ji 東寺 Toji, To-Ji
Kyoo Oo Gokokuji 教王護国寺 Kyoo-Gokoku-ji

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To-Ji Nana Fushigi 東寺七不思議 Seven Wonders of Temple To-Ji



Neko no magari 猫の曲り "The Cat Corner"
The corner of the South-East 築地塀（ついじべい） Tsuiji fence of temple To-Ji is called "Neko no Magari" and is feared as a place where ghosts and spooks reside. If people pass around this corner, they will experience misfortune. So even today a bridal procession will never pass along this corner.
This explanation goes back to the Heian period and the belief in the animal deities of the Four Directions. A statue of each one had been erected at the appropriate corner of the temple.
The statue of Byakko 白虎, the White Tiger in the West, had looked very much like a cat and people called it neko no magari-kado 猫の曲がり角 , the corner where the cat turns. But the statue had been removed at the beginning of the Meiji period.
Careful, maybe the protector deity of the West had been mis-placed in the South-East for some unknown reason and thus caused trouble ?!

There is another simpler explanation:
Since this corner is located in daily sunshine, many alley cats have come to live here.

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hyootanike 瓢箪池 the Hyotan-ike "gourd pond".
During a strong earthquake around 1854-60 the 五重塔 five-storied pagoda begun to lean to the side. To counterbalance the effect, the pond Hyotanike was dug out by the people.
The pond is also called Hasuike 蓮池 Lotus Pond.

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akezu no mon 不開門（あけずのもん）the gate that is not opened
anamon 穴門（あなもん） gate with a hole
hoozoo宝蔵（ほうぞう） Hozo treasure store house
rengemon 蓮華門（れんげもん） Lotus gate
tenkooseki 天降石（てんこうせき）a stone fallen from heaven
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- reference source : cyber-world.jp.net/tougi-nanafushigi -

. Nanafushigi, nana fushigi 七不思議 "The Seven Wonders" .
There are many places which boast "seven wonders" in Japan.

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TENGU -

https://kappapedia.blogspot.jp/2017/01/tengu-less-known.html

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Koorinboo 宰府高垣高林坊 / 宰府高垣高森坊 Korin-Bo
宰府高垣高林坊 / 宰府高垣高森坊 - Korinbo, Saifu Takagaki - Fukuoka
Saifu is short for 太宰府　Dasaifu　

He lived on 竈門山（宝満山) Mount Homanzan, on the border between 筑紫野市 Chikushino and 大宰府町 Dasaifu.



Mount Hōman
The mountain is about 830 m high.
It is an important site for Shugendo, and a famous place for rock climbing.
- quote wikipedia-

- quote -
Jōdō　杖道　Jodo literally means the way of the stick.
Shinto Muso Ryu (SMR) evolved in the castle town of Fukuoka, in the north west of the main southern island of Kyushu.
SMR is a 17th Century art that matches a practitioner equipped with a 4-shaku 2-sun 1-bu (128 cm) long stick against a swordsman. In its complete "old school" (koryu) form SMR comprises seven sets of jo kata, and several ancillary weapon sets including kenjutsu, walking stick (tanjo), sickle and chain (kasuirgama), war fan (tessen) and other arts besides.
It was founded by Musō Gonnosuke Katsuyoshi, a master swordsman of the Tenshin Shoden Katori Shinto Ryu who embarked on warriors quest (musa shugyo), travelling Japan, looking for opponents to duel.
SMR tradition relates that he met Miyamoto Musashi (possibly in Edo) suffering his only defeat to the two sword (Nito) technique. Following this he travelled seeking answers to the juji-dome block.
At Mount Homan in Kyushu,
above the castle town of Fukuoka he spent 37 days meditating and training – and received a revelation from the Tengu (long-nosed winged demons, famous as the source of several martial traditions) to take the round pole and place it on the water of the moon (Water Moon, or Suigetsu, is the Japanese word used in budo to indicate the solar plexus on the human body).
- source : seitei-iaido-seitei-jodo-

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. - - - Join my Tengupedia friends on facebook ! - - - .

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MINGEI - Takaoka laquerware Toyama

https://darumamuseum.blogspot.jp/2010/02/urushi-laquer.html

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Takaoka shikki 高岡漆器 Takaoka Lacquerware

- quote -
Takaoka City's prized Takaoka lacquerware
has captivated many people with its beauty. Decorated with simple, delicate designs and vividly elegant colors, it has gained popularity both inside and outside of Japan.



