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Full text of "Legend in Japanese art; a description of historical episodes, legendary characters, folk-lore myths, religious symbolism"

LEGEND IN JAPANESE ART 




ABK NO YASUNA 

(Authors collection) 



LEGEND 



IN 



JAPANESE ART 

A DESCRIPTION OF HISTORICAL EPISODES 
LEGENDARY CHARACTERS, FOLK-LORE 
MYTHS, RELIGIOUS SYMBOLISM #*. $n. 
ILLUSTRATED IN THE ARTS OF OLD JAPAN 
BY HENRI L. JOLY. WITH UPWARDS OF 700 
ILLUSTRATIONS INCLUDING SIXTEEN 
FULL-PAGE REPRODUCTIONS IN COLOUR 





LONDON: JOHN LANE THE BODLEY HEAD 
NEW YORK : JOHN LANE COMPANY MCMVIII 



--'! .-~\ A ' / "\ 

" / ' i I 

I 9 ^ J 




TEXT PRINTED BY THE TOK1O PRIXTlNi; COMPANY, READING. 
ILLUSTRATIONS PRINTED BY EDML'ND EVANS, LONDON, S.E. 



INTRODUCTION 



OLD JAPAX is now so common an expression that one may easily forget 
how short a period of time, barely two score years, separates us from the 
era of two-sworded warriors, whose legends and popular beliefs are fast 
becoming forgotten, hidden or eradicated by the influence of Western 
civilization. 

Legends and customs are, however, happily recorded in an enduring 
manner in many of the articles of attire, or daily use, the exquisite 
workmanship of which endears them to collectors of Japanese Works of 
Art. Netsuke, Inro, Tsuba, Prints, etc., embody in their decoration a host 
of subjects, the elucidation of which forms one of the chief difficulties, 
and perhaps also one of the greatest attractions of Japanese collecting. 

The author has for a number of years given his attention to Japanese 
Objets d'art, illustrating folk-lore or historical episodes, carefully noting all 
the information he could gather respecting them. This work, undertaken as 
a labour of love and for private reference, w r as illustrated with sketches, 
stray leaves from books, and photographs from his own specimens. A 
special study of Japanese illustrated books helped to enlarge the scope of 
this note book, opening a fascinating field of research which seemed only 
to grow wider as the author's knowledge increased. 

Japanese friends and other collectors, who in many cases had them- 
selves followed a similar plan, finally impressed upon the author the 

vii 



LEGEND IN JAPANESE ART. 

desirability of publishing his bulky compilation. Although this suggestion 
was at first brushed aside, for the author was conscious of many deficiencies, 
it was finally decided to edit these notes iVun cuvieux, and to offer them 
to the Japonists, in the hope that they might prove useful. This is 
briefly the genesis of the present volume. 

The Western World from which Old Japan kept aloof for so many 
centuries, was almost taken by surprise, when in 1868, the drastic changes 
following the restoration of Meiji, led the Japanese to part with the bulk 
of their arms, armour, and smaller objects of attire, which were as rapidly 
secured by European and American curio hunters. For it must be 
admitted that at the very beginning collectors of Japanese works of art 
looked upon them more as curios, interesting for their quaint or 
humorous side, and for the perfection of their most minute details than 
from any other point of view. Collections were made, chiefly composed 
of pretty pieces, the style of which was in its mignavdise almost on 
a level with the attractive graces of European eighteenth century work ; 
and to the influence of this taste is probably due the weakness of 
the modern Japanese work with which the market is now flooded. 

It should be remembered that with the exception of paintings and 
prints, the chief objects of interest, Netsuke, Inro, and sword fittings, were 
articles of use, and that the owners when parting with them for a 
monetary consideration probably first discarded the pieces of later date, 
which were least prized because of their involved design and showy 
decoration in precious metals, although this very richness of material 
was a sure passport to the heart of the Western collector. To some extent 
this explains why the older pieces, broader in treatment, truer to Japanese 
taste in their simplicity, and above all, in the adaptation of the design to 
the nature of the object ornamented and the use to which it was to be 
put, were not for some time found in European collections. Now, however, 
a keener appreciation of the real beauties to be found in the older speci- 
mens of Japanese art prevails, and there is a marked tendency to collect 
archaic pieces, almost purely for the sake of their antiquity. 

The general survey of Japanese Art has been the aim of a large 

viii 



LEGEND IN JAPANESE ART. 

number of writers, and although the orginal sources are scarce, and too 
often inadequate, it is to be hoped that the various sections of this wide 
study will some day be fully dealt with in exhaustive monographs. 

Collectors and lovers of Japanese Ob jets d'art, even when they specialise 
in the selection of their treasures, even when they prefer the purely orna- 
mental designs, all confess to the attraction exerted upon them by the 
subjects depicted, the symbolism of the composition, the hidden meaning 
of some scene. Few collectors can however be found, who have not 
sometimes had cause to bewail their inability to understand the artist's 
intention, or to name the personages represented. The vastness of the 
field embraced is really the best excuse for our limited knowledge ; scenes 
from the everyday life of the people, Shintoist or Buddhistic symbolism, 
episodes from the life of Chinese poets, or Japanese warriors, battle scenes 
from the history of both Japan and China, heroes of romance, fairy-lore, 
or theatrical plays, mythical animals, jostling sages and magicians of 
Taoist fame, all contribute to form an almost inexhaustible store of sub- 
jects, treated by the artist or the craftsman with such powerful realism, 
or such suggestive simplicity as to command the interebt, admiration, or 
even envy of collectors and dilletanti all over the world. 

Although Japan owes to the introduction of Buddhism and the adoption 
of Chinese ideograms and culture the partial loss of its ancient language 
and history, and the prevalence of subjects of Chinese origin in its Art; 
yet it is also to Buddhism that its glyptic and pictorial Art owe their 
development, if not their very origin. The endless reproduction in carvings 
or paintings of the Buddha and his disciples, led the artists to turn their 
attention to the episodes of secular and military life ; from the chasing 
of sacred invocations and holy figures upon weapons and armour to which 
they long confined themselves, to the utilisation of floral ornament and 
decorative compositions of a non-religious character, there was but one 
step ; but the change was a slow one, which closely followed the develop- 
ment of the pictorial arts. 

With the advent of illustrated books, the subjects more especially suited 
to artistic treatment were committed to print by artists educated in 

ix 



LEGEND IN JAPANESE ART. 

ancient lore, who in many cases wrote the whole text of the books, at 
the same time illustrating the legends, traditions or moral lessons which 
they recorded. Often these works were merely intended as models for 
pupils to follow, and were devoted to the exposition of Chinese 
methods of painting, directions being given for the proper colouring of 
the copies. In most cases an explanatory text was added, sometimes 
consisting of but a few words, more often covering many pages, when the 
illustration becomes a mere accessory, as for instance in Elton Hokan (1688) 
of Hasegawa Toun. These illustrated books became from 1670 onwards, 
more and more numerous, and at the end of the eighteenth century we 
find that works entitled: "Models for Craftsmen," "Designs for Carvers, 
Laquerers, etc.," are fairly common. 

To Tachibana Morikuni, in the early years of the eighteenth century 
belongs the largest share of this literature ; almost every subject came 
within his ken, some fifty volumes of Chinese history and legend, a popular 
encyclopaedia for the education of children, volumes on trees, plants, animals, 
rocks, follow upon pages devoted to weapons, armour, domestic utensils, 
and popular customs, with a wealth of detail, an accuracy of drawing, 
an absence of repetition which fill one with wonder. Some of Morikuni's 
works are more than mere illustrated books : quoting as he often did his 
sources of information amongst earlier works, he has left a survey of 
Oriental bibliography of real value to the student. Perhaps the appreciation 
of Morikuni's work has been minimized by the interest evinced in the 
gigantic production of Hokusai, who did for the artisan of the late 
eighteenth century, and his followers, what Morikuni had done for the 
previous generation. 

The development of the Ukioye school of popular colour printing, whose 
productions, even though we see in them masterpieces of drawing, colour 
and technique, were despised by the contemporary educated classes, intro- 
duced further means for the propagation of legends and traditions, the 
glorification of the heroes and the dissemination of the playwright's 
imaginative efforts, besides the immortalisation of actors, geishas and 
professional beauties. 



LEGEND IX JAPANESE ART. 

If we wish to study the themes selected by the Japanese artist, or to 
find a faithful survey of old customs, it is to these books and prints that 
we must turn for our information. Much has been done of late years in 
Japan to prevent the total loss of the old traditions and to keep the 
details and meaning of the old customs from falling entirely into oblivion ; 
but the present generation, in its thirst for Western knowledge often over- 
shoots the mark, and studiously affects ignorance of the fashions of life, 
and of the beliefs of its predecessors. The European inquirer is repeatedly 
baffled in his quest by evasive answers, which either conceal a real 
ignorance, under the cloak of contempt for old ways, or are prompted 
by a suspicion that the inquirer credits his friends with an actual 
belief in exploded superstitions. The day may yet come, however, 
when the younger generation will regret this attitude, when folk-lore 
societies will find it as difficult as they do in Europe to gather and 
interpret the scattered remnants of the ancient ways. 

In Europe, books and written documents have survived revolutions and 
catastrophes, thanks to the larger editions printed and the care bestowed 
upon their keeping ; but in Japan, earthquakes and fire wrecking the 
flimsy buildings have destroyed many books, creating a proportionately 
greater havoc, as the editions from the wood blocks were necessarily 
limited. A greater evil still was in store, in the shape of curio dealers, 
European and Japanese themselves, who used prints as packing material 
and tore the books to pieces to make fly-flappers. 

Even when books reached Europe in a fair condition they were not 
safe from the vandalism of certain persons. Editions of early illustrated 
books, the like of which will never be found again, were ruthlessly cut 
up, the text thrown away, and the illustrations mounted on cartridge paper 
and presented to the public for sale. 

It will be readily understood that the task of the seeker after enlighten- 
ment is not altogether an easy one ; old books are scarce, in fact hardly 
available outside some of the great national libraries, and it is a matter 
of congratulation that besides the compilation of the Koji Ruiyen now in 
course of publication, enterprising Japanese publishers are now reprinting 

xi 



LEGEND IN JAPANESE ART. 

many works, amongst which for instance are the whole of Hokusai's 
the Zenken Kojitsu of Kikuchi Yosai, and the Wakan San Sai Dzue. But 
in many cases, as with the reprints of Utamaro, and of a number of 
prints, the old colouring and details of less importance have been treated 
with unwarrantable licence. 

Not only were the designs of Morikuni, or of Hokusai for instance, 
taken as mere guides, but the artists, carvers and chasers of the eighteenth 
century, who doubtless were themselves draughtsmen of no mean merit, 
often followed slavishly the lines of the illustration. The author has 
purposely selected for reproduction, a number of specimens which show 
how strong was this influence. The prototype of a Tsuba in the author's 
collection showing CHINNAN and the dragon, is found in Morikuni's Ehon 
Shukubai ; the same applies to the unique Tsuba in the Hawkshaw 
collection, representing also Chinnan, illustrated in the Arms and Armour 
of Japan (Japan Society), and another Chinnan also in the same collection 
is taken from the Shako Bukuro ; that of CHODORIO, evoking the KARASHISHI, 
can be found in Ehon Tsuhosht, from which are also taken KWAXYU with 
the brocade bag and the TOHAKUKWA in Mr. "\Y. L. Behrens' collection ; 
the modern Tsuba showing HIKO HOHODEMI, illustrated here, is from the 
same work. 

From the Yokioku Gwashi was undoubtedly copied an inro recently 
seen by the author, representing Cheng She "\Yang Ti seeking refuge 
under a pine tree, now in the collection of Mr. Oscar C. Raphael. 

THE FUJI IN A SAKE CUP is taken almost exactly from Hokusai's 
Thirty-six views of Fuji. 

Those collectors who felt particularly attracted towards the elucidation 
of the scenes illustrated, have as a rule spent much time in obtaining 
information from their Japanese acquaintances, and stored it in note books. 
Unfortunately, much of this knowledge is hidden away, owing to an 
insufficient exchange of ideas between collectors. There are quite a number 
of amateurs whose collections, however large, are but little known and who 
in turn know little of the treasures in the possession of others. 

