Kuge - Aristocrats

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Kuge 公家 Aristocrats

The kuge (公家) was a Japanese aristocratic class
that dominated the Japanese imperial court in Kyoto from its establishment as the capital in the late 8th century until the rise of the Shogunate in the 12th century, at which point it was eclipsed by the daimyo. The kuge still provided a weak court around the Emperor right up until the Meiji Restoration, when they merged with the daimyo, regaining some of their status in the process, and formed the kazoku (peerage), which lasted until shortly after World War II (1947), when the Japanese peerage system was abolished. Though there is no longer an official status, members of the kuge families remain influential in Japanese society, government, and industry.

The word means literally "public house" or "public family" and originally described the Emperor and his court. The meaning of the word changed over time to designate bureaucrats at the court. During the Heian period the relative peace and stability provided freedom for the noble class to pursue cultural interests, and the Kuge became leaders and benefactors of arts and culture in Japan.
Most of the Kuge resided in the capital city of Kyoto.

Classification
In the 12th century conventional differences were established among the dōjō, separating the kuge into groups according to their office at court. These determined the highest office to which they could be appointed. The groupings were:

Sekke (摂家): could be appointed as sesshō and kampaku: This was the highest class of kuge. Only five families belonged to this class, all descended from Fujiwara no Michinaga.

Seigake (清華家): could be appointed daijin (minister), including daijō-daijin, the highest of the four daijin of the court. They were descended from the Fujiwara clan or Minamoto clan, descendants of the emperors.

Daijinke (大臣家): could be appointed naidaijin, if this office became vacant. In reality, the highest office they could normally achieve was dainagon.

Urinke (羽林家): was a military class; they could be appointed dainagon or rarely to naidaijin.

Meika (名家, also pronounced "Meike"): was a civilian class; they could also be appointed dainagon.

Hanke (半家): was the lowest class among the dōjō, created in the late Sengoku period. They could only be appointed to lower ranks than sangi or chūnagon.
Most of the highest-classed kuge belonged to the Fujiwara clan and Minamoto clan, but there were still other clans like the Sugawara clan, the Kiyohara clan, and the Ōe clan.
©　More in the WIKIPEDIA !





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H A I K U


公家の手に豆出かしたる子の日哉
kuge no te ni mame dekashitaru ne no ki kana

the hands of aristocrats
get corns ...
day of the rat

横井也有 Yokoi Yayuu

. WKD : first day of the rat, hatsune 初子 .

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. WKD : Kobayashi Issa 小林一茶 in Edo .


短夜を公家で埋たる御山哉
mijika yo o kuge de umetaru o-yama kana

making do with courtiers
this short summer night --
what a high-class mountain!
Tr. Gabi Greve


Comment by Chris Drake :

This hokku was written in the 5th month (June) in 1815, when Issa was at one of the hot springs in Yudanaka (about 20 miles east of Issa's hometown) as the guest of the owner and his son, who were also renku and hokku poets and followers of Issa. The hokku is part of a series of hokku in Issa's diary about an important festival: judging by its placement in the diary, it was written on lunar 5/5 to celebrate the Tango Festival, the Children's Day Festival. The festival was held shortly before the summer solstice, originally to pray for good health during the coming hot months, when disease was more common.

In the Edo period the 5/5 festival was often referred to as Women's House (onna no ie), since women put leaves of sweet flag (similar to iris) and other grasses in the eaves and took hot baths in the evening on 5/4 with sweet flag leaves in the water. In many places men took sweet-flag baths on 5/5 and then stayed outside all day, while women "owned" the house, probably a remnant of old matrilocal marriage customs according to which men traveled to meet their wives in their wives' houses. Many scholars feel the Women's House custom also reflected earlier shamanic practices according to which female shamans (most Japanese shamans were female) gathered and sang sacred songs and did private shamanic training on this day in preparation for rice-planting. For men, the day became a time to display armor and martial arts (especially archery) in competitions, and later it came to be informally known as Boys Day among members the samurai class.

In Issa's hokku, some courtiers from Kyoto are visiting the Yudanaka spa complex, presumably to bathe on 5/5 and the days before and after in order to avoid sickness during the coming hot season. The spa was located near the Nakasendo inland road from Kyoto to Edo, so it was accessible to Kyoto people. No doubt the hot baths at the spas have leaves of sweet flag soaking in the water, and leaves of sweet flag, mugwort, and other herbs hang from the eaves. In 1815 lunar 5/5 fell on June 11, so the nights mentioned in the hokku are truly becoming shorter and shorter just before the solstice.