The history of Takaoka lacquerware goes back as far as that of Takaoka City itself. When the second Kaga clan lord, Maeda Toshinaga, built Takaoka Castle and established what is now Takaoka City around 1609, he invited craftsmen from throughout the country to his domain, and had them produce various key necessities from armories to cabinets. This is said to have been the origin of Takaoka lacquerware.

Starting out as a townspeople's craft, by the late 18th century, Takaoka Lacquerware was beginning to be influenced by over-glazing methods from China, including tsuishu (the over-glazing of red lacquerware) and tsuikoku (the over-glazing of black lacquerware), and the region saw the start of production of trays and jubako multi-tiered food boxes. Techniques developed such as chokoku-nuri (sculpture painting), where artisans would literally paint lacquer onto sculptures, and sabi-e (rust paintings) that use sabi urushi (rust lacquer) to paint subjects three-dimensionally.

Takaoka expanded as a production center and became known nationwide. Building on these techniques, various products such as trays, tea utensils and furniture were manufactured, and in 1975, Takaoka lacquerware was designated as a traditional craft by the Japanese government.

Other lacquer techniques representative of Takaoka are yusuke-nuri and aogai-nuri.
Yusuke-nuri is a comprehensive technique that uses a Chinese designs as its base, with singular subjects or combinations of subjects such as flowers and birds, mountains and water, or human figures painted using the sabi-e technique. Decorations are then added to this foundation using coral and gold or silver sheets. Aogai-nuri, meanwhile, uses inlaid mother-of-pearl to create its designs. By using thin, hand-crafted shells, the foundation becomes transparent, illuminating a beautiful shade of blue.

Takaoka lacquerware continues to be made to this day. Classic products such as trays and hand mirrors are still being manufactured, as well as new products that cater to modern needs, such as smartphone cases and piercings. Ancient or modern, investing in the dignified beauty of Takaoka lacquerware can bring an inspiring change to your life.
Traditional Crafts Takaoka Lacquerware Co-operative:Kaihatsu-Honmachi, Takaoka-shi, Toyama
- reference source : japan-brand.jnto.go.jp/crafts -




. Toyama Folk Art - 富山県 .

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. . . . . Urushi no ki 漆　うるし　＜＞ Lacquer Tree


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MINGEI - Aizu Dolls

https://darumadollmuseum.blogspot.jp/2005/02/aizu-daruma.html

. Folk Toys from Fukushima .
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Daruma from Aizu Wakamatsu 会津だるま

Produced at the Saito Workshop
Made of Wood, calling in good luck for the owner.


斎藤工房
- source : aizukanko.com/spot...

See below more photos from the collection of Saito San.

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Aizu hariko 会津張子 Papermachee Dolls



■会津若松張り子■　
猪苗代湖の側の会津若松市には、種々の郷土玩具が揃っています。その内でも代表的なものは、赤べこをはじめとする会津若松張り子です。　会津若松の張り子は赤べこをはじめ、会津天神、馬に乗った殿様、会津だるま、姉様、など、大小さまざまの型が作られています。この地方の張り子は「赤もの」とも呼ばれて、赤色を基調に彩色されています。赤ものは昔は疫病除けの呪い（まじない）であり、また、子育ての縁起物として用いられたものです。　東北の諸玩具の中でも古い伝統を持ったこの会津若松の張り子は、豊臣秀吉に仕えた蒲生氏郷（がもううじさと）が、鶴が城城主として松阪から移封した時、下級武士の資（かて）になるようにと、京都から職人を招きその技術を修得させたのが始まりで、それが今日あで伝承されているのです。　掲載の「馬に乗った殿様」は五十嵐民芸店の製作品です。

The most important of the Aizu Papermachee Dolls is the Red Oxen, Akabeko. The red color is auspicious for warding off illnesses. Many papermachee dolls of the Aizu area are called "Red Things" (akamono) for this reason. Red things are also good luck symbols for childrearing.

■会津張り子・起き姫雛人形■　
下欄掲載の「起き姫」をモチーフにして、山田利正さんが製作した、張り子の内裏雛です。　
Princess　Dolls as rolypoly. Made by Yamada san.

