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Saigyōzakura
is a Noh play by Zeami about the famous poet Saigyō, regarding his well-known love for cherry blossoms. Background Saigyō was renowned for his love of the flowering cherry - what he himself once called "my lifelong habit of having my mind immersed in blossoms". As a recluse however, he sometimes found himself in conflict with the Japanese habit of collective blossom viewing: as he wrote in his Sankashū, "Leave me in solitude/O Cherry flowers./Draw not people,/for they come in crowds". Plot Wishing to be alone with his cherry-blossoms, Saigyō is annoyed by the arrival of a party of (potential) viewers; and, on admitting them, composes a waka blaming the cherry tree for their intrusive presence. That night he is visited by the spirit of the cherry-tree, who rebukes him by pointing out the separateness and independence of all living creatures from human concerns. The two then converse, before the play ends with an extensive dance celebrating cherry flowers, exceptional sak ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saigyōzakura (Nōgaku Hyakuban) By Tsukioka Kōgyo (National Noh Theatre)
is a Noh play by Zeami about the famous poet Saigyō, regarding his well-known love for cherry blossoms. Background Saigyō was renowned for his love of the flowering cherry - what he himself once called "my lifelong habit of having my mind immersed in blossoms". As a recluse however, he sometimes found himself in conflict with the Japanese habit of collective blossom viewing: as he wrote in his Sankashū, "Leave me in solitude/O Cherry flowers./Draw not people,/for they come in crowds". Plot Wishing to be alone with his cherry-blossoms, Saigyō is annoyed by the arrival of a party of (potential) viewers; and, on admitting them, composes a waka blaming the cherry tree for their intrusive presence. That night he is visited by the spirit of the cherry-tree, who rebukes him by pointing out the separateness and independence of all living creatures from human concerns. The two then converse, before the play ends with an extensive dance celebrating cherry flowers, exceptional s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sakura
A cherry blossom, also known as Japanese cherry or sakura, is a flower of many trees of Prunus, genus ''Prunus'' or Prunus subg. Cerasus, ''Prunus'' subg. ''Cerasus''. They are common species in East Asia, including China, Korea and especially in Japan. They generally refer to ornamental cherry trees, not to be confused with cherry tree, cherry trees that produce fruit for eating.Toshio Katsuki. (2015) ''Sakura''. pp.14–18 Iwanami Shoten. It is considered the national flower of Japan. Wild species of the cherry tree is widely distributed mainly in the Northern hemisphere. In the mainstream classification in Europe and North America, cherry trees for ornamental purposes are classified into the genus ''Prunus'' which consists of about 400 species. In the mainstream classification in Japan, China, and Russia, on the other hand, ornamental cherry trees are classified into the genus ''Cerasus'', which consists of about 100 species separated from the genus ''Prunus'', and the g ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eguchi (play)
''Eguchi'' (江口) is a Noh play of the third category, written by Zeami, around a fragment (the courtesan’s sermon) by Kan'ami. The play combines two legends, one related of the holy man Shōkū (concerning the identity of the courtesan of Mura with the bodhisattva Fugen) and the other related of the monk Saigyō: (the admonishment of the courtesan of Eguchi). Plot summary A travelling monk arrives by night at the port of Eguchi. Seeing a cairn, he enquires about its origin and is told that it commemorates the Lady of Eguchi, a former courtesan and poetess, who was subsequently considered to be a manifestation of a bodhisattva, specifically Fugen Bosatsu, Bodhisattva of Universal Virtue. During a rainstorm, the 12th-century monk Saigyō had asked for shelter at her house, but was refused entry. He reproached her with an impromptu poem, complaining that “you are stingy/even with the night I ask of you,/a place in your soon-left inn” Her devastating reply hinged on a Buddhis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Priest And The Willow
is a Noh play based on the experiences of the 12th-century poet and travelling-monk Saigyō. Original kernel Saigyō was travelling to North Japan, when he sat in the shade of a willow-tree, later identified by Bashō as being close to the village of Ashino, and wrote a waka: " ‘Just a brief stop,’/ I said when stepping off the road/into a willow's shade/where a bubbling stream flows by,/as has time since my ‘brief stop’ began". Main theme A wandering priest, Yugyō Shonin, is given directions by an old man who recites Saigyō's poem before vanishing: the priest then realises it was the spirit of the willow tree. By reciting a prayer to Amida Buddha, he enables the spirit to attain Buddhahood, for which the willow spirit thanks him in a dance sequence. Later developments Buson wrote a haiku on rocks and willows underneath the Pilgrim's Willow Tree, alluding to the Noh play.L Zolbrod, ''Haiku Painting'' (Tokyo 1982) p. 12 See also * ''Eguchi'' (play) *'' Matsuyama ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zeami
(c. 1363 – c. 1443), also called , was a Japanese aesthetician, actor, and playwright. His father, Kan'ami Kiyotsugu, introduced him to Noh theater performance at a young age, and found that he was a skilled actor. Kan'ami was also skilled in acting and formed a family theater ensemble. As it grew in popularity, Zeami had the opportunity to perform in front of the Shōgun, Ashikaga Yoshimitsu. The Shōgun was impressed by the young actor and began to compose a love affair with him. Zeami was introduced to Yoshimitsu's court and was provided with an education in classical literature and philosophy while continuing to act. In 1374, Zeami received patronage and made acting his career. After the death of his father in 1385, he led the family troupe, a role in which he found greater success. Zeami mixed a variety of Classical and Modern themes in his writing, and made use of Japanese and Chinese traditions. He incorporated numerous themes of Zen Buddhism into his works and lat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saigyō