The image of short summer nights comes from waka, where it commonly indicates that summer nights are all-too-short to do something important, such as being with a lover. Issa's hokku, however, isn't about love. It seems filled with irony instead, since for spa owners summer was a slack season. As the nights get shorter, the days get hotter, and fewer customers visit the hot springs, which are most popular in fall and winter. The owners may have made great efforts to get courtiers to visit for the 5/5 festival and at other times during the summer to help take up some of the slack.

The spas in Yudanaka are located just below several high mountains, so Issa must be referring to the mountain above the spa he's in, so the mountain may be an indirect way of referring to the spa itself. He uses an honorific prefix for the mountain (o-), making it "honorable mountain," a common usage when speaking of a mountain. However, Issa seems to be using o- in two different senses to create satire here. On the literal level, the nights are growing short and fewer customers come, but the dignity and awesomeness of the mountain and the spa on it are actually increasing, since prestigious courtiers from the imperial court in Kyoto are bathing here now. Perhaps Issa overhears some courtiers or spa attendants saying exactly this kind of thing.

However, even if courtiers and commoners are bathing in different baths, in a hot bath there are no perceptible differences between a commoner and an aristocrat, and Issa probably has no special respect for the courtiers, who are simply the descendents of an elite that once ruled the country centuries earlier. Likewise, those who run the hot springs no doubt respect mainly the money the courtiers bring bring in during the summer off-season, not their class status, which is higher than that of commoners and in real terms below that of warriors. With the honorific o- Issa implicitly contrasts the respect he and others feel for the mountain with the artificially imposed, formal respect commoners are forced to show to courtiers by, for example, using honorific language. Telling the mountain it should feel honored to have courtiers staying there is an indirect but ironic comment on the emptiness of the high status the courtiers enjoy. The humor is based on the fact that warriors are the real lords now, and the power of courtiers and the emperor are radically limited and consist mostly of displaying elegant symbols from the past. Many courtiers in Issa's time had to sell family heirlooms in order to stay out of poverty, and it's possible the spa has had to give the "high-class" courtiers special discounts so they could visit.

Chris Drake


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Kinoshita Choshoshi

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Kinoshita Choshoshi 木下長嘯子 / 長嘯
Kinoshita Chooshooshi

(1569 - 1649)


from 圓徳院


quote
Seiryu-En . . . the place where long ago Kinoshita Choshoshi had his retreat.
A Momoyama waka poet, Kinoshita Choshoshi was the nephew-in-law of Toyotomi Hideyoshi and had exchanges with Confucianist Hayashi Razan, devotees of the way of tea, tea master and garden architect Kobori Enshu, as well as with many nobles of the court.

He studied waka poetry with Hosokawa Yusai, an initiate of the traditions of the Kokinshu collection of 'ancient and modern' poems.
From the early modern age to more recent times this has been the stage for such activities as the creation of paintings and literary works, or tea gatherings, and many writers and artists have gathered here.
source : www.seiryu-en.com

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Ehon mushi erami 画本虫撰
Picture Book: Selected Insects


quote
On this, the night of the fourteenth of the eighth month, the usual group of comic poets dragged one another along to listen to the voices of the insects that chirp in the fields. North from Ryogoku and east of Yoshiwara, we spread out our rugs on the embankment of the Sumida River near Iosaki, where they sell carp [and love], and tried to fix a value on the voice of each insect, high or low.

By force of circumstance we forwent wine and women, and so any females in the parties nearby must have said that we were a group of stingy worms. Intoned prayers from a nearby temple mingled faintly with the sounds of the insects, reminding us sadly of that worship hall for the princess built by Kuenshi.

We thought that it would be simply inexcusable for people to accuse us of selling old leftovers at the morning market and so, hot on the heels of the
'Poetry Contest on Various Insects'
compiled by Kinoshita Choshoshi,
we have composed playful poems on the sentiments of love. Thus we wiled away the night. Since river and mountain, wind and moon have no habitual master, there was no landlord pressing for the rent. And since there was no reception room on our grassy mat, we decided that the [singing] insects must be the true owners. Turning to face these dew-covered personages, we politely bow down low and can't stand up!
[The meaning of the last sentence is unclear.]
source : www.britishmuseum.org


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. Toyotomi Hideyoshi Kinoshita 豊臣秀吉 .



Choshoshi KINOSHITA, and was a man of literature who absorbed the works of FUJIWARA no Teika.

- Reference -


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H A I K U

長嘯の墓もめぐるか鉢叩き
Chooshoo no haka mo meguru ka hachitakaki

. Matsuo Basho 松尾芭蕉 .