However, all owe a debt of gratitude to the late Dr. William Ander- 

xii 



CHENG (SIIK WANG TI) 





INRO 
in f.Ir. O. C. Raphael's collection 




"ONCE, SHIN NO SI1KCO CAUGHI' IN A STORM WHILST HAWKING SOUGHT SHELTER UNDER AN OLD PINE IKEE, THE 
GNARLED LIMBS OK WHICH SHOT KOItTH FRESH LEAVES TO PROTECT HIS AUGUST HEAD AGAINST THE HEAVY RAIN, 
AMI THE WONDERING MONARCH CAUSED IT TO BE HONOURED \\ITII THE TITLE TAl YU~ 

'1'nc^ibfiua ,*foriktini 1'otcit/Ki' Givashi, /, 9-10 



LEGEND IN JAPANESE ART. 

son, whose Catalogue of the Japanese and Chinese Paintings in the British 
Museum forms an inexhaustible mine of information, not only upon the 
schools of painting and their representatives in the collection, but also 
upon the subjects treated by the artists. 

The wealth of erudition displayed in this work, has made it for a 
score of years the key to Japanese art motives, indispensable to those 
insufficiently acquainted with the original literature, and the vade mecum 
of every collector. Later, Mr. M. B. Huish in Japan and its Art, gave 
the Japonists a compendium which, thanks to its large number of illus- 
trations and its chapters on legends, formed a welcome introduction to 
the study of subjects. Mention must also be made of the Dictionary of 
Japanese Myths at the end of the monumental Catalogue of the Tomkinson 
Collection, and of the pioneer work of Monsieur L. E. Bertin : Les Grandes 
Gnerres Civiles du Japan (1894) r ' rn i n illustrations of legends and historical 
subjects, which its author acquired during his sojourn in Japan, gathering 
from the lips of the Doguya the tales with which he relieves the chronicle 
of the mediaeval wars. 

These works are now scarce, and in each of them the study of legends 
has been regarded as of secondary importance to the main subject of 
the book. 

In the present work, on the contrary, there is no endeavour to deal 
with Art as such, but merely with the themes illustrated, and, although 
a few articles refer to subjects not strictly to be described as legends, 
the title "Legend in Japanese Art" has been selected for the sake of 
brevity. 

Purely Buddhistic or Shintoist subjects are not very common in small 
works of art, with the exception of shrines, etc., which in the case 
of the common divinities can be easily named, and in that of rarer 
types require the use of special Buddhist works ; rather a large space 
has been devoted to the Sennins, because of the large number of types 
met with, whilst the Rakans have been more rapidly dealt with, as some of 
them defy all attempt at identification. 

To facilitate research a special index has been compiled under the names 

xiii 



LEGEND IN JAPANESE ART. 

of prominent features or attributes which should lighten the task of 
finding by name most of the subjects when once the characteristic 
feature of the specimen under investigation will have been recognised. 

The Japanese index under radicals will enable the names to be found 
under their respective numbers in the text from their writing in Chinese 
characters, by referring to the first character only. 

The Bibliography covers chiefly Japanese illustrated sources, a few 
European works only being mentioned, which are of particular interest 
from the standpoint of Legend, History, and Folk-lore. 

It was considered imperative lavishly to illustrate from actual specimens, 
carefully selected from amongst the best, the stories concisely told in this 
dictionary, and thus to supply pictorial information not hitherto available. 
Tsuba and netsnke have been given the preference, owing to their wider 
distribution, and because they lend themselves more readily to full size 
reproduction. 

The number of subjects treated in small objects is so large that no 
collection can be found covering the whole field in an altogether satis- 
factory manner ; it is, in fact, questionable whether such a collection could 
now be made. A number of collectors however, have attempted to get 
together representative series of the legends and historical episodes, and 
of pieces illustrating the life of the people. Amongst su<*h must be 
mentioned the Franks collections of Netsnke now in the British Museum, 
which shows the results of a systematic search for subjects. But the 
private collections are by far the richest in illustrations of this type, and 
it is chiefly due to the kindness of private collectors that the author 
is able to present a comprehensive series of illustrations of the most 
interesting subjects now published for the first time. It is his pleasant 
duty to acknowledge the valuable help afforded him by all collectors to 
whom he applied for permission to select and photograph specimen from 
their cabinets. He is chiefly indebted to Mr. Walter L. Behrens, of 
Manchester, whose selection of Netsnke especially, contains an extra- 
ordinarily large number of rare subjects ; to Mr. H. Seymour Trower, 
one of the earliest Japanese collectors in England, who has paid special 

xiv 



LEGEND IN JAPANESE ART. 

attention to subjects, and not only allowed the author to make a large 
selection of illustrations, but also lent him a copy of notes made 
during years of collecting by the late Mr. Gilbertson, who, it appears, had 
intended to crystallize his extensive knowledge of things Japanese into a 
work which unfortunately was never completed. 

To Mr. P. M. Saltarel, of Paris, the author owes some useful reprints 
of Japanese books, and the communication of the descriptive catalogue of 
a collection of some twelve thousand prints and pictures, including many 
pieces of peculiar interest, and a precis of the Ressen Den, by Mr. K. 
Kawada, use of which has been made in the present work. 

Thanks are also due to Herr Albert Brockhaus, who kindly sent some 
netsnke from Leipzig for reproduction, to Mr. Michael Tomkinson of 
Kidderminster, to Sir Trevor Lawrence, Mr. W. C. Alexander, Professor J. 
Norman Collie, F.R.S., Mr. Wilson Crewdson, M.A., Herr Gustav Jacoby, 
Mr. Matt Garbutt, A.M.I.C.E., from whose remarkable collection of sword 
furniture and prints a large number of illustrations were selected, to Mr. 
O. C. Raphael, Mr. G. H. Xaunton, Mr. Henry J. Reiss, Mr. C. P. Peak, 
Monsieur M. Bing of Paris, Mr. J. C. Hawkshaw, M.I.C.E., Professor W. 
Harding Smith, R.B.A., to the authorities of the British Museum, the 
Victoria and Albert Museum, to the Institution of Civil Engineers, to 
Mr. E. Deshayes, Conservateur du Musee d'Ennery, who allowed the author 
to select in the d'Ennery collection some interesting specimens, to the 
Conservateur du Musee Guimet, M. de Milloue, and to the Gardien 
chef, Mr. J. Dumont, who supplied several photographs, to Madame Gillot 
for some masks in the Gillot collection, to Messrs. Yamanaka, G. H. Lee 
and Tregaskis for permission to photograph some pieces from their ex- 
tensive stocks, to all of his Japanese friends who have helped him with 
numerous translations, amongst whom Messrs. Kato Yasutaro, Okada, Tomita, 
etc., and especially, the author must tender the expression of his deepest grati- 
tude to his friends Professor S. Tanaka and Mr. Kato Shozo ; the former not 
only helped him with a number of translations and with commentaries 
which his deep knowledge of history made peculiarly valuable, but further, 
read through the manuscript with the author before it went to press, and 

xv 



LEGEND IN JAPANESE ART. 

by this revision considerably improved its accuracy. Mr. Kato ungrudgingly 
gave the author much help, his lengthy acquaintance with the customs and 
the works of art of old Japan, coupled with an exhaustive knowledge of 
the popular literature, have been freely drawn upon by all his friends for 
a number of years, by none perhaps more so than the present writer. 
Mr. Kato kindly lent for reproduction a number of colour prints, part of 
his own collection, wrote most of the poems printed in the margins of 
this book, and generally speaking, contributed information which no mere 
thanks can adequately repay. The help of the printer, Mr. Jihei Nakagawa, 
of the Tokio Printing Company, of Reading, and the interest he took in 
this work must also be gratefully acknowledged. 

Readers who have themselves compiled note books may be able to add 
to these pages, or to correct them, and the author will always be 
glad to hear from them on such occasions, in fact lie hopes that his 
compilation may load others to make public the result of their researches, 
and the contents of their memoranda. There must be unique pieces 
scattered about, each telling a rare story, or illustrating a custom, the 
description of which would add to our knowledge of the Art and 
Ancient Lore of Dai Nippon, knowledge which can only become more 
extensive and more critical by means of freer intercourse between collectors, 
and a closer study of the old Japanese books. 

The design of cranes and pine embossed on the cover has been repro- 
duced by permission of Monsieur M. Bing, from a photograph of a Fukusa in 
the collection of the late M. S. Bing, sold after his decease in 1906. The 
figure on the back representing Toto Tenjin (Sugawara Michizane, q.v.), 
has been adapted from an old Japanese picture. 

H.L.J. 



xvi 



CONTENTS 



INTRODUCTION 



LIST OF COLOUR PLATES 



KEY TO INITIALS 



EMBLEMS AND ATTRIBUTES 
LEGEND IN JAPANESE ART 



vu 



XIX 



XXI 



xxin 



BIBLIOGRAPHY , 



JAPANESE INDEX 



4 2 3 
441 



LIST OF COLOUR PLATES 



ABE NO YASUNA, from a print by Kuniyoshi in the Kisokaido 

series (Author's Collection) ....... Frontispiece 

GHOSTS : UBUME, UMIBOZU, Goblin Cat, from the Tokaido 
series of prints by Kuniyoshi (Kato Shozo Collection). 
IGA xo TSUBOXE, from the Wakan Hiakku Monogatari of 
Ikkaisai Yoshitoshi (Author's Collection) . . . .To face page 24 

HANGOXKO, from a Surimono by Kunisada (Matt Garbutt 

Collection) ,, 48 

KKIU, from a print in the Tokaido series of Hiroshige 
(Kato Shozo Collection) ....... ,, 60 

INGO KOGO, from a print by Hiroshige, in the series 
Baiishu Takasago, OXOYE HAIOI, Matsu no Yurai (by 
courtesy of Messrs. Yamanaka) ...... ,, 96 

CARUKAYA DOSHIN, from a print by Kuniyoshi (by courtesy 
of Messrs. Yamanaka) ........ ,, 120 

VIUNRIU KOSONSHO, from a print by Kuniyoshi in the Suikoden 
(Kato Shozo Collection) ........ ,, 148 

\BE xo NAKAMARO, from a print by Kuniyoshi, in the 
Hiakku nin Isshiu [no Uchf] (by courtesy of Messrs. 
Yamanaka) 182 

VICHIREX, from a print by Kuniyoshi (Wilson Crewdson's 
Collection) .......... 224 

HIUSHIXGURA, from a print by Kuniyoshi (Matt Garbutt 

Collection) 256 

xix 



LEGEND IN JAPANESE ART. 

RAIGO, from a print by Chohoro Kuniyoshi (Kato Shozo 

Collection) To face page 266 

SOGA MOXOGATARI, from a print by Kuniyoshi (Matt Garbutt 

Collection) .......... ,, 

SHUNKWAM, from a print by Kuniyoshi in the Ogura 

Magai Hiakku Xin Isshiu (Kato Shozo Collection) . ,, 

SHIMAMURA DAXJO, from a mushaye of Chohoro Kuniyoshi 

(Kato Shozo Collection) ....... ,, 

OTO TACHIBAXA HIME, from a print by Hiroshige, in 

the Toto Kuiseki Dzukushi \_Azuma no Mori no Kaji] 

(Kato Shozo Collection) ....... 

YORITOMO, from a print by Toyokuni II. (H. Seymour 

Trower Collection) ........ ,, 



xx 



KEY TO INITIALS 



OWING to exigences of space it has been found impossible to give in 
full the names of the owners of specimens reproduced in the plates ; Initials 
have been adopted as follows : 

A. Author's Collection. 

A.B. Albert Brockhaus Collection. 

B. Bing Collection. 
B.M. British Museum 



C.P.P. 

F.H.E. 

G. 

G.H.N. 

G.J. 

G.H.L. 

H.S.T. 



(Frank's 
Collection). 

Chas. P. Peak Collection. 
Fred. H. Evans Collection. 
Gillot Collection. 
Geo. H. Xaunton Collection. 
Gustav Jacoby Collection. 
By courtesy of G. H. Lee, Esq. 



M.E. 

M.G. 

M.Gt. 

M.T. 



H. Seymour T rower Collec- 
tion. 

H.J.R. Henry J. Reiss Collection. 
I.C.E. Institution of Civil Engineers. 
J.C.H. J. Clarke Hawkshaw Collec- 
tion. 

J.N.C. J. Norman Collie Collection. 
K.B.I. Kongo Bugei Ippan. 
K.S. Kato Shozo Collection. 



Musee d'Ennery. 
Matt Garbutt Collection. 
Musee Guimet. 
Michael Tomkinson Collec- 
tion. 