■会津張り子・起き姫■　
「起き上がり小法師」ともよばれる、親指大の可愛い張り子の「起き上がり」です。　これを作っている「山田民芸工房」では、「起き姫」「風車」「初音」を会津三縁起物と称して製造販売しています。（風車・初音は未収録）　「初音」は竹製のうぐいす笛で、春一番に鳴く鳥ということから、昔はこの笛を吹いて正月を祝ったそうです。　これらの縁起物や先の会津だるまなどは、正月１０日市内のえびす市で売られます。そのとき、起き姫を家族の数より１個多く求め、家族の数が増えますようにという願いから、神棚にそれを祀って、「家内安全。養蚕の豊作」を祈りました。

Princess Daruma rolypoly Dolls. Made by Yamada san.
The tree auspicious things from Aizu are this Doll, water wheels and a pipe made from bamboo which sounds like a first nightingale in spring (hatsune). You buy Daruma dolls at the New Years Market, one figure more than members of the household, put them on the God's Shelf (kamidana) and pray for the good luck of the family and a good silk harvest.



Yamada Mingei Kobo 山田民芸工房
福島県会津若松市七日町12-35



山田利正 Yamada Toshimasa san,
now in the fourth generation, makes Okiagari Koboshi 起き上がり小法師 small Daruma statues, now with the wish to help Tohoku come back on its feet.
These dolls have been made since 400 years, then the lord of the domain, Gamoo 蒲生公 had them produced as a regional souvenir and an amulet to keep people healthy. Each family has to buy one more that family members with the wish that the family will always prosper and the line never die out.


. Earthquake Daruma .


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Aizu anesama 姉様 Elder Sister Doll

They were designed by Kuri Jooei 粟城栄 from the Igarashi store.
They are quite simple and pure and bring out the fascination of papermachee dolls.
- source : asahi-net.or.jp/... l


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Aizu no Anesama 会津の姉様 "Aizu sisters"



Aizu no Anesama 会津の姉様 Sister Dolls made from folded pieces of cloth, mainly in indigo colors. Their head decorations were made from gold and silver strings.
. Anesama ningyoo 姉様人形 "elder sister" dolls .

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.. .. .. .. .. Collection Saito, Sendai 仙台の斉藤さん



頭の尖った小さな起き上がり小法師。赤い着物を簡単に描き、顔も非常に簡略化されている。旧正月のだるま市などで売り出されるが、これを買うときには必ず家族の数より一つ余分に買う慣わしがある。神棚に祀ってその年の無病息災や子宝を得るように祈るのだが、「繭が良く起き上がる」ように蚕の守り神にもする。

The ones on the left are from Aizu, with a sharp head.
The ones on the right are from Miharu.

oo oo oo



Nozawa Hariko from Nishi Aizu
「野沢張子
Nozawa Daruma
made since about 40 years.
They are made by plastering washi paper on special molds and not as detailed as real handmade papermachee dolls.
The themes are Daruma, a tiger wiggeling its head and Daikoku with a mouse.
の創始は約40年程前で、さほど長い歴史ではありません。会津赤ベこ製作が始めです。赤ベこを始めて12～3年間は和紙を木型に張り付け、張子細工として100％手作り作業で製作しておりました。当時から私共の地域は会津若松より40ｋｍ程西の新潟県境で観光地でもなく、製作した赤ベこは会津若松市の問屋に納品するだけの仕事でした。時が経つにつれ赤ベこ以外も製作するようになりましたが、和紙を原料とした張り子細工は製造原価に限度があり、紙を原料とする真空成型を「高崎だるま」産地より取り入れ、張子として生産するに至りました。

しかし、だるまを作る型の真空成型では小さな作品では精度の高いものは出来ず、手作りの張子に近い作品を作るための型は、７年余りの時間を掛けて私共で開発しました。新しい作品を作る場合、デザインした作品の木型を作成し和紙を使ったサンプルを作成します。手張り張子はこの最初の作品のみです。製品としてお客様にお渡しするものは、すべて真空成型により作られるものです。江戸時代より庶民の中から生まれ育ち、高度経済成長にともない滅び行く一途の郷土玩具を、製法は違えども後世に残して行けたらと思うとき、私共があります。」（野沢民芸品製作企業組合・伊藤理事長の話）虎の高さ８cm。（H17. 1.2）

© 佐藤　研　（仙台市）Collection Saito, Sendai
Look at more papermachee dolls from Aizu and Fukushima here
http://www.ne.jp/asahi/narumi/clinic/gang/gang/gang_fukushima.html

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2013 - after the earthquake
Nozawa Mingeihin Seisaku Kigyo Kumiai



NISHI-AIZU, Fukushima Prefecture--Customers have been screaming for traditional Okiagari-Koboshi (getting-up little priest) dolls that have been given an expressionistic twist. ...
- source : ajw.asahi.com

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CLICK for more photos !