Written on the 24th day of the 12th lunar month, 1689 元禄2年
Basho had visited Kyorai to see the procession of the monks.
They do it for 48 days, starting on the 13th day of the 11th lunar month.

are they also walking around
the grave of Choshoshi ?
Hachitataki ceremony
Tr. Gabi Greve




納豆切る音しばし待て鉢叩き
. nattoo kiru oto shibashi mate hachi tataki .

. Hachi Tataki, hachitataki 鉢叩 鉢敲, 鉢扣
First yearly Memorial Service for　空也上人　Kuya Shonin .
kigo for the New Year



source : itoyo/basho


are they ranged around
Choshoshi’s grave?
bowl-slapping bretheren
Tr. Robin D. Gill


Have his rounds taken him
as far as Chooshoo's tomb? --
priest seeking alms.
Tr. Reichhold


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a waka by Choshoshi

鉢叩き暁方の一声は冬の夜さへも鳴く郭公

hachitataki akegata no hitokoe wa
fuyo no sae mo naku hototogisu

itinerant priest
your lone voice toward dawn -
a hotogisu
that sings
even on a winter's night
Tr. Cheryl A. Crowley

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Kinoshita Katsutoshi 木下勝俊
. Kobayashi Issa 小林一茶 in Edo .

The fact that the poet Chōshōshi chose a frog to be the judge of waka written by many kinds of insects was a great honor that will surely make you, too, frog, proud as long as you live.

いうぜんとして山を見る蛙哉
yuuzen to shite yama o miru kawazu kana / iuzen to

motionless
frog gazes calmly
at the mountain

This hokku is from the end of the first lunar month (February) in 1813, a few days after Issa had reached a settlement with his half brother that divided up their father's inheritance, including the family house, equally between them. The headnote refers to the famous warrior waka poet Kinoshita Chōshōshi (1569-1649), who wrote about an imaginary court waka contest between fifteen pairs of different insects, with the fifteen winners being chosen by a judge who was a large frog. The contest was published as a book, Insect Waka Contest, sometime between 1624 and 1644, and Issa must have read a copy. In the headnote he praises a frog he sees sitting calmly and gazing at a mountain in the distance. In this humorous headnote Issa tells the unmoving frog with its imposing eyes and lofty gaze how much he respects him for being a descendant of a fictional frog chosen by Chōshōshi for its ability to understand waka, thus implying that the croaking songs of this actual frog, too, are outstanding frog waka.

The gaze of the frog also has spiritual implications, as can be seen from a further allusion, this one to a poem by the Chinese poet Tao Qian (365–427), also known as Tao Yuanming. Tao Qian was a minor official who gave up his boring work and became a farmer in a country town. Strongly influenced by Daoism, he spent most of his time writing poems and drinking with his friends, and his poems give off a strong feeling of a free spirit carrying on a dialog with both nature and other free spirits. Issa alludes to the fifth poem in a series of poems entitled "Twenty Poems After Drinking Wine," a poem most of his readers would have been familiar with, since it was very famous in both China and Japan.
Since Issa refers to the whole poem, here is my translation:

I made my hut where other people dwell
and yet I hear no noise of horses or of carts.
You ask, how could this be?
My mind detached, I live in far-off places.
As I pick chrysanthemums by the eastern hedge
my calm gaze reaches a distant mountain to the south.
The mountain air is marvelous in sunset light
and birds fly back together to their nests.
Within all this are signs of the truth.
When I try to explain, I've already forgotten words.

One reason the poem is so famous is that it is able to show what it is doing even though it can't explain itself. In the fourth line the detached mind of the poet allows him to live in remote seclusion even though he lives surrounded by people in a town, and in line six "distant" returns to "detached" in line four and suggests that the detached spiritual gaze of the poet allows his mind to visit the distant mountain, causing the reader in Chinese to feel a double image in which the poet gazes at the mountain in an unattached way that allows him to travel to it. The grammar allows this double-vision to be performed by readers before they can rationally delete the second image from their minds, since normally, of course, seeing is not traveling. The next two lines further suggest that far is also near, that Tao Qian has gone to the mountains and is breathing the mountain air and viewing the sunset and birds at fairly close range. Thus Tao Qian becomes fused with the mountain, as if he were returning back to his spiritual home or "nest" there. Tao Qien leaves a further hint by having this vision occur while he is picking chrysanthemums. That is, he is only able to have visions when he isn't trying to see them, or, as the last line says, when he has forgotten words. He seems to be urging readers to leave logic and ordinary meanings behind when they read his poems. Issa was a careful reader of classical Chinese and Japanese literature, so Tao Qian's paradoxical approach was surely intuitively apparent to him.