O.C.R. Oscar C. Raphael Collection. 
P.M.S. P. M. Saltarel Collection. 
T. By courtesy of James Tre- 

gaskis, Esq. 

T.L. Sir Trevor Lawrence Col- 
lection. 
V.A.M. Victoria and Albert Museum, 

South Kensington. 

W.C. Wilson Crewdson Collection. 

W.C.A. W. C. Alexander Collection. 

W.H.S. W. Harding Smith Collection. 

W.L.B. Walter L. Behrens Collect- 

tion 

Y. By courtesy of Messrs. Yama- 
naka. 



xxi 



EMBLEMS AND ATTRIBUTES 



IN the following pages an attempt has been made at grouping together in 
alphabetical sequence the principal emblems met with in the Japanese art, and 
interesting either for their own symbolical value, or as attributes of certain 
personages. In many cases, especially in glyptic art, no criterion exists for the 
identification of a figure beyond the expression of the face, and the emblems, or 
implements associated with the individual depicted. The clothing of the subject 
in general affords but little guidance, many artists disregarded entirely the 
traditional customs of the personages which they carved in wood, in ivory, or 
wrought in metals, to adopt some fanciful style, much in the same way as 
European artists have clothed Christ and his Apostles in mediaeval armour, or 
wrapped in roman Toga the limbs of some modern statesmen. One work how- 
ever, the Zenken Kojitsu gives a faithful presentment of the worthies of bygone 
ages, as far at any rate as their garments are concerned, for the otherwise 
consciencious artist Yosai, often paid little regard to the anatomical structure of 
his heroes. 

A word may be said also regarding the curious associations of animals 
and plants, to which some symbolism originally attached, but which 
apparently have been repeated very much like the copies of Chinese pictures, 
out of respect for tradition only. Amongst others will be noted the Quail 
and Millet, Peacock and Peony, Shishi and Peony, Swallow and Willow, 
Tiger and Bamboo, Plum Blossom and Moon, Chidori and Waves, Deer 
and Maple, Boar and Lespedeza, most of which are of frequent occurrence. 
The Snake is also often shown coiled around a Tortoise sometimes with 

xxiii 



LEGEND IN JAPANESE ART. 

a jewel (Tamo), reminiscent of the Snake and Egg Myth and then 
associated with Bishamon. 

Another group of emblems, in which the association is more strict, 
is that of the " messengers " with their respective Deities : for instance, 
the Deer is the "messenger" of the God of Kasuga Shrine; the Crow, 
that of the God of Kumano ; the Dove is consecrated to Hachiman, the 
Monkey to the Sanno Shrines of Ohonamochi, the Fox to Inari, and the 
White Serpent to Benten. Horary or Zodiacal characters, in the form 
of animals, are also found associated, the "night" hour with the "day" 
hour being the usual combination. 

It is almost impossible to make such a list as follows an exhaustive 
one, but an attempt has been made to form a compendium of the 
information contained in this work, and it is hoped that it has been 
sufficiently extended to be of some practical use. 
ABACUS. KAKKEI. 

AIR CASTLE (Mirage). URASHIMA, OTAIFU, KAMATARI. 
ALGU/E (see KOBU). The ficus vesiculosus, used in the New Year's 
Eve Festival, and sent with gifts. 

AMAKURIKARA, or KURIKARA. See FUDO Mio O. 

ANCHOR (IKARI). See TAKARAMONO. Emblem of Security, safety. 

,, one of the attributes of IGUCHI \o JIRO KANEMITSU, or SENDO 
MITSUYE.MON, brother of TOMOE GOZEN. 

ANCHOR or GRAPNEL, thrown by a warrior. See IGA xo KAMI, 
TAIRA TOMOMORI. 

ARM, cut, with or without oni. See WATANABE. 
ARROW, shot through a stone. RIKO ; shot in a pot, TOWOKO ; JOSAKEI. 
,, shot through armour : YOSHIIYE. 
in the eye. KAMAKURA GONGORO KAGEMASA. 
in river. See TAMAYORI HIME. 
,, and letter (or bird). See HONMA MAGOSHIRO. 
striking a boat. See TAMETOMO. 
striking fan. See NASU NO YOICHI. 

ARROWS cut by sword-play, chiefly NITTA YOSHISADA ; OYAMADA TAKAIYE. 

xxiv 



LEGEND IN JAPANESE ART. 

ARMOUR, thrown in the waves. YOSHIIYE. 
breaking. See SHIKORO BIKI. 

ASTERS, Willow and Wine Cup. TOYEMMEI. 

DAG of precious things, Takaramono. See HOTEI, DAIKOKU. 

BAG of the winds. See FUJIN (Futen). 

BAG of fireflies, Man reading under a . SOXKO (Shaen). 

BALES, of rice. DAIKOKU. Usually with rats, sometimes with cocks (q.v.). 

BAMBOO. The bamboo (Take or Chiku *ft) is emblematic of virtue, 
fidelity, constancy, perhaps as an allusion to the other Chinese character. 
fp (Sets//, CHIEH) which means a Bamboo node, and also the virtues 
alluded to. In the O-Ei era, the bamboo was added to the branches of 
young pine used in the Kadomatsu on New Year's Eve. 

BAMBOO SHOOTS (Take no ko). See Moso. 

BAMBOO or Tree floating. See DARUMA, KANSHOSHI, SHACHIUSHO. 

BAMBOO and SPARROWS in winter (Take-ni-Suzume), Emblem of 
gentleness, and friendship. 

BAMBOO and TIGER. See Tiger. 

BAND across the Forehead, JINGO. 

BASKET. See MOJO (female Sennin). KASENKO, and several less known 
Sennins. 

BAT (Kawahori or Komorii). Good fortune, prosperity, ornamentally 
treated as a subject for netsuke, sometimes with a coin held between the 
legs and wings and claws. Lucky emblem. 

BEAR. See KINTOKI ; KUMAGAI NAOZANE. Story of the ungrateful 
hunter, HACHISUKE JIMMU TENNO (Kojiki). 

BEARD, being painted black. SAITO BETTO SANEMORI.* 
long and black . KWANYU. 

BEES, swarming in a house, sign of prosperity. 

BEES (or Wasps), escaping from a man's mouth. SHIKKU GAN JIN. KASENYO. 

(} SAITO SANEMORI ^f $! f *$t is also called Nagaido Betto Sanemori because, although born in 
Echizen, he spent most of his life \vest, in Xagai (Musashi). He was a retainer of Yoshitomo, and the episode 
of the painted black beard relates to his death (see YOSHINAKA). The armour he wore then was called .Vi's/tifei no 
Shitatare, Brocade dress, and had been granted him by Munemori at his own request before he started back for 
Echizen after the Taikenmon fight in the Hogen war. 

XXV 



LEGEND IN JAPANESE ART. 

BELL. BENKEI ; ANCHIN and KIYOHIME. TAWARA TODA. 
BELL, rubbed by a priest (Suzu Aral}. Perseverance and yearning 
after improvement. 

BELL (Grelot.) Moguyo, attribute of Buddhist priests. See DANKA. 
BELL, BROCADE, CAULDRON. See TAWARA TODA. 
BELLS (jingling) on a handle. UZUME, SAMBASO. 
BESOM (Broom) JITTOKU ; OLD WOMAN OF TAKASAKO, (Uba). See 
CHARMS; see also HSIANG YEN, under JITTOKU. 

BIRD, Supernatural. See HIROARI ; DAIKOKUTEN GHANA MUCHI. 
BIWA. See SEIOBO, BENTEN, FUJIWARA TADATOSHI. 
BLOWING liquid or clouds, etc. RANHA, RINREISO OSHI, TEKKAI. 
BOAR. See SANSO HOSHI ; OKIO ; NITTAN NO SHIRO ; SOJOBO (TENGU) ; 
YAMATO KANSUKE. 

BOAR and FLOWERS, or Lespedeza, Hana Garuta combination. 

BOAT, Man in . Soso ; TEIZENPUKU ; SATSUSHUKEN ; HANREI. 

BOAT, Man leaping. See YOSHITSUNE, NORITSUNE. 

BOAT, with fan on mast. See NASU NO YOICHI MUNETAKA. See ANTOKU. 

BOAT, and man fishing. KENSHI. 

BOAT, in the sky. RASHIBO, Sennin. 

BOW, in the water. See YOSHITSUNE. 

,, with the string in the mouth ; Sasaki and also Atsumori on 
the Uji River. 

BOW 7 , striking a spring out of the rock. YORIYOSHI. 
writing on the rock. JINGO. 

poked into a tree trunk. KAJIWARA KAGETOKI and YORITOMO. 
eight-and-a-half feet long. See TAMETOMO. 

BOW and ARROW, most warriors. See YOYUKI, YOSHIIYE, TAWARA 
TODA, MINAMOTO NO YORIMASA and INO HAYATA (killing the Nuye) RAIKO. 
BOWL (begging), with flowers. FUKUHIAKU ; CHEN Tu. 

,, ,, with fountain ascending. NAKASAINA SONJA. 

with dragon. HANDAKA SONJA. CHINNAN. As a 

Buddhistic emblem it is called Teppatsu. 

xxvi 



LEGEND IN JAPANESE ART. 

BOX, empty. URASHIMA TARO. 

BOX, with goblins escaping. See TONGUE CUT SPARROW. 

BOX, with mice. See ABE NO SEIMEI. 

BRASERO (Kanaye), GOSHISHO, SUKUMAMO, Kou. 

BRIDGE, BRIDGE POST, Chinese writing on a. SHIBA SHOJO. 

BRIDGE of BIRDS. See KENGIU and SHOKUJO, AMA xo GA\VA. 

BROOM. See BESOM. 

BRUSH (writing). See KIKUJIDO (Jino), KOBODAISHI, and all the poets. 
,, inkstone and leaf. TANABATA. 

(Fly) or HOSSO. Nearly all the RAKAXS (ARHATS), but 
especially KIYATAKA TASHA HATSURA TASHA, CHIUDAHANTAKA SOXJA, and 
also DARUMA. 

BUFFALO, BULL (see Ox). See SHOHAKU, ROSHI, KIDOMARU, ZEX SECT. 

BUTTERFLIES. See CHOSHIUKA. 

CANDLES (three on the head). USHINOTOKI MAIRI. See CHARMS. 

CARP (Koi). See EBISU, KINKO, SAJI, KENSU or KENSHI. 
leaping a waterfall : perseverance. See DRAGON. 

CASH. See ZENI ; also HANASAKA Jui ; TEKKAI ; HIEN YUAN Tsi. 

CASTAGNETS. See SOKOKUKIU. 

CATS. See that article, and add the Cat with two tails killed by 
Inu Mura Daikaku ^ ^"J" J^ fa in the novel, Hakkenden. 

CAULDRON, with heads. See MIKENJAKU. 

CAVE, of Fuji, with Goddess. See NITTAN xo SHIRO. 
with spider ; WATANABE. 
and prisoner ; MORINAGA. 

CENTIPEDE. BISHAMON ; TAWARA TODA. 

CHARRIOT, in sky. KOTEI ; OHO ; see SHINANSHA, SEIOBO ; also 
foreigners from the KIKO Isf )} country who " go everywhere in flying 
charriots, the two wheels of which are like paddles." They are figured 
in the Todo Kimmo Zue, holding banners. Sky charriot with deers, see GOMO. 

CHARCOAL (Sumt), symbol of prosperity, of changelessness. See also 
CHA No Yu. 

CHECKBOARD (Go ban}; OGURI HANGWAN. SATO TAPANOBU. 

xxvii 



LEGEND IN JAPANESE ART. 

CHESTNUT, dried, form part of the emblems used on New Year's Eve 
Festival ; they represent Success by punning upon their name Kachiguri, 
Kachi meaning Victory. 

CHESTNUT, MORTAR and WASP. See story of the Monkey and the Crab. 
,, tooth-marked. See Go DAIGO. 

CHOPSTICKS, must be laid on the right of the user : placing them 
on the left is an insult, as they are placed thus for prisoners only. 
Made of Enoki wood, they prevent toothache. 

CHRYSANTHEMUM (Kiku), the sixteen petals variety is the Imperial 
badge. The flower is emblematic of Purity. See KIKUJIDO. See Fox. 

CIRCLE, of pilgrims, holding a rope which goes round the whole 
group, a priest in the centre beating a gong this is called Hiakkti man ben 
"one million prayers," the rope is "forwarded" like a rosary, whilst the 
pilgrims pray. 