Nozawa Mingei　野沢民芸
- source : www.nozawa-mingei.com


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source :　asahi/narumi

higanjishi, higan shishi 彼岸獅子
lion dancers at the solstice

They have a history of more than 500 years.
They represent a dance for good luck for soldiers before they had to go to battle.
They also bring good health and ward off evil. The most important of these battles was the Boshin Senso in 1868, a civil war between Tokugawa loyal forces and the new Meiji government troups.
The loyal samurai of Aizu were famous for this last battle.


. . . CLICK here for Photos of the dancers !


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Aizu Daruma 会津だるま



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Aizu hariko 会津張子　Aizu Papier-Mache dolls
The craft of 'hariko' (papier-mache) is also called 'harinuki' or 'haribote' and was brought to Japan from China.

During the Muromachi period, papier-mache dog figures were popular among the nobility. By the Edo period, there were many paper-production centers all over Japan. Many kinds of papier-mache toys and good-luck figures were made around Japan, with characteristics unique to each region.

In the Edo period, there was little chance for exchange both within and outside the country, owing to Japan's long period of isolation. So, people produced toys reflecting each region's lifestyle or beliefs.



Papier-mache toys, such as these, have been called 'local toys' since the early Taisho period. Most local toys are to wish for health to a growing child, good luck, prosperity in business or abundant harvest.

It is said that Aizu papier-mache developed as an additional source of income for samurai in the Aizu Domain; the red cow toy is especially famous. There is something lovely about the way these little red cows shake their heads.
- source : nippon-kichi.jp -

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Aizu tsuchiningyo 会津土人 Clay Dolls

from Nakayukawa, Aizu 会津中湯川土人形



Daruma and Cow




catfish and chicken ナマズの上に鶏


made by Aoyanagi Morihiko 青柳守彦 in a traditional way, with a rather comical touch.

Click for more:
source :　folkcraft.samurai47.com


. . . CLICK here for Photos from Aizu Clay Dolls !


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Aizu Chinese Doll kites 唐人凧
Toojin Tako 唐人凧



They were made by the company Takefuji 竹藤, a sake brewery, which has a history dating back to 1624.

The daimyo of Aizu, Gamoo 蒲生, had been baptised as a Christian and had close connection with Nagasaki and the Chinese merchants there.
Around 1764, the people of Aizu developed a special way to grow ginseng 高麗人参 koorai ninjin ("Korean carrots"). One of the ginsen merchants, Adachi Juuroo 足立十郎 had the kites made to honor the Chinese merchants.


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onna tochibina 女土地雛 clay dolls of women

They are a kind of hina dolls (for the doll festival on March 3).
They have been made by the grandfather of Kuri Jooei 粟城栄 from the Igarashi store.
source :　Mingeikan Asahi


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. Bandai Atami no hariko 磐梯熱海の張り子 papermachee dolls from Bandai Atami .


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. Further Reference

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. akabeko　あかべこ　Aka-Beko .
The red cow / oxen from Aizu


. Folk Toys from Fukushima .


[ . BACK to DARUMA　MUSEUM　TOP . ]
- #aizuwakamatsu #aizudolls #aizudaruma -
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MINGEI - Fukushima Aoki Cotton - AIZU

http://omamorifromjapan.blogspot.jp/2011/06/fukushima-folk-toys.html

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- quote -
Aoki cotton 青木縞　
Among the different types of Aizu cotton, a traditional handicraft product from the Aizu area in western Fukushima Prefecture, Aoki cotton once enjoyed great popularity for its quality.
Demand for Aoki cotton took a downturn, though, amid changing lifestyles after World War II and all production plants in the town of Aizubange were closed some 30 years ago.
In October 2011, reluctant to allow local craftsmanship to fade into history, young entrepreneur Takuro Yazu set up a company in 会津坂下　Aizubange to work on reviving Aoki cotton.
His company, IIE Co., involve people who evacuated from areas affected by the March 2011 nuclear meltdowns at Tokyo Electric Power Company Holdings Inc.'s Fukushima No. 1 power plant in the prefecture.
Last year,
IIE successfully revived Aoki cotton for the first time in 30 years, using refurbished century-old looms.
- source : Japan Times -
- HP of the store :
福島県河沼郡会津坂下町大字青木字宮田205番地
Miyata-205 Aoki, Aizubange-machi, Kawanuma-gun, Fukushima
- source : iie-aizu.jp　-

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