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Mie (pose)
The ''mie'' ( or , ), a powerful and emotional pose struckAlthough in English a pose is usually said to be "struck", in Japanese, the ''mie'' is said to be "cut" (, ''mie wo kiru''). by an actor, who then freezes for a moment, is a distinctive element of ''aragoto'' Kabuki performance. ''Mie'' means 'appearance' or 'visible' in Japanese, and one of the primary purposes of this convention is to draw attention to a particularly important or powerful portion of the performance. It is meant to show a character's emotions at their peak, and can often be a very powerful pose. The actor's eyes are opened as wide as possible; if the character is meant to seem agitated or angry, the actor will cross his eyes. In Japanese, the ''mie'' pose is said to be "cut" by the actor (, ''mie wo kiru''). Audience members will shout out (kakegoe) words of praise and the actor's name at specific times before and after the pose is struck. The practice of ''mie'' is said to have originated with Ichikawa D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
:Category:Japanese Words And Phrases
{{Commons Words and phrases by language Words Words A word is a basic element of language that carries an objective or practical meaning, can be used on its own, and is uninterruptible. Despite the fact that language speakers often have an intuitive grasp of what a word is, there is no consen ... Words ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shibaraku
''Shibaraku'' (暫, しばらく) is a play in the Kabuki repertoire, and one of the celebrated ''Kabuki Jūhachiban'' ("Eighteen Great Plays"). The play is noted for its flamboyantly dramatic costumes and makeup (''kumadori''). {{citation needed, date=May 2017 The English translation of the title is akin to "Stop a Moment!" Originally staged by Ichikawa Danjūrō I in 1697 at the Nakamura-za, it was very popular, and quickly began to be included at the annual '' kaomise'' celebrations of each theatre in Edo. For a time, the main role was frequently different, depending on the whims of the theatre and the troupe. The piece was standardized somewhat in the early 19th century by Danjūrō VII, and reworked again by Danjūrō IX at the end of that century. This version has been performed since then. A scene of roughly 50 minutes, ''Shibaraku'' is not a play unto itself, but a short drama inserted during interludes or in between full plays to provide variety and maintain a certa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Benkei
, popularly known as simply Benkei, was a Japanese warrior monk (''sōhei'') who lived in the latter years of the Heian Period (794–1185) .html" ;"title="/sup>">/sup>. Benkei led a varied life, first becoming a monk, then a mountain ascetic, and then a rogue warrior. He later came to respect and serve the famous warrior Minamoto no Yoshitsune, also known as Ushiwakamaru. He is commonly depicted as a man of great strength and loyalty, and a popular subject of Japanese folklore, showcased in many ancient and modern literature and productions. Early life Stories about Benkei's birth vary considerably. One tells how his father was the head of a temple shrine who had raped his mother, the daughter of a blacksmith. Another sees him as the offspring of a temple god. Many give him the attributes of a demon, a monster child with wild hair and long teeth. In his youth, Benkei may have been called —"demon/ogre child", and there are many famous ukiyo-e works themed on Oniwakamaru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanjinchō
''Kanjinchō'' (勧進帳, ''The Subscription List'') is a kabuki dance-drama by Namiki Gohei III, based on the Noh play ''Ataka''. It is one of the most popular plays in the modern kabuki repertory. Belonging to the repertories of the Naritaya and Kōritaya guilds, the play was first performed in March 1840 at the Kawarazaki-za, in Edo. Ichikawa Ebizō V, Ichikawa Kuzō II, and Ichikawa Danjūrō VIII played the leading roles of Benkei, Togashi, and Yoshitsune, respectively. The lines of Ichikawa Danjūrō and Matsumoto Kōshirō have come to be particularly celebrated for playing the role of Benkei in ''Kanjinchō''. ''Kanjinchō'' was the first kabuki played adapted closely from the Noh theater. Though bearing the same name and general narrative concept as a 1702 play, one of the ''Kabuki Jūhachiban'', the modern version of ''Kanjinchō'', going back to 1840, is believed to not be directly derived from or connected to this earlier ''aragoto'' piece. Akira Kurosawa's f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fudō Myoō
or Achala ( sa, अचल, "The Immovable", ), also known as (, "Immovable Lord") or (, "Noble Immovable Lord"), is a wrathful deity and ''dharmapala'' (protector of the Dharma) prominent in Vajrayana Buddhism and East Asian Buddhism., Jp. rel. dict., pp. 242–246 Originally a minor deity described as a messenger or acolyte of the buddha Vairocana, Acala later rose to prominence as an object of veneration in his own right as a remover of obstacles and destroyer of evil, eventually becoming seen as the wrathful manifestation of either Vairocana, the buddha Akṣobhya, or the bodhisattva Mañjuśrī. In later texts, he is also called (, "Violent Wrathful One", ) or (, "Violent One of Great Wrath", ), the names by which he is more commonly known in countries like Nepal and Tibet. In East Asian esoteric Buddhism, Acala is classed among the Wisdom Kings () and is preeminent among the five Wisdom Kings of the Womb Realm. Accordingly, he occupies an important hierarchical positio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Naginata
The ''naginata'' (, ) is a pole weapon and one of several varieties of traditionally made Japanese blades (''nihontō''). ''Naginata'' were originally used by the samurai class of feudal Japan, as well as by ashigaru (foot soldiers) and sōhei (warrior monks). The naginata is the iconic weapon of the onna-musha, a type of female warrior belonging to the Japanese nobility. Naginata for fighting men and warrior monks were ''ō-naginata'' (大薙刀). The kind used by women were called ''ko-naginata'' (小薙刀). Description A ''naginata'' consists of a wooden or metal pole with a curved single-edged blade on the end; it is similar to the Chinese guan dao or the European glaive. Similar to the katana, naginata often have a round handguard (''tsuba'') between the blade and shaft, when mounted in a koshirae (furniture). The 30 cm to 60 cm (11.8 inches to 23.6 inches) ''naginata'' blade is forged in the same manner as traditional Japanese swords. The blade has a long tang ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Narukami Fudō Kitayama Zakura
, also known as , , , and Kamowakeikazuchi-no-kami is a god of lightning, thunder and storms in Japanese mythology and the Shinto religion. He is typically depicted with fierce and aggressive facial expressions, standing atop a cloud, beating on den-den daiko drums with ''tomoe'' symbols drawn on them. Iconography of Raijin are often found in Japanese temples and shrines. He is usually depicted alongside Fūjin, the god of wind. Etymology The name "Raijin" is derived from the Japanese words and . Description Raijin is often depicted with a fierce, frightening face and a muscular figure with gravity-defying hair. He is surrounded by Taiko drums that he plays to create the sound of thunder. Raijin holds large hammers in his hands that he uses to play the drums. In some cases, Raijin is portrayed with three fingers which are said to represent the past, present and future. Two of the most notable sculptures of Raijin are located in the Sanjusangendo temple and the Taiyui ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Narukami
, also known as , , , and Kamowakeikazuchi-no-kami is a god of lightning, thunder and storms in Japanese mythology and the Shinto religion. He is typically depicted with fierce and aggressive facial expressions, standing atop a cloud, beating on den-den daiko drums with ''tomoe'' symbols drawn on them. Iconography of Raijin are often found in Japanese temples and shrines. He is usually depicted alongside Fūjin, the god of wind. Etymology The name "Raijin" is derived from the Japanese words and . Description Raijin is often depicted with a fierce, frightening face and a muscular figure with gravity-defying hair. He is surrounded by Taiko drums that he plays to create the sound of thunder. Raijin holds large hammers in his hands that he uses to play the drums. In some cases, Raijin is portrayed with three fingers which are said to represent the past, present and future. Two of the most notable sculptures of Raijin are located in the Sanjusangendo temple and the Taiyui ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kamakura Gongorō Kagemasa
Kamakura Gongorō Kagemasa (鎌倉権五郎景政) (born 1069) was a samurai descended from the Taira clan, who fought for the Minamoto clan in the Gosannen War of Japan's Heian period. He is famous for having continued to fight after losing an eye in battle during that war. This was in 1085,The Japanese Wikipedia gives Kagemasa's birth as 1069, which would make him 16 in 1085. According to Stephen Turnbull, the siege of Kanezawa, where Kagemasa lost his eye, took place in 1086–89. Meanwhile, Frederic gives the battle as 1091. Thus, it is difficult to know any of these dates for certain. when Kagemasa was sixteen years of age. The progenitor of the Nagao and Kagawa clans, Kagemasa is also claimed as an ancestor by Ōba Kagechika, a famous figure of the Genpei War (1180–1185). The family name "Kamakura" comes from his family's residence in the city of Kamakura (in today's Kanagawa Prefecture), where his father was a powerful official. The exact identity of his father is unclea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Torii Kiyomasu - Ichikawa Danjuro II In Shibaraku
A is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the mundane to the sacred. The presence of a ''torii'' at the entrance is usually the simplest way to identify Shinto shrines, and a small ''torii'' icon represents them on Japanese road maps. The first appearance of ''torii'' gates in Japan can be reliably pinpointed to at least the mid-Heian period; they are mentioned in a text written in 922. The oldest existing stone ''torii'' was built in the 12th century and belongs to a Hachiman shrine in Yamagata Prefecture. The oldest existing wooden ''torii'' is a ''ryōbu torii'' (see description below) at Kubō Hachiman Shrine in Yamanashi Prefecture built in 1535. ''Torii'' gates were traditionally made from wood or stone, but today they can be also made of reinforced concrete, copper, stainless steel or other materials. They are usually either unpainted or painted vermilion with a bl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Genroku
was a after Jōkyō and before Hōei. The Genroku period spanned the years from the ninth month of 1688 to the third month of 1704. The reigning emperor was .Titsingh, Isaac. (1834). ''Annales des empereurs du japon'', p. 415. The period was known for its peace and prosperity, as the previous hundred years of peace and seclusion in Japan had created relative economic stability. The arts and architecture flourished. There were unanticipated consequences when the shogunate debased the quality of coins as a strategy for financing the appearance of continuing Genroku affluence. This strategic miscalculation caused abrupt inflation. Then, in an effort to solve the ensuing crisis, the introduced what were called the Kyōhō Reforms. Change of era The was 1688. The new era name was created to mark the beginning of the reign of Higashiyama. The previous era ended and the new one commenced in Jōkyō 5, on the 30th day of the 9th month. A sense of optimism is suggested in the era ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ichikawa Danjūrō I
was an early kabuki actor in Japan. He remains today one of the most famous of all kabuki actors and is considered one of the most influential. His many influences include the pioneering of the ''aragoto'' style of acting which came to be largely associated with Edo kabuki and with Danjūrō and his successors in the Ichikawa Danjūrō line. Like many actors, Danjūrō also dabbled in playwriting, which he did under the '' haimyō'' (poetry name) Mimasuya Hyōgo. "Mimasu" (三升) is the name for the '' mon'' of the Ichikawa family; many actors in the Danjūrō line have since used "Mimasu" or "Sansho", an alternate reading of the same characters, as their ''haimyō''. Lineage As the originator of the most celebrated and prestigious stage name in kabuki, there have been a great many descendants of Danjūrō I in the kabuki world, some of them quite famous and accomplished themselves. Danjūrō's father, Horikoshi Juzō, was not involved in the theatre, but was an '' otokodat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Fudō Myoō")