CIRCLE, of children, the Emperor on a throne, with two officers carrying 
tablets ; KAKUSHIGI |$ -^ / JH testing the knowledge of his offspring. 

CLOAK. See KAKUREMINO (in the sacred treasures). 
Feather . See HAGOROMO ; TENNIN 

,, STRAW COAT, Mino. See OTA DOKWAN ; also met with in 

many illustrations of peasants and warriors, Moso, KOJIMO. 

CLOUDS, figures on . SEIOBO, CHODORIO, RYUKO. 
,, monkey on . See SONGOKU. 

CLOVES (CnoJi), in the Takaramono, Sweetness and Health. 

COCK, MOSHOGUN,! TANCHU. See SHIKUKEIWO, RYUAX, KOSHIDOSHI. 
HIANG Yu If| Jft, of Tsu, had a cock made of iron, weighing eight hundred 
pounds, and he had eight thousand officers capable of lifting it. 

COMETS, are portents of calamity, preceding war, famines, or earth- 
quakes. 

CRAB. See MONKEY and CRAB ; HEIKE KAM ; SHIMAMURA DANJO. 

CRANE, Emblem of longevity, attribute of SEIOBO, JUROJIN, FUKURO- 

~ Circle of people in various costumes ; at one end, outside the circle, a man with a soroban seems to 
count them ; at the other end, also outside, other individual. Subject shown on a Kozuka in Mr. Dehren's 
Collection, figured in Arms and Armour of Japan (J.S.), but no explanation of which could be found. 
t 'H A. -ft See ode of Seishonagon in the Hiakku nin Isshiu (Dickins 6j). 

xxviii 



LEGEND IN JAPANESE ART. 

KUJIU, TOBOSAKU, JoFUKU, WASOBIOYE, OSHIKIO, YoRITOMO, ToYU, Jo and 

UBA, KOHAKU. KAXGAI Sennin ; ISETSU ; KODOKWA ; TEIREII. 

CRANE, paper. See JOFUKU, WASOBIOYE, JUROJIN, SENTARO. 

CONCH SHELL, emblem of the Yamabushi. See BENKEI. 

CONES, FIR. See AKUSEX, MOJO. 

CORAL (Sangoju), emblem of rarity ; one of the objects of the Taka- 
ramono. 

COWRY SHELLS, in the Takaramono ; emblem of wealth. 

CROCODILE. HAX WAN KUNG expelled one from the river of Chao 
Chao, circa 800 A.D., by means of a magic spell and an order to go 
within three, five, or seven days. 

CROWS, croaking, is an omen of misfortune. 

,, two in the sky, man in boat. See Soso (T'sAo T'SAO). 

CYMBALS, used by temple dancers called Shasho. 

DEER, or Stag, emblem of longevity. JUROJIX, TOBOSAKU, MAPLE, 
HORSE, MOHAKUDO. 

tDEER, killed by warrior. TSUXEMOTO. 
,, boy hiding in a deer skin. EXSHI. 

DOG. See HAXASAKA Jui. FUSE HIME ; DOG HUNTING ; IZEXSHUN, 
RYUAN. 

DOVE. HACHIMAX. 

,, Two, above tree, with man hidden in tree. YORITOMO. 
DOOR, under arm. HANK WAI. 

,, breaking. ASAHIXA SABURO (in Wada Kassen). 
DRAGON (q.v.). See BASHIKO, BOMO, CHINNAN, SHORIKEX. HANDAKA 
SOXJA. KAN NO Koso ; WATANABE ATSUCHI, TAWARA TODA, SUSANO-O, SANJO 
TAIO SEXXIX (with musical instrument), CHOSOYU. KIKUCHI JAKWA, CHOSHIX Jix. 
RIHAKU, T\ISHIN o FUJIN. RASHINJIN KOJINRAN, who every evening returned 
home to his wife five thousand miles away from Court on dragon. KIGA, 
SHOSHI. 

DRAGON AND DEER in sky, appearing to HOKIOSHA. 
DRAGON, in Clouds, across FUJI ; emblem of success in life. 

in river, awaiting the fall of a man who hangs from a 

xxix 



LEGEND IN JAPANESE ART. 

tree, on a cliff, by means of a rope, which a small animal is gnawing 
through. On the cliff, robbers, or a tiger are watching him, illustration 
of a Buddhist parable about the perils of life ; parallel to the common 
expression, "between the devil and the deep sea." 

DRAGON", killing, with a large axe $jlj Bf 
Staff changed into . WONINRAN. 

DRAGON FLY (Akidzii), Emblem of Japan (Akidzushima) and Victory. 
Also, when in connection with a Gadfly, allusion to the story of a 
Dragon fly having killed a horse fly which presumptuously had alighted 
upon the arm of Yuriaku Tenno (Kojiki CLVI.}. 

DROWNING (Man himself), with stone in his dress. MUKO ; with 
Anchor, TOMOMORI ; with two warriors, NORITSUNE. 

DRUM. See RAIJIN ; COCK ox DRUM. 

DUCKS, two in sky. OGEI. 

,, (Mandarin), emblem of conjugal fidelity. 
,, under a Sennin's arm. See O ETSU SHO. 

EAGLE. See ROBEX. 

EGG PLANT or FRUIT, Nasubi. See DREAMS. 

ELEPHANT. Emblem of wisdom. See FUGEN, also DAIBU ennemi 
of Buddha. Commonly met on Tsuba, by Yasuchika, in commemoration 
of the white elephant sent from Siam to Japan during the Kioho era. 

ELEPHANT, carried away by a robber. See KOKUSEXXYA. 
,, and boy. TAISHUX. 

FAIRY COAT (HAGOROMO). KYOCHI. 

FANS. Finding a fan in the roadway is an omen of impending good 
fortune, meaning that the finder will soon become a man of importance, 
or be ennobled. 

A fan attached to a branch of Bamboo carried on the shoulder was 
emblematic of the owner's madness, and peculiar to women. See Bakin's 
Okoma. 

The fan is a common attribute. The Sennin GOMO has a feather fan. 
See FANS, KIYOMORI, ANTOKU, YOSHITSUNE, NASU xo YOICHI, ARAKI, SHIXGEN. 

XXX 



LEGEND IN JAPANESE ART. 

FERN LEAVES (Urajiro or Moromoki), are symbolic of exuberant pos- 
terity ; they are used in the New Year's Eve ceremony. 
FIGURE, in a man's breath. TEKKAI. 

,, in a monkey's breath. SONGOKU. 

,, out of a man's heart. Sometimes mean a dream (RosEi), 

sometimes the story of BAISHI SENNIN, a man of Danchu, who, after 
studying Taoism for twenty years, found on his travels a small oak tree 
growing out of an acorn. He had it planted, and the tree grew 
rapidly to a great height. Baishi lived on a rock with a tame tiger, and 
was able to divide his body into a number of persons, each endowed with 
some special branch of learning; he died at the age of ninety-four. 

FIR, or PINE needles are symbolic of longevity. See Jo and UBA. 
FIR CONES. See AKUSEN and MOJO. 
FIRE (Sennin on Pyre). YOKO. 

(Beacons). See T'AKI. 

FISH and FISHING. See EBISU, KINKO, KENSU or KENSHI, SHIYEI ; 
SAJI, TAIKOBO. KARU (female). JISSHUDO. 

FLAMES, emblem of wisdom and purity. See FUDO Mio O. 
FLOWERS, in alms bowl. See CHENG Tu ; FUKUHIAKU ; CHOHAKUTAN. 
,, at the end of a writing brush. The Sennin, KITEKI ifp f$j 

dreamt once that some flowers were growing out of his fude. In later years 
he became famous for his caligraphy. 

FLUTE. See KANSHOSHI, OSHIKIO, HAKUGA NO SAMMI, YASUMASA, ATSUMORI 
and KUMAGAI, NAKAKUXI, NARIHIRA. The OTOKODATE. 
FLUTE, "Pan Pipes." SHOSHI, ROGIOKU. 
FLUTE PLAYERS: 

FUJIWARA KANEAKI. Noble of the period of Go Daigo Tenno, 
depicted playing the flute under a tree, whilst a wolf-headed 
man listens. 

CHORAN SAI. Once played the flute at night, and a demon, 
dressed in Chinese costume, came and danced in the road in 
front of his house. 
FOX. See under that word. 

xxxi 



LEGEND IN JAPANESE ART. 

FRIENDSHIP, fast friendship, was sealed in China by the act called 
NIKUTAX ^j ^0, consisting of taking off one's dress so as to expose one 
side of the breast, this was also a mode of apologising for an offence. 
In Japan, Samurai vowed eternal friendship by touching swords; this was 
called KINCHO ^ JJ. 

FROG. See that word. See also KARU, TOKUBEE. 

FUNERALS are a bad omen when they overtake the interested party, but 
a good one when met coming from the opposite direction. 

FUNGUS, Mushroom and Fungi, are emblematic of longevity; they are 
frequently represented, and sometimes masquerade as phalli. 

GO. See GAMES. EISHUKUKEI, LUWEX, OSHITSU. 
,, TABLE, OGURI HANGWAX, TADAXOBU. 

Man playing Go whilst being bled ; Kwanyu (figured in Yehon Yaso, 
Ujikawa, of Kitao Kosuisai). 

GOATS. See SOBC, KATSUYU, KOSHOHEI, SHUYUKO SEXXIX, HAKUSEKISHO. 

GOHEI, representing the offering of clothes which it was customary to 
make to the Gods in ancient times, are used in the New Year's Eve Festival. 
They are characteristic of Uzurne, Shinto priests and wizards (ABE NO SEIMEI 
and CHUDATSU SEIMEI.) 

GOOSE, the wild goose Jfj|, YEN of the Chinese was emblematic of the 
male principle and also of matrimony. 

GOOSE, shot above clouds. See YOYUKI. 
,, with paper attached. See SOBU. 
,, Flight of Geese. See HACHIMANTARO, TAKEXORI, RYUJO. 

GOURD. See CHOCKWARO, KADORI MIOJIX, EARTHQUAKE FISH, CHIXXAX 
SHORIKEN. Emblem of longevity. 

GOURD (the hundred). See HIDEYOSHI. 
shaped Pot. KOKO. 

HAGOROMO (q.v.), the feather coat of the Tennin. See also KYOCHI. 

HALBERT. Particular emblem of KWANYU and of BISHAMON, KUMASAKA 
CHOHAN ; used as a weapon by court ladies. 

HAMMER OF DAIKOKU, emblem of diligence, it is called Tsuchi, and 
is one of the Takaramono treasures. 

xxxii 



LEGEND IX JAPANESE ART. 

HARE (USAGI). See that word. 
HARP. KEIKO ; SHOKKIUKUN. 

with one string. See SONTO SEXNIN. 

breaking with an Axe. HAKUGA, after the death of his friend. 
HAT, big. SAIGIO, TOBA (SOSHA), Oxo xo KOMACHI. 
,, on the waters as a boat. See CHIXXAX. 

of invisibility : Kakuregasa, one of the Takaramono treasures, the 
leaning of which is obscure. 

HAT, in the shape of an upturned basket, KOMUSO ; also actors; a more 
onical form, also hiding the head, was worn by the ambulating song 
oilers, Yomiuri. 

HEAD, in a cauldron. MIKEXJAKU. 

,, of a woman, on saddle. See Yu Ki. 
HIMONO. HERRIXG, IWASHI. See under FISH. 
HOE. See HANASAKA Jui, KAKKIO, TAIZAXROFU. 
HORNS, all Onis. See also SHIXXO (SHEXG NUXG). 

SENXIX with one . IKKAKU. 

HORSE (q.v.). See CHOKWARO, HAKURAKU, KOSE xo KANAOKA. HIDARI 
NGORO. GEXKAI ; KIOSEI. SAIWO ; SAISHIGIOKU. 
HORSE, White-. See SAXSO HOSHI. 
Hoof stone. See BATEISEKI. 

,, and STAG. Allusion to the Chinese Eunuch CHAO KAO who 
ice decided that a horse could be called a stag, and vice-versa, and 
afted a decree to that effect, emblematic of a fool, a foolish thing, 
ieign of She Hwang Ti, 210 B.C.). 

HORSE, on a Go table. See OGURI HAXGWAN. 

playing Go with his master. Story of the Chinese HANZAN. 
Eight Horses. See BOKU O (MUM-WANG). 
Hundred Horses, common subject for artistic work. 
,, Stopped by a woman. See KUGUTSUME KAXEKO. 
,, Stopped by a man. Ko U. 
,, Hobby-, ridden by children or TEKKAI'S soul. 

xxxiii 



LEGEND IN JAPANESE ART. 