By quoting part of Tao Qian's Chinese poem, Issa, as so often, is able to bring together opposite images or registers, here mixing vision with earthy humor, sublimity with irony. On the one hand, he praises the poetic sensibility of the frog using grandiloquent rhetoric that suggests the frog's posture is in one sense pompous and vain, while on the other hand he compare's the frog's big-eyed vision with Tao Qian's, implying that the frog has become one with the mountain it watches so intensely and that its unmoving posture suggests it is the unmoving mountain, or at least a smaller frog-mountain version of the mountain. This contradiction seems to be the point of Issa's hokku, as it is with so many of his hokku, many of which are self-ironic. The image of the frog here and the image of the returning birds in Tao Qian's poem would certainly fit with Issa's own mood after finally receiving his half of his father's house and realizing that he would soon be able to return to his hometown to live. The image of Issa talking with a frog and staring at one of the high mountains near his hometown and feeling at one with it may lie behind this hokku, as well as the image of Issa acknowledging that while his humble hokku are not as elegant as classical waka they nevertheless are capable of dealing with important aspects of everyday life that are both ridiculous and inspiring at the same time.

The above version of the hokku is found in Issa's Seventh Diary from 1813, but he uses the hokku again in Year of My Life, as if it had been written in 1819, the year evoked in Year of My Life. The hokku must have meant a lot to him, and he wanted use it again in Year of My Life after a passage about a funeral for a frog. Issa uses the same headnote about a frog judging waka in both 1813 and 1819. In Year of My Life, however, he also mentions that frogs were believed to have various spiritual and magical powers in ancient times and that he enjoys sitting together with them in the cool evening air.

Chris Drake

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世々の人の月はながめしかたみぞと
おもへばおもへぬるゝ袖かな

source : www.city.himeji.lg.jp

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. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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Oda Nobunaga

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Oda Nobunaga 織田信長

(June 23, 1534 – June 21, 1582)
was the initiator of the unification of Japan under the shogunate in the late 16th century, which ruled Japan until the Meiji Restoration in 1868. He was also a major daimyo during the Sengoku period of Japanese history. His work was continued, completed and finalized by his successors Toyotomi Hideyoshi and Tokugawa Ieyasu.



He was the second son of Oda Nobuhide, a deputy shugo (military governor) with land holdings in Owari Province. Nobunaga lived a life of continuous military conquest, eventually conquering a third of Japan before his death in 1582. His successor, Toyotomi Hideyoshi, a loyal Oda supporter, would become the first man to unify all of Japan, and was thus the first ruler of all Japan since the Ōnin War.
©　More in the WIKIPEDIA !



. Toyotomi Hideyoshi 豊臣秀吉 .


. Tokugawa Ieyasu .


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The famous comparison of three famous warlords

鳴かぬなら　殺してしまえ　ホトトギス
nakanu nara koroshitamae hototogisu

If the bird does not sing, kill it!

Read Hideyoshi and Ieyasu here

. hototogisu ホトトギス, 時鳥 .
Little Cuckoo, Cuculus poliocephalis


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Dairokuten Ma-O 第六天魔王

. Big Number Six Heavenly Deity .

Oda Nobunaga took on this name for himself.

Dairokuten Shrine where Nobunaga worshipped

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Tsurugi Jinja 劔神社 "Sword Shrine"
Echizen Ni no Miya

in Fukui 福井県丹生郡越前町

Deities in residence

Kehi Ookami 気比大神 Kehi Okami
. Kehi Jinguu　気比神宮 Shrine Kehi Jingu .

Susanoo no Mikoto 素戔嗚尊(すさのおのみこと)
Oshikuma Ookami 忍熊(おしくま)大神

This shrine was the family sanctuary of Oda Nobunaga, who was born in the village.
So the locals call it

Oda Myoojin san 織田明神さん


quote
Specifically Oda Nobunaga claimed to be descended from "Oda" Chikazane 親真. Chikazane is said to be the son of Taira Sukemori, 平資盛 (1161-1185), who was the second son of Taira Shigemori (1137?-1179)平重盛, who was the first son and heir of the very famous Taira Kiyomori 平清盛 (1118-1181).

... according to this version of the family history, Chikazane next found himself at the Tsuta Estate in Omi (modern-day Shiga Prefecture). There he was taken care of by a major local family. Later he was adopted by a Shinto Priest of the Tsurugi Shrine located on the Ota Estate in Echizen, modern Fukui Prefecture.

Incidentally the Tsurugi Shrine still exits today.