was a famous Japanese poet of the late Heian and early Kamakura period. Biography Born in Kyoto to a noble family, he lived during the traumatic transition of power between the old court nobles and the new samurai warriors. After the start of the age of Mappō, Buddhism was considered to be in decline and no longer as effective a means of salvation. These cultural shifts during his lifetime led to a sense of melancholy in his poetry. As a youth, he worked as a guard to retired Emperor Toba, but in 1140 at age 22, for reasons now unknown, he quit worldly life to become a monk, taking the religious name . He later took the pen name , meaning “Western Journey”, a reference to Amida Buddha and the Western paradise. He lived alone for long periods in his life in Saga, Mt. Koya, Mt. Yoshino, Ise, and many other places, but he is more known for the many long, poetic journeys he took to Northern Honshū that would later inspire Bashō in his '' Narrow Road to the Interior''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hanami
is the Japanese traditional custom of enjoying the transient beauty of flowers; in this case almost always refer to those of the or, less frequently, trees. From the end of March to early May, cherry trees bloom all over Japan, and around the first of February on the island of Okinawa. The is announced each year by the Japan Meteorological Agency, and is watched carefully by those planning ''hanami'' as the blossoms only last a week or two. In modern-day Japan, ''hanami'' mostly consists of having an outdoor party beneath the sakura during daytime or at night. In some contexts the Sino-Japanese term is used instead, particularly for festivals. ''Hanami'' at night is called . In many places such as Ueno Park temporary paper lanterns are hung for the purpose of ''yozakura''. On the island of Okinawa, decorative electric lanterns are hung in the trees for evening enjoyment, such as on the trees ascending Mt. Yae, near Motobu Town, or at the Nakijin Castle. A more ancien ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sankashū
''Sankashū'' (山家集, , “Collection of a Mountain Home”) is a collection of poems by Saigyō, most probably made by the poet himself, and issued c.1180. Dating Because the collection contains no poems from the last decade of Saigyō's life, 1180-90, he is thought to have closed it c.1180, and circulated it thereafter. Divisions The collection contains 1552 poems, and falls into three parts. The first (1-572) is divided into four sections containing poems of the four seasons; the second (573-1041) into two sections - Love and Miscellaneous; and the third (1042-1152) again into two sections - Miscellaneous Songs and One Hundred Songs. Quality Where much court poetry of the time was convoluted, the ''Sankashū'' is known for its directness of utterance. His early translator, Hei-Hachuro Honda, valorised Saigyō's poems of solitude over those that were involved in more communal activities. Later critics, however, have paid more attention to how his poetry was rooted both i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Waka (poetry)
is a type of poetry in classical Japanese literature. Although ''waka'' in modern Japanese is written as , in the past it was also written as (see Wa, an old name for Japan), and a variant name is . Etymology The word ''waka'' has two different but related meanings: the original meaning was "poetry in Japanese" and encompassed several genres such as ''chōka'' and ''sedōka'' (discussed below); the later, more common definition refers to poetry in a 5-7-5-7-7 metre. Up to and during the compilation of the ''Man'yōshū'' in the eighth century, the word ''waka'' was a general term for poetry composed in Japanese, and included several genres such as , , and . However, by the time of the '' Kokinshūs compilation at the beginning of the tenth century, all of these forms except for the ''tanka'' and ''chōka'' had effectively gone extinct, and ''chōka'' had significantly diminished in prominence. As a result, the word ''waka'' became effectively synonymous with ''tanka'', and t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kiyomizu-dera
is a Buddhist temple located in eastern Kyoto, Japan. The temple is part of the Historic Monuments of Ancient Kyoto (Kyoto, Uji and Otsu Cities) UNESCO World Heritage site. History Kiyomizu-dera was founded in the early Heian period. By 778, it was owned by the Buddhist Kita-Hosso sect under Enchin Shonin. He was a priest from Nara (capital of Japan from 710 to 784), who received a vision to construct the temple next to the Otowa spring. In 798, the '' shogun'' Sakanoue Tamuramaro, improved the site by including a large hall that was reassembled from the palace of Emperor Kammu (r. 781–806). The emperor left Nara due to the strong influence that the Buddhist monasteries had on the government there. During this period there was a strong rivalry between the Kofuku-ji and the Kiyomizu-dera temples and both had strong influences around the region. The temple's present buildings were constructed in 1633, ordered built by Tokugawa Iemitsu. There is not a single nail used in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mono No Aware
, literally "the pathos of things", and also translated as "an empathy toward things", or "a sensitivity to ephemera", is a Japanese idiom for the awareness of , or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life. Origins and analysis The idiom comes from Heian period literature, but was picked up and used by 18th century Edo period Japanese cultural scholar Motoori Norinaga in his literary criticism of '' The Tale of Genji,'' and later to other germinal Japanese works including the . It became central to his philosophy of literature; he viewed it the main theme of ''The Tale of Genji''. His articulation was the result of well-established poetic readings of ''The Tale of Genji'' and the concept became central to his own; ''Genji'' was "instrumental" in the term's establishment. According to Norinaga, to "know" is to have a shrewd understanding and co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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