HOWO, or PHCENIX or HOHO (q.v.), emblematic of Imperial authority. 
See BAIFUKU and ROGIOKU (female sennin). 

IDOLS, Burning. See TANKWA. 

IRIS, emblem of Victory. 

JEWEL. Precious Jewel, or Tama (q.v.), or Hojiu no Tama, symbolic 
representation of the everlasting; carried by the sacred Bull, by the SHICHI 
FUKU JIN, especially JUROJIN and FUKUROKUJU, HOTEI and DAIKOKU, forms 
part of the Takaramono. In the form of a crystal ball, carried by Jizo 
BOSATSU. See also KAMATARI, RAIJIN, HANDAKA SONJA, KOKUZO (see PEACOCK), 
HOHODEMI, OJIN, JIXGO, and TAKEXOUCHI. ANKISEI, SHYUCHU. 

JIMBASSO. See ALGU^E. 

KADOMATSU (GATE PIXE TREE), made originally of pine branches 
plucked from a young tree, to which the Bamboo was added in the 
O-Ei era, and later the branches of Plum tree ; it is placed on New Year's 
Eve in front of every door, and has the symbolic significance of all its 
components, viz. : Endurance, strength, and longevity from the Pine ; virtue 
and fidelity from the Bamboo ; whilst the plum branches are often replaced 
by the sacred plant of Shinto, the Sakaki. See IKKIU ; SAIGIO. 

KANAYE. GOSHISHO; Kou. 

KARASHISHI, and peonies, emblem of regal power. 
Ridden by MONJU BOSATSU. 

KIRIN. See JOGEN FUJIX. 

. 

KOBAN, buried, or in a mortar. See HAXA SAKA Jui. 

KOBAN NI HAKO, or Koban in Chest, emblem of plenty ; one o 
the treasures of the Takaramono. 

KOMBU, or KOBU, seaweed, symbolic of pleasure and joy, and usec 
with the Jimbasso, on New Year's Eve, in allusion to Yorokobu, "to rejoice." 

KOTO. See KOTO NO NAISHI ; SONTO SENNIN. TOSHIKAGE. 

KOTO, SHAMISEN AND KOKIU, the three musical instruments called 
San Kioku. See AKOYA. 

KOTO BUKI. The character Jiu ||, meaning long life, and which 
is found decoratively inscribed on works of art. 

xxxiv 



LEGEND IN JAPANESE ART. 

KOTSUBO, KAGI, KAKUREGASA, KOTOJI, KAKUREMINO, KAI. 

See the treasures under the word TAKARAMOXO. 

LEOPARD, OEN, YOSHIDO. 

LESPEDEZA (sort of clover). Allusion to a legend that the flower 
was once a young lady with whom a stag fell in love. It forms a part 
of the offerings on ijth night of the eigth, or harvest, moon. 

LILIES. See PAX FEI (Fr.i YIN). 

LILIES, water. See LOTUS. The emblem of purity, with its beautiful 
flower above the water remaining unsullied by the mud in which grow 
its roots ; consecrated to the dead. 

LION. See KARASHISHI. 

LIZARD, water. See NEWT under CHARMS. Its ashes were supposed 
to be a love philtre when taken internally, or scattered upon the head of 
the hard-hearted maid. 

LOBSTER, owing to its body being bent double, is emblematic of 
honourable old age. It is part of the decorations used in the New Year's 
Eve Festival. 

LONGEVITY, is symbolised by the PIXE, and the BAMBOO, owing to 
their evergreen foliage ; by the CRANE, the DEER, or STAG, the STORK taking 
sometimes the place of the Crane ; the TORTOISE, especially the MIXOGAME, 
with a tail of weeds ; the GOURD ; the PEACH ; and the LOBSTER. Some 
of the emblems are of Chinese origin. The SHO CHIKU BAI is composed 
of the Pine and the Bamboo, to which the Plum is added for beauty. 
See also KADOMATSU. 

Longevity is further personified in art by the representation together, 
in groups or singly, of the celebrated personages SEIOBO and TOBOSAKU (with 
the Peach), JOFUKU and WASOBIOYE (with the Crane), MIURA xo OSUKE, 
URASHIMA TARO (with the Tortoise and box), Lu WEN, and the two old 
pine trees of Takasago with their genii, Jo and UBA, sweeping the pine 
needles with besom and rake. Finally, it is indicated by the character Jiu 
Sp often repeated in many forms. See MANZAI. 

LOTUS FLOWER. Emblematic of purity, wisdom and Buddhahood. 
See SAIGIO HOSHI, KASENKO, CHUMAICHEN (SHUMOCHIKU) RANSAIKWA, FUGEN 

XXXV 



LEGEND IX JAPANESE ART. 

SEITAKA DOJI, KWANNOX. It is an attribute of the Buddhas or Dosatsus ; 
the white lotus is emblematic of death. 

MAGATAMA (q.v.), claw-shaped stone jewels, single or strung up. 
They form part of the sacred Japanese regalia. See IZANAMI. 

MAKIMONO, or roll book, is emblematic of wisdom ; it is the attribute 
of JUROJIX, and one of the treasures of the Takaramono. A makimono 
is attached to the umbrella of OSHO, and is also the usual attribute of 
the two Rakans : KARI SOXJA and DAKAHARITA SOXJA. 

MAKIMONO, or SCROLL (open). See FUKUROKUJIU, KAXZAX, BUSHISHI. 

MANTIS. The praying mantis is emblematic of courage. 

It is often associated with the wheel, as in the proverb: "Even the sharp 
mandibles of the fighting mantis are set at nought by the wheel of fate" 
(dragon wheel). See Ehon Kojidan VI., 16. 

MAPLE and DEER, emblematic of autumn ; also with Tori in back- 
ground, allusion to the deers of Nara. 

MAPLE LEAVES (Iro), when sent to a man by his lady-love, conveyed 
to him in poetical fashion the news of his being jilted, the meaning being 
that her love (Iro) also changes like the colour of the maple leaves in autumn. 

A favourite pastime consisted in preparing tea over a fire of maple leaves; 
this is often illustrated , see KORE.MOCHI. 

MAT, on the waves. See CHOSHIKWA, and OTO TACHIBAXA HIME. 

MILKY WAY. See AMA xo GAWA. 

MIRROR (q.v.). See HIDARI JIXGORI ; MATSUYAMA. Emblematic of 
truth and of a woman's soul. Placed under the pillow of a sick child, 
or under his bed, it will hasten his recovery ; the same is also said of a 
sword or a calcined bone. At two o'clock in the morning a mirror 
predicts the future. A woman once tried the experiment, and seeing her 
image in the shape of a beggar, she became quite parsimonious ; but her 
economy was of no avail she died a beggar all the same. 

MISOGI, a bamboo split at the top, and with a prayer stuck in. It 
was placed near a stream, on the last day of the sixth month, as an 
invocation. 

MONKEY. See SANSO HOSHI, SOXGOKU, KOSHIX. 

xxxvi 



LEGEND IN JAPANESE ART. 

MOON, THIRD DAY (Mikatsuki). See YAMANAKA SHIRANOSUKE. The 
crescent of the moon begins to show plainly on the third day of each 
lunar month ; this is considered a lucky emblem, and as a curve of perfect 
shape it gives its name to the Mikatsuki mamiye, perfect eyebrows of ladies. 

MOON, man reading by moonlight on snow. RIUTO. 

MUGWORT (flower) is the attribute of KASEXKO, who is clothed in 
its leaves. (The coat of leaves is the generic attribute of the Rishis.) 

MULBERRY TREE, is supposed to be a protection against lightning, 
perhaps because of its diminutive height. Its wood was used for bows 
because of its resiliency. In the Xo Hokaso, Rishogun a warrior armed 
with such a bow, Kuwa no Yumi, sends an arrow through a rock. 

MUSICAL INSTRUMENTS. See BIXVA, FLUTE, KOTO; see SEIOBO, 
TAISHIN 6 FUJIN, SONTO, Li TAI PEH, STORY OF THE EMPTY CITY (CHOHI 
KOMEI). HAKUGA. 

NAILS (finger). When white spots occur on the finger nails they 
foreshadow gifts corresponding with them in number. 

NAILS, driven in a tree. See CHARMS, USHI TOKI MAIRI. 
,, driven in a stone. BENKEI. 

NANTEEN Plant and Berries are emblematic of better fortune. 

NET. Takes sometimes the place of the rope of FUDO Mio O, with 
the same significance. Nets were thrown over litters carrying prisoners. 

NET. Man fished in a net. JISSHUDO. 

NOSE (long). See TENGU, SARUTA HIKO NO MIKOTO. 

OIL, spilled from a lamp between the middle of January and the middle 
of February means destruction by fire during the summer. There is a 
counter-charm of easy application : It consists in pouring water upon the 
head of the guilty party. 

OIL, pouring from a bottle, through a ring, into another bottle. 
Allusion to the lesson given to the archer, CHIN NO KOSHUKU, by an oil- 
merchant, to whom the warrior had asked whether he knew how to shoot, 
and who, by way of reply, poured some oil as described above, the hidden 
meaning being : Every man to his trade (Ehon Tsuhoshi). 

ONI (demons). See ONI ; see ONI YARAI, SHOKI, BISHAMON, YULI, CHODORIO, 

xxxvii 



LEGEND IN JAPANESE ART. 

ENNO SHOKAKU, HAKUBAKU, WATAXABE, RAIKO, TAMETOMO, OMORI HIKOHICHI, 
KOREMOCHI, MlTSUXAKA, AsAHIXA SABURO, TADAMORI, To XO RYOKKO, SAXSO 

HOSHI, KlSHIMOJIN, TOORI AkUMA. 

See GOBLINS, GHOSTS, DREAMS, CHARMS, DAIKOKI:, BELL, MASKS, NE\V 
YEAR FESTIVAL. Oni eating wafer (oni ni sembei) emblematic of an easy task. 

ORANGES (DAIDAIJ, bitter . Allusion to the Chinese, meaning : For 
generations unto generations. Men playing Go in the orange, see under GAMES. 

ORIMONO, roll of brocade, emblematic of splendour, is one of the 
treasures of the Takaramono. 

OWL, the jj| is emblematic of filial ingratitude, it is credited with 
eating its dam when the opportunity arises. 

OX, BULL, or BUFFALO. Lying clown is emblematic of TEXJIX. 

,, ,, with peonies, and gilt horns. See SHOHAKU ; 

see also LAO TSZE (Rosm), OSHIKIO, KIOYO, KEXGIU, TAXABATA. 

OX, with torches attached to the horns, as a ruse of war, YOSHIXAKA; 
being felled by a warrior. MORITOSHI. 

OX, warrior hiding under an ox skin. See KIDOMARU and Usui 
SADAMITSU. 

OX. Emblematic of the Zen Sect of Buddhism. 

PAPER. See GOHEI. Cut paper called Xusa was used as offerings 
to the Gods instead of the original staff covered with brocade (Nishiki) 
used in old prayers. See MISOGI. 

PAWLONNIA. Emblematic of rectitude ; with seven blossoms, Imperial 
badge reserved to the Emperor; with five blossoms, emblem used by the 
Imperial family. 

PEACH, emblem of Longevity. See SEIOBO, TOBOSAKU, KYOSEXHEI, 
MOMOTARO. 

PEACOCK. Mount of KOKUZO (the Boddhisattva padma Akhasagarba) ; 
also of Sarasvati (BENTEN). 

PEAS (black), or MAME, emblematic of strength and health. 

dried (SHIRO-MAME), are thrown about the floor on New Year's 
Eve by the YAKU OTOSHI to cast out devils. See Oxi. 

xxxviii 



LEGEND IN JAPANESE ART. 

PEONIES. Emblem of regal power, associated with the Karashishi 
and the Shakkyo dance. See also SHOHAKU. 

PHOENIX. See Howo. Also Sennins SHOSHI, BAIFUKU, ROGIOKU, TOIKU 
SAIJOSEN. Associated with the Pawlonia it is called Howo NI KIRI. 

PIGS. HAKUSEKISE. 

PINE (Matsu). See NEW YEAR'S FESTIVAL, KADOMATSU, Sno-CniKU-BAi. 
Emblem of strength, endurance, longevity, because it is believed that its 
sap turns into amber after a thousand years; the "Sea Pine" is a fossilised 
wood, almost translucent, pieces of which were much prized as netsuke. 

PINE, red and black, emblematic of happy marriage. 
,, See PINE OF TAKASAGO and Jo and UBA 
. 
PINE TREE, growing out of a man's stomach. TEIKO ~T HO was a 

minor official, who once dreamt that a pine tree was growing out of his 
stomach ; eighteen years later he was promoted from the Sosho class to 
the title of Sanko \ $, and then he understood that his dream was a 
true prophecy, because the character Ko consists of eighteen ~f~ yV and 
Prince Q, and means also pine. 

PLUM TREE (flowering). UME. See LONGEVITY, Siio-CniKU-BAi, 
SUGAWARA MICHIZANE, BENKEI, and YosHiTSUNE. A Chinese lady under a 
plum tree may be an allusion to the story of Chao shi hsiung, who in 
the pine groves of Mount Lo-fu saw a maiden in the distance. He went 
to meet her, and noticed a strong perfume of plum flowers, though no 
plum tree was near. He fell asleep while talking, and on waking up found 
himself under a flowering plum tree. 

Plum tree and the Otoguisu (Nightingale), allusion to a poem of 
Hakurakuten ; a Daimio wanted a branch of a plum tree, then in flower, 
but the owner of the tree, a woman, declined to break it by her reply, in 
the form of a verse meaning : " If the branch is broken, where will the 
Otoguisu find a resting place on its return ? " (Shaho Bukuro, /.). 

PLUM BLOSSOMS, in quiver (Ebira). KAGESUYE, whose popular name 
is Ebira Genda. 

PLUM BLOSSOMS, in hair. The Sennin Sonkei Jft $fc composing a 
poem, which means : " If I sit on a pine root I shall live one thousand 

xxxix 



LEGEND IN JAPANESE ART. 

years ; If I place a sprig of plum in my hair, the snow of February will 
fall on my sleeves." 

PORTRAIT of a lady being painted ; See OSHOKUX. 

POT or URN. See Li TAI PEH (RIHAKU), KOKO. SHOJO. 

PUMPKIN, carried by MEISOGEX. 

PRISON (breaking). KIDOMARU, KAGEKIYO ; KOSEX, KING OF YETSU. 

RAIN. See OMI HAKKEI 
,, flying in . RESSHI. 
and Sunshine. See FOXES' WEDDIXG. 

RAKE. See Jo and UBA. 

RAT. See DAIKOKU, NIKKI DANJO, RAIGO, SESSHIU. 

REFLECTION, double reflection of a Sennin's face in a river : OFUSHI 
3E M "F" whose real name was Hotei. He was a man of Joyo, who 
supported his family by his knowledge of medicine. He learnt magic 
from the Sennin Shori $|f $f|, and afterwards lived without ever eating 
anything. One day, along a river, people noticed his reflection in the 
water, in the shape of two bodies, and on their expressing astonishment 
thereat, Ofushi showed them that he had ten shadows. The matter was 
reported to Shinshu jf|L ^, of So (Sung), who had him imprisoned, but 
he escaped by miraculous means and disappeared for ever. 

RICE. When children dropped rice on their clothes they were told 
that they would be transformed into cows.* 

RICE POUNDING, the poor Buddhist priest, Daikan Zengi (in tattered 
garments). ORO Sennin. 

RICE STEMS, throwing from clouds. TANBO, female Sennin. 

ROCK, emblematic of stability. See FUDO. 

being thrown. See ASAHIXA SABURO, Owo IKO, SANADA YOICHI, 
MIURA YOSHIZUMI, MATANO GORO. See STONES. 

ROCK. Cleaving with a sword. UYEMOX xo KAMI NOBUYORI. 
transpierced by an arrow. RIKO. 

ROSARY, the black and strong smelling seeds of the >f/, Hiian 



Compare the other belief about dropping food, quoted in Andrew Lang's Custom and Myth. 

Xl 



LEGEND IN JAPANESE ART. 

tree were used as beads for rosaries as it was thought that their odour 
frightened away evil spirits ; See CIRCLE. 

SAKE CUPS, URN or DIPPER. See SHOJO. 

SCEPTRE, worn (rubbing on sleeve). MOKI. 

SCROLL (see Makimono). See BENKEI (KAN.HNCHO). 

SEALS, were to be affixed an odd number of times, otherwise the 
document was unlucky, and if it were a bill or note of hand for instance, 
it was commonly believed that it would eventually be dishonoured should 
there be an even number of seals on it. 

SEAWEED. See New Year's Festival. SEAWF.KD GATHERING ; see 
WAKAME KARI. 

SHARKS. See ASAHINA SABURO (in Menken Kojitsii). 

SHELL (conch). War trumpet. Emblem of the YAMABUSHI. See 
BENKEI. Horafuki, "Blowing the conch" is still proverbial, meaning to 
boast and make more noise than work. 

SHELL (cowry). Emblem of wealth in Takaramono. 
(Haliotis), listened to by mermaids. 

SHO, musical instrument. See OSHIKIO; SHINRA SABURO YOSHIMITSU ; 

TOKOKEI. 

SHOE, Sennin with one . RANSAIKWA ; also DARUMA. 
Duck changed into a shoe. See OKYO. 
Woman changed into a shoe. See HIEN YUAN Tsi. 
See story of CHORIO and KOSEKIKO. 
SNAKE, white. See BENTEN. 

See JIRAIYA, TSUYENORI, TAWARA To DA, SUSANO-O, GOMO, 

SHIGEMORI, SEN-JO-RAKU dance. 

SNAKE, Two-headed, killed by Sze ma Kwang. 

UWABAMI (q.v.), large snake, killed by Egara no Heida (Wada 

family) during the rule of Hojo Yoshitoki. 

SNEEZING, has ominous meanings : if once, the affected person is 
praised somewhere ; if twice, reviled ; if three times, it is a sure proof 
that he has " Kaze wo Totta" (caught the wind), i.e., a "cold." 
SPADE. KAKKIO, KAKO, HANASAKA Jui. 

xli 



LEGEND IN JAPANESE ART. 

SPARROWS, are emblematic of gentleness. 

,, walking like ducks, with one foot in front of the other ; 

emblematic of a very rare occurrence. 

SPARROWS. See SHITAKIRI SUZUME. Story of the TONGUE CUT 
SPARROW. 

SPIDER, in a cave. TSUCHIGUMO. See WATANABE and RAIKO, KAMI 
GASHI HIMK. 

SPIDERS, are emblematic of craft, generally magical craft, as all spiders 
become oni after dark. See BAKKMONO. 

STAFF. Emblematic of most Sennins and Rakans, and of the three 
Gods, JTROJIN", FUKUROKUJIU, HOTKI. There is often a makimono attached 
to the staff. The staffs of old men were made in China, of a knotty 
wood called ^J Chii. See WONINRAN ; SHINRAN SHONIN. 

STAFF, with three or more rings : Shakujo, emblem of the BOSATSU. 
See Jizo. 

STAG, or DEER. Emblem of Longevity (q.v.), companion of Jurojin. 

STAG and MAPLE are symbolical of Autumn. 

STAR (shooting), is the soul of a person who lias just died. 

STARS. TANADATA ; SOYUDO. 

STONES. See under that word. 

STORK, interchanges with the crane as emblem of long life. See 
WASOBIOYE, KOHAKU, HIDA NO TAKUMI. 

STRING. If the string used in binding the hair breaks, it is an evil 
omen, and foretells the loss in a short while of a friend or a husband, 
according to sex. String used for binding parcels of gifts must be of 
many colours. 

SWORD, Sennin on . See SHORIKEN. 
,, biting . MORINAGA. 

,, breaking to pieces. Mio NO YA (IVAGEKIYO). Ri-A. 

Two-edged, Ken, priest sword, praying-for-rain sword ; See 

Ama Kurikara, attribute of wizards and rain priests. 

TABLE, man reclining on . TAIKOBO, ROSEI. 

TIGER (white). KOREIJIN. 

xlii 



LEGEND IN JAPANESE ART. 

TIGER, killed by a blow of the fist. BUSHO, one of the heroes of 
the Suikoden. 

TIGER, killed with a spear. See KATO KIYOMASA. SHINKI ^ ^f. 

,, used as a seat by a Sennin, from whose heart issue two men, 
going in opposite directions, one walking on a road, the other going to 
heaven,* BAISHIN $ ^ f[|| X- (In the work jj|f HJ J|| ^ lye zu boku shu.) 

TIGER. See HOKEN ZENSHI, SHINRETST, Buxsno, HADESU, HATTARA- 
SONJA, KOKUSENNIA, KIIKU Sennin, Yu Liu, Busno, SESSIIIDO, SHIIKI, TOHO, 
TEISHINEN. 

TIGER and LEOPARD. OKX. 

,, (Tora). Sign of the Zodiac. 
,, and DRAGON. See DRAGON. 
,, being painted. See MATAHEI. 
TILES, on the head. See KAKUDAITSU. 

THUNDER ANIMAL. See RAIJIN, SUGARU, YOSHIHIRA, MICHIZANE. 
THUNDER and LIGHTNING issuing from picture. See CHOSOYU, 

TOHAKKUKWA. 

TOAD, is credited with magic powers. See FROG, GAMA SENNIN, 

JlRAIYA, KOSHIN. 

TORTOISE. Emblem of Longevity. See URASHIMA TARO, ROKO, GAMA, 
KOAN ; JOREN, and under LONGEVITY. See MINOGAME. 

TORCH, all night scenes. Usui SADAMITSU, NITTA TADATSUNE, HIRAI, 
YASUMASA, NITAN NO SHIRO in the cave of Fuji, WADA TANENAGA, WATANAISE 
ATSUCHI and the Dragon, SOGA brother's revenge, KOGA SABURO, Story of 
the lost Cash, Seaweed Gathering. 

TREE, fabulous; see SEIOBO, HORAI, MOON, MOON-CHILD; the ^{^ 
Nih was said to be a thousand feet high, it flowered only once in a 
thousand years, and its fruit took another nine thousand years to reach 
maturity. The Tree or Wood 7JC Ki (Chin. Muh) is one of the five 
elements of the Jikkan in Far-Eastern lore. The Magnolia is especially 
interesting because such a tree, called ^j|, grew on the tomb of Confucius ; 



See FIGURF. 

xliii 



LEGEND IN JAPANESE ART. 

the Buddhists of China set also great value upon the horse chestnut 
fJ>, which they identify with the Saul. 

TREE TRUNK, as weapon ; HANGAKU, TOMOF. GOZEN. 
Man hidden in-. SHOTOKU TAISHI; YORITOMO. 
whipping. KIUSHOKI. 

UDONGE, is a fabulous flower, blooming once in a thousand years; 
its name appears to be familiarly given to a plant which grows on ceilings 
in the damp atmosphere, and the advent of which is considered to be an 
omen of impending success. It is suggested that it is merely a nest of 
insects or a fungus. The Wakan Sanstn' Zue calls it a fig tree (Basho, Ichijiku}. 
UMBRELLA. See SANFI-SIII, Osno. 

VASE of Sake. See Snojo, TURKIC SAKK TASTERS, RIHAKU. 
man reclining by. See Li TAI I'EII, TAIKOBO. 
,, Chinese boy breaking . See SIIIBA OXKO. 
WAR CLUB. See Rocmsmx, TOSAUO, BKNKKI. 
WATERFALL. See Frno, LNDO MORITO, SOKU. 

WAVES, man on. See DARTMA, SiiAsnirsiio, CIIOSHIUKA, TOHOSAKU. 
woman jumping in . See OTO TACUIBANA HIME. 

,, Ghosts issuing out of -. See BKNKKI arid HEIKK, TAIRA NO 

ToMOMORI, I 'MI Bo/CU. 

WAVES, Sennin on--, on sword. SIIORIKKN. 

,, Bell on--. See Bell of MEIDIRA. 

Buddha's statue on . See JIKAKU DAISHI. 

WEAVING. TANABATA, KKNGIU, Kria-JiN, OTOIIIMK, BUNKI MANDARA, 

TOYEI. 

WHEEL, flaming. See HELL. 

WHEEL and mantis. See MANTIS. 

WOMAN, in the Sky. See SEIOBO, GKNSO, TANABATA, BAKOKU, KASENKO, 
RYUKO. 

YUZURI. The leaf or Yuzuri ha is used emblematically in the New 
Year's Eve decorations, meaning that the father will not die before his 
son is a grown-up man, as the leaf of the Yuzuri does not fall before 
another replaces it. 



LEGEND IN JAPANESE ART 



LEGEND IN JAPANESE ART 



i. ABE NO YASUNA 35C TcM* ^ Father of Abe no Seimei, and to whom 
is sometimes attributed as a wife a white fox which had taken the shape of a 
beautiful woman to bewitch him. This story is told to the effect that once as 
he was walking in the gardens of the temple of Inari, reciting his poems, a 
party of nobles passed by in pursuit of a fox, which they were hunting to kill 
for his liver, then used as a medicine. The fox ran into the gardens, stopping 
near ABE who caught the animal, and hid it in the ample folds of his kimono 
before its pursuers could enter the temple grounds, thus saving its life. A year 
later ABE fell in love with, and married a beautiful girl KUZUNOHA, who gave 
birth to a boy, and soon after died of some fever. Three days after her death 
she appeared to him in a dream, enjoining him not to grieve, as she was only 
the fox he had saved. One version of the story says that Kuzunoha, lived three 
years with Abe, at the end of which she left him, and before departing, wrote 
on the panels of the room : 

Koishikuba 

Tazune kite miyo, 

Izumi naru 

Shinoda no mori no 

Urami Kuzu no ha. 

A 
that is : L-* 

If you are in love, come and seek in the forest of Shinoda, in Izumi, and 
you will find a Kuzu leaf (Kuzu no ha). 

The Kuzu plant, Pueraria Thunbergiana, was used by weavers. 

i 



. 



LEGEND IN JAPANESE ART. 

2. ABE NO NAKAMARO T fo f$ J& & was the son of NAKATSUKASA 
TAYU FUNAMORI. He is one of the celebrated poets, sometimes included amongst 
the thirty-six poets (q.v.), and ancestor of Abe no Yasuna. 

Abe no Nakamaro was sent to China when 16 years old, in the second 
year of Ruki (A.D. 716) to discover the secret of the Chinese calendar. Suspected 
by the Emperor, he was invited to a dinner on the top story of a high pagoda, 
and made drunk, after which, while he was asleep, the Chinese removed the stairs 
and left him to die of hunger. Legend has it that he bit his finger until the 

^ blood ran, and with it wrote on his sleeve : 

*J 

^ Awo una bara (Ama no hara), 

/I? furi sake mireba, 

Y 1 > v Kasuga nara, 

J if 
7 \ Mikasa no yama ni, 

u u rS Ideshi tsuki kamo : 

^L. " When I see the heavenly plain open, I think myself at Kasuga, contemplating 

the moon, rising above the three summits of Mikasa . . Ah ! 

After his escape, he set out for Japan, but^being shipwrecked, he went to 

Annam, and again to China, where he entered the civil service of the Emperor, 

and died (770). 

3. ABE NO SADATO * fg 1 j| ft The opponent of Kiyowara Takenori 
at the battle of Toriumi (See Takenori). He is supposed to have been partly 
of Aino blood, and was famous for his huge stature. At thirty-four years of age, 
he was nine feet high, and his girth exceeded the combined lengths of seven 
arrows. His younger brother was ABE NO MUNETO who, when defeated during 
the nine years war (Zenku nen no Eki), was brought captive to Kioto, by 
Yoriyoshi (q.v.). Prior to his execution a Kuge, came to him with a branch of 
the flowering plum tree, and asked him what he called it. Abe no Sadato's 

f> -^ reply in the form of a poem has been preserved : 

* ^1 Waga kuni no, 

-j_ j.j^, Ume no hana towa, 

7 3 Mitsuredomo, 

Jn %- 

Oho miya bito wa, 
Nani to yuran. 




< S- 

u p 

Q ~ 
< 



LEGEND IN JAPANESE ART. 

" In our country, where I saw it often, we call it " [/me," but for the true 
name, we look to a courtier to tell us." 

4. ABE NO SEIMEI T fn Bjf 5^ or KAMO YASUNARI, or KAMO HOGEN. 
Court Astrologer, son of Abe no Yasuna, occasionally shown with his fox mother 
Kuzunoha, who holds a writing brush in her mouth. He cured a grave illness of 
the Emperor TOBA, proving that he was bewitched by no other than his own 
favorite concubine TAMAMO NO MATE, in whom Seimei detected a nine tailed fox 
(Kiubi no Kitsune) (See Tamamo no Maye). His name is sometimes given as 
Abe no Yasunari. 

Once, having heard that a bird disrespectfully dropped something upon the 
head of a courtier of the rank of Kurando, he explained the incident as an omen 
that this noble would be murdered. The Kurando spent a night in religious 
practices, and great was his surprise in the morning, to see a man come to beg 
his forgiveness, as he had intended to murder him. 

On another occasion, the despotic ruler Michinaga, was prevented by his 
favorite dogs, from advancing along a certain road ; Abe stated that some 
miscreant must have been at that time "praying at the hour of the Ox" (Us/ii no 
toki mairi) as an incantation against Michinaga's life. He had the place where 
the dogs had stopped dug up, and found concealed in a pot, a scroll with 
Michinaga's name written in red, in a manner which he said, was known only to 
a man named Doma Hoshi. Whereupon, he made a magical paper stork which 
immediately flew straight to Doma Hoshi's house, with such startling effect that 
the suspected man confessed his guilt, and as a result forfeited his life. Abe 
no Seimei is also shown in a wizard's competition, conjuring white mice from 
an empty box. 



5. ACARA (See FUDO). 

6. ACHALA (See AISEN MIYO O). 



7. ADACHIGAHARA * H >T Jj. The Goblin of Adachigahara was 
an old cannibal woman. She is always represented with, a kitchen knife, and 
sometimes preparing to kill a child. In the popular play she is said to have 
been of high rank, and attached to the court of a prince who suffered from a 






LEGEND IN JAPANESE ART. 

strange disease. The only remedy then known consisted of the blood of a 
child born during a certain month, and the woman killed children to cure her 
master. When the cure was successful she confessed her guilt, but was pardoned. 
She lived in Oshu (Mutsu). Amongst other legends it is said that one winter 
evening, a pilgrim came to the door of her hut and asked permission to spend 
the night in her kitchen. The woman refused at first, but finally acceded to 
his entreaties, and allowed him in. After a few minutes she went out, forbidding 
him to look in a certain room, but the pilgrim was too inquisitive to obey, and 
whilst the woman was away, he opened the door and found the room full of 
human bones and bespattered with the blood of the goblin's victims. Taking 
his hat and staff he flew away, the old woman who was then just returning, in 
her true shape as a goblin, running after him (Ozaki). 

8. ADZUMAYA KUMI. One of the personages of the GENJI MONOGATARI, 
who elopes on the river Uji, with her lover Nio GIOBU Kio. 

9. AGATA. Divinity worshipped at Uji, and who is believed to cure 
venereal diseases. 

10. AGNI DEVA. Fire divinity, One of the Twelve Deva Kings (Jiu ni 
Ten) q.v. : K \VATEN ^ ^. 

11. AGONAOSHI JIZO f| fR| j& |j| or Jizo who has no jaw. Divinity 
worshipped at a temple in Old as a jaw healer, because in one of his previous 
lives he tore away his lower jaw. Prayers are addressed to him to cure toothache, 
another remedy consisting in using Yanagi chopsticks (q.v.) (Hearn). 

12. AIKIO ^ ^ or SEGON or KWANZEON BOSATSU, one of the sons of 
Benten, shown with a bow and arrow, transformation of Avalokitesvara. 

13. AIKU ^ JffiJ The concubine of SATO TADANOBU (q.v.). 

14. AIR CASTLE (Shin Kiro) f^ ^ ig The Castle of Riujin the Dragon 
King of the Sea, appearing in the clouds (See Story of Bimbo). 

Mirage caused by the breath of a clam rising above the waters, and 
accordingly represented, either as a group of small buildings inside the partly 
open shell of a clam, or as a castle rising in the clam's breath. Sometimes called 

4 








ABIi NO NAKAMAKO (./. 
AUACIIIGAIIAKA (./.) 



ASAHINA AND SOGA (M.G.) 



AMATERASU (li:i..K.) 
ASAHINA SABURO (A.) 



LEGEND IN JAPANESE ART. 

the Clam's dream. The mirage is called Shin Kiro, and as an allusion, the 
personages in Hokusai's fairy tale A Shin Kio have huge shells instead of 
heads. 

15 AISEN MIYO O H ^ HJ3 3 Transformation of ACHALA the In- 
satiable or the Indomitable. God of love, although represented with a fierce 
expression, three eyes, a halo, and six arms. 

1 6. AKAHITO (YAMABE NO) ^ A [Ul ill One of the celebrated poets, 
sometimes classed amongst the six, lived in the eighth century, and has been 
deified as God of Poetry. 

17. AKAMBE ~f # :/ -< 4 A child's game sometimes performed 
with a mask of Okame or some other No character, corresponds with " Do 
you see any green in my eye?" (Compare Bekkako). 

1 8. AKECHI $J |? (See ODA NOBUNAGA). 

19. AKOYA PP[ ~t^f JH. A famous courtesan of Gojyo, near Kyoto, who 
having been the mistress of the Heike captain KAGEKIYO, (q.v.) was suspected of 
having given him refuge, when he had to flee for his life, after Yoritomo's army 
had defeated the Taira clan at the battle of Dan no Ura (1185). Torture failing 
to bring any information from Akoya, one of the Magistrates, HATAKEYAMA 
SHIGETADA, had her brought into court one day in her best attire, and after 
reproving her for her obstinacy, commanded her to play on some musical instru- 
ments : a Koto and a Samisen, much to the indignation of his colleague IWANAGA. 
The girl improvised a short poem containing a play on the words Kage and 
Kiyoki, and by her masterful performance convinced him of her innocence, 
because, as he remarked " fine music can only be played with a pure heart." 

20. AKUBO ^ ^ i (AKUBOZU) "No" character representing a wicked 
priest, he wears a coarse beard, and carries a halbert. 

31. AKU HACHIRO ^ A IB Celebrated warrior, who defended the 
castle of Takasagu, fortified by Hata Kokuzaemon, against the attacks of KURD 
IYEMITSU. He threw upon the besiegers a rock, so large that fifty ordinary men 
could not lift it, and so crushed to death many warriors, then uprooting a tree, 

5 



LEGEND IN JAPANESE ART. 

the trunk of which was nine feet long, he executed a sortie single handed againsl 
the enemy. 

22. AKUMA ^ |H (TooRi AKUMA), One of the many Ghosts or Goblins 
with sword in hand, a huge head and flaming eyes. Akuma, or Ma an 
synonymous and mean evil spirit. One day, a nobleman drinking sake or 
the verandah of his house saw the Toori Akuma floating towards him ir 
the sky, with a naked sword in its hand. Frightened by the hideous 
apparition he hid himself under a tatami (mat), and peeping, saw the goblin 
enter the next house. Hearing a terrible uproar he went to enquire, and 
found that his neighbour, thinking to kill the Toori, had slain his wife, his 
children and his servants. 

23. AKUSEN fl f (Wu TS'UEN), One of the Taoists Rishis of the Chinese, 
shown as a wild looking hairy man, clad in the usual leaf dress and eating fii 
cones. He is said to have lived 300 years, gathering simples in the mountains. 
Once he offered pine cones to the Emperor who refused to partake of this food, 
but those who accepted the Sennin's diet attained everlasting life. He used 
to wear his hair very long, and could run as fast as the swiftest horse. 

24. AMAKURIKARA, Abreviated form of AMARIO NO KURIKARA 
(/H ^'J HP JH] RYO. Name of one of the Dragons, and sometimes engraved 
on swords, or wrapped around scabbards as in the Amagoi ken of the 
celebrated Kobodaishi (q.v.). Amario, meaning rain Dragon, and Kurikara 
rio : Dragon entwining a sword. 

25. AMANGAKO (Utatesa : Sadness), one of the demons. See Koshin. 



26. AMA NO GAWA ^Jl|, The Heavenly River, the Via lactea, also 
called Tenga, or Ginga, the Silvery river. See the Stories of Wu Un Jin, Chan 
K'ien, and of Kengiu and Shokudjo (The Spinning Maiden) and the Bridge of 
Birds (TANABATA). 

27. AMA NO KAGU YAMA ^ f| \\). The mountain in Yamato where 
the angel hung up her clothes in the story of Hagoromo (q.v.). 

28. AMARIO M II, Rain Dragon. 

b 



LEGEND IN JAPANESE ART. 

29. AMATERASU jHMM.itift- The " Heavenly Shiner." The Sun 
Goddess and legendary ancestor or rather ancestral divinity of the reigning 
dynasty of Japan, born of the left eye of IZANAGI. Suffering from the insults 
of her brother SUSANO O, she retired into a cave, casting darkness over the 
world and closed the opening of the cave with a rock. OMOHI KANE NO KAMI 
then had a mirror eight feet in diameter forged by AMA-TSU-MAURA, and also 
a string of five hundred jewels, which were suspended in front of the cave as 
peace offerings. Then AME-NO UZUME-NO MIKOTO, arrayed in a somewhat 
immodest garment of tree branches, began a frantic dance outside the cave till 
the eight hundred myriad deities burst into a huge roar of laughter. Amaterasu, 
slightly opening the door, asked what was the meaning of this rejoicing, 
Uzume replying : We are glad because there is a deity more illustrious than 
your Augustness. Meanwhile the mirror was pushed nearer to the Goddess, 
who beholding her own image came out of the cave, and whilst AME-NO 
KO-YA-NE closed back the cave, TAJI KARA drew across her back the rope of 
rice straw to prevent her returning to the cave. 

To the Sun Goddess were reserved certain parts of the sea shore, on which 
fishing was strictly prohibited. In the VHIth century, a samurai retainer of 
Yamabuki Shogen of Tamba, fled to Tsu, after his master had been murdured by 
some traitor. He took with him his master's daughter whom he married, and 
changed his own name to Heiji. Poverty however beset the couple, and the man 
violated the prohibition mentioned above. He was found drawing his nets from 
the sea, and buried alive on the sea shore. His grave is still shown at Akogi-ga- 
Ura, and the name of the place has been bestowed upon a popular dramatized 
version of the story. 

Amaterasu O Mi Kami is also called Tenshoko Daijin ; Shimmei, and 
Daijingu. 

Students of comparative folk-lore may see a curious parallel between the 
retirement of the Sun Goddess in the cave and the Greek myth in which 
Zeus conceals Dionysios Dithyreites from his consort Here in a deep cave. It 
is also interesting to note that Japanese mythology recognizes a Sun Goddess 
and a Moon God (Susano-6), in contradiction to the Greek and Roman 
myths, but in agreement with the Egyptian, Aryan, and Norse legends. 

7 



LEGEND IN JAPANESE ART. 

30. AME NO MINAKA NUSHI 3 fP r\> . According to the Kojiki, the 
God standing in the centre of the world before the creation, the Nihongi name 
him Kuni Toko Tachi no Mikoto. He is the ancestor of the creative couple 
(Izanagi and Izanami), who followed sixteen generations later. 

31. AME NO TAJIKARA WO NO KAMI 5 ^ -ft f jji$. The strong 
God who rolled back the door of the cave after Amaterasu had been decoyed 
out of it by Uzume's dance. 

32. AMIDA flSj gg P (Endless life), the Buddha Amithabha, who with 
Kwannon, presides over the paradise of the West. Chief Buddha of the MONTO 
(SHIN) Sect. 

33. AMOSHA VAJRA ^ g? ^ ill [pif JH ^] (See Fuku Kongo). 

34. ANAN (ANANDA) ^ fr$, also called TAMON, a cousin and the 
youngest of the disciples of Gautama the Buddha, believed to have been endowed 
with a wonderful memory and who remembered the whole of the Buddha's 
sermons. 

35. ANCHIN TC J- A Yamabushi, wandering priest of the Shugendo sect, 
victim of Kiyohime (q.v.). 

36. ANKISEI T tj} ^ of Roya-Fukyo was a well known drug seller 
whom the people of sea shore called Senzaiko (Prince Thousand Years). He was 
kept speaking for three nights with the Emperor Shiko of the Shin dynasty, who 
offered him untold wealth in gold and brocade, but the sage went away and left 
all the presents at a place named Fukyotei, with some jewelled red shoes, and a 
few books. 

37. ANTOKU TENNO T f| ^ Jl. Grandson of TAIRA KIYOMORI. This 
child Emperor was overthrown when five years old by the Minamoto clan, and 
replaced on the throne by his brother Go TOBA. He was carried away by his 
grandmother Nn NO AMA to the temple of Itsukushima, where the priests gave 
him a fan with a red disc, which was supposed to be the soul of the Emperor 
TAKAKURA (A.D. 1169-1180). Later in 1185, this fan was nailed to the mast of the 

8 



LEGEND IN JAPANESE ART. 

Taira ship at the battle of DAN-NO-URA, where Nii no Ama, and Antoku jumped 
into the sea and were drowned. (Compare the story of Luh Siu Fu, who, 
defeated by Kublai Khan, jumped into the waves with the boy Emperor, last 
representative of the Sung dynasty of China.) See YOSHITSUNE and NASU 
YOICHI NO MUNETAKA. He was thereafter popularly believed to have been 
deified, and worshipped under the name Suitengu. 

38. ANDO ZAEMON SHOSHU & $j ffi Ig 5f, One of the 

retainers of Hojo Takatoki, the last of the Hojo family of regents of Kamakura 
(1312-1333); and uncle of Nitta Yoshisada's wife (q.v.). 

ANIMALS. MYTHICAL. 

39. According to the generally received opinion, the mystic animals are shown, 
the male with the mouth open, to represent the letter A, initial of the Sanskrit 
alphabet, the female with the mouth shut, representing the last letter N of the 
sacred alphabet. This however does not agree with the carved wooden Shishis 
guardians of the Temples Yasa ka and Yakushiji, figures of which are given in 
the Nikon Kogio Shi Taisho Zu, and in the Kokkwa (177). These figures dating 
from the thirteenth century present the reverse combination of features. 

The mystic animals are also embodiments of the Yin and Yang doctrine of 
Chinese philosophy ; besides the Chinese Lion or Karashishi (q.v.), the monster 
most often represented as a Temple guardian is the Korean dog : Kama Inu, 
with two horns, and sometimes the Tama on its head, but lacking the curly 
mane and tail of the Karashishi, which are replaced by straighter and less 
ornamental appendages. Descriptions will be found in their alphabetic order 
of the various Dragons, Kirins, Karashishi, the Howo bird, Tanuki, the Fox 
Kitsune, the Tiger Tora, Namazu, Baku, Takujiu, Kappa, Nuye, Kamaitachi, 
Minogame. 

To this list must be added the Suisai (See Kirin). 

The Kecho, gigantic bird killed by Hiroari (q.v.) ; the Hakutaku, figured by 
Yanagawa Shigenobu, appears identical with the Takujiu (q.v.), apparently 
through a mistake. 

9 



LEGEND IN JAPANESE ART. 

HIYAKUDORI, the two-headed bird, with a body like a bird of paradise, and 
two long tail feathers, represents in popular imagination the emblem of faithful 
love, embodying the spirits of Kompachi and Komurasaki. 

From the Chinese have also been taken the two-headed pig, or sow, with the 
second head in lieu of tail ; the two-headed snake, one of which was killed by 
Sze ma Kwang, and of which a strange specimen exists in a Netsuke, in the 
collection of Mr. W. L. Behrens : the two heads have taken the appearance of 
witches heads with the regular Hannya mask, and the scaly body of the creature 
is wrapped around the trunk of a man. It has been suggested that this curious 
piece may refer to the story of Nukwa (Jokwa) or to that of Ippen Sh5nin (q.v.), 
but without certainty. 

Cobras with multiple heads, so common in Indian Art may have inspired the 
story of the eight-headed snake or dragon killed by Susanoo no Mikoto. A snake 
several hundred feet long is sometimes depicted, as in the Houncho Nen Dai Ki 
Dzi rising amongst warriors whom he swallows, with their horses and armour, it 
is called the Tani, and in the book quoted is depicted with its spirit : a warrior 
issuing from a burial ground. It is the ghost of Tamichi (367 A.D.) who was 
killed in Yezo by a poisoned arrow. 

Amongst Monkeys, SONGOKU, the companion of Sanzo Hoshi comes first, with 
the boar CHOHAKKEI, a four-headed monkey is described by Chinese writers as an 
omen of forthcoming flood. 

Fishes of mythical character appear to have been credited with medicinal 
properties. Anderson mentions the dog-headed fish, which cries like a child, as a 
sure cure against madness ; and the fish with one head and ten bodies, whose flesh 
is a preventative of boils. 

Many animals were endowed with magical properties, such as the snake, frog 
and slug (see JIRAIYA), the dog of Hanasake jiji, the acolytes of Sanzo Hoshi, some 
cats, the invisible Kamaitachi, the Mukade or centipede (see Tawara Toda), the 
newt used as a charm, some are believed to exist in the Moon (Hare), in the Sun 
(Three-legged Crow), in the Milky way (Tiger of a thousand years). 

Nearly all the mythical animals are familiars of Sennins, and as such will be 
found under Emblems. 

10 



LEGEND IN JAPANESE ART. 

Semi-human creatures may also find place under the heading of Mythical 
Animals, while the anthropological freaks described in all seriousness in the 
Wakan Sansai Dzu Ye, and illustrated in Hokusai's Mangwa have been placed 
under Foreigners (mythical) because they are described by the Chinese as people 
from foreign lands. 

Descriptions will be found further of the Gario, the Ningyo, Mujima, Tennin, 
Tengu, the latter perhaps derived from the mythical inhabitants of Futan, which 
are pictured with wings, beak and feathers on a human body (depicted under 
the name Umin, by Hokusai). 

40. APES ]; / <jf|. The three mystic Apes (SAMBIKI SARU) are the 
attendants of Saruta Hito no Mikoto or Koshin, the God of the Roads, 
they are : 

MIZARU, with a hand over his eyes, who sees no evil. 
KIKAZARU, covering his ears, who listens to no evil. 
IWAZARU, his hand on his mouth, who speaks no evil. 

41. ARHATS (See Rakans). The sixteen disciples of Buddha. 

4.2. ARAKI (MURASHIGE) ^ TJC, A Samurai whom ODA NOBUNAGA wished 
to kill. Nobunaga hit upon a scheme which consisted in summoning Araki 
to his audience, placing himself in such a position that the samurai's neck 
came in line with the sliding panels separating the audience chamber from 
the daimio's room, and having the shoji slammed together as the man knelt, 
so as to decapitate him. Araki, however, suspecting the trap, laid his iron 
fan in the groove, jamming the shutters, and saving himself. Another story 
says that Nobunaga ordered him to eat many rice cakes (manju) which he 
had threaded on his sword. 

43. ARIWARA NO NARIHIRA # M ^ , One of the six celebrated 
Poets (See NARIHIRA). 

44. ASAHINA SABURO $ Jt ^ H IB, Strong warrior of the Xllth 
Century, son of TOMOE GOZEN. His prowess and feats of strength are often 
found illustrated, amongst others his descent to Hades where he browbeat the old 
hag of the three roads SODZUKA NO BABA ; and after defeating the Onis in a trial 

ii 



LEGEND IN JAPANESE ART. 

of strength by neck pulling (Kubi-hiki) is entertained as a guest by the King of 
Hades YEMMA O. He subjugates the Oni of Kikai ga Shima, swims with a shark 
under each arm whilst on a cruise in Chinese waters with the Shogun Sanetomo, 
uproots a tree at the battle of Hikkane (1180) and uses the huge trunk as a 
war club. 

The younger of the Soga brothers, Juro Sukenari, had for mistress the 
woman Tora of Oiso. One evening when he was feasting at her house with 
Hatakeyama Shigetada and Asahina Saburo, Tora handed the cup to her lover 
first, instead of Hatakeyama, who was the highest personage in the room. 
Hatakeyama became incensed at this lack of courtesy, and sought to be revenged. 
The elder brother, Goro, who was a few doors away, had a sudden idea that Juro 
was in danger, and went to his assistance. As he opened the door, Asahina 
Saburo tried to drag him in forcibly, but he stood his ground, and left in the 
hands of Saburo his Kusazuri (shoulder plate of the armour). 

Being entertained at Okuno by a hunting party of Yoritomo's retainers, 
Asahina demonstrated his strength by lifting a rock seven feet long and throwing 
it from the edge of the cliff into the sea. Through an anachronism, it has been 
wrongly stated in some books that a youth of sixteen (Sanada Yoichi) was 
passing below at the time, and Asahina (who had a grudge against him) sought 
to crush him with the stone, but the youth received the mass in his hands and 
forthwith threw it back upwards to Asahina. In the true version the incident 
occurs between Matana no