In 1233, Chikazane set down his roots and changed his family name to his new home, "Ota". The pronunciation of the family name changed at some point to "Oda", although the same kanji characters continue to be used to write the name. Later he became a priest himself and took on the monk's name Kakusei 覚盛. Chikazane died on March 18, 1260. Assuming he was 10 years old at the time of the Battle of Dan-no-Ura, he must have been something like 85 years old at the time of his death.

Nobunaga later continued to point to the Tsurugi Shrine as the shrine of his ancestors.
. . . . .
Another possibility is that a Shinto priest of the Tsurugi Shrine took on the name Ota/Oda. In this theory, the mother is a Taira, but the father was of the Inbe 伊部 clan, who were Shinto priests based at the Tsurugi shrine. Their son - our friend Chikazane - took the name Ota from the temple.

The family tree of the Nobunaga clan
source : www.odanobunaga.com

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- - - - - Some shrine treasures

Hassoo Nehan zu 八相涅槃図（はっそうねはんず）
織田信長安堵状 Letter from Oda Nobunaga in 1537


Fudo Myo-O Sanzon 不動明王三尊像 Painting
Fudo Moy-O 不動明王像 Statue




Nobunaga Jinja 織田神社本殿 Nobunaga Shrine




Omamori 剣神社　御守り　Amulet

Homepage of the shrine
source : tsurugi-jinja.jp


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- - - - - from the Daruma Museum Archives


. Shibata Katsuie, Katsu-ie 柴田勝家 .
(1522 – June 14, 1583) or Gonroku (権六) was a Japanese military commander during the Sengoku Period who served Oda Nobunaga.

his wife was
Oichi, O-Ichi (お市) or Oichi-no-kata (お市の方)
sister of Oda Nobunaga



Mitsuhide started a coup against Nobunaga :
. Akechi Mitsuhide 明智光秀 .

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A favorite dish of Nobunaga :
. aka konnyaku 赤こんにゃくred konnyaku .
speciality of Omi Hachiman, Ōmihachiman 近江八幡, Shiga prefecture


Nobunaga gave golden folding screens as presents to
. Uesugi Kenshin Kagetora 上杉謙信(景虎) .


. The ninja in Iga 伊賀忍者 .
and
Jizo with his head cut off - 首切り地蔵


This is a famous story about a KATSU that even shocked the great warlord Oda Nobunaga.
. The Koan Katsu　勝 .

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Daruma Doll sweets "Nobunaga" from Nagoya
名古屋限定の戦国武将だるま 信長

source : mogumogu


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A company called DARUMA makes a
"Nobunaga Bento"　「信長膳」Nobunaga Zen
sold at Nagoya Station


名古屋駅の駅弁「信長膳」




source : nagoyadaruma.jp


. Train Station Lunch Box (ekiben 駅弁) .


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Haiku about Nobunaga

Nobunaga Ki 信長忌 Nobunaga Memorial Day
陰暦６月２０日で夏の季語
On the 20th day of the sixth lunar month
kigo for summer


Nobunaga became the patron of the Jesuit missionaries in Japan and supported the establishment of the first Christian church in Kyoto in 1576, although he remained an adamant atheist and never converted to Christianity.


source :　yuriko mine


セミナリヨ跡の青蘆信長忌
seminario ato no ao ashi Nobunaga ki

green rushes grow
over the seminary remains -
Nobunaga Memorial Day

Sano Michi 佐野美智

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めしつぶを膝より拾ふ信長忌
meshitsubu o hiza yori hirou Nobunaga ki

I pick up a grain of rice
from my knee -
Nobunaga Memorial Day

関口比良男 Sekiguchi Hirao


バロツクの鏡こなごな信長忌
櫂未知子

兜煮の目玉をしやぶり信長忌
山崎房子

城高く灯り信長忌なりけり
池田秀水

夜の蜘蛛ぽとりと落下信長忌
木塚眞人

生ま喰ひの蒟蒻朱し信長忌
吉本伊智朗

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船団も女体も何も信長忌
sendan mo nyotai mo nanimo Nobunaga ki


信長に信長触れぬ十六夜
Nobunaga ni Nobunaga furenu juurokuya

Settsu Yukihiko 攝津幸彦 (1947 - 1996)

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信長のひとりのときの牡丹雪
和田知子


霰うつて信長の墓うそぶける
松本進


向日葵や信長の首斬り落とす
Kadokawa Haruki 角川春樹


玻璃越しに凍む信長の太刀兜
渡辺恭子

source :　HAIKUreikuDB


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. Festivals, Ceremonies, Rituals - SAIJIKI .

. Amulets and Talismans from Japan .　

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#nobunaga #odanobunaga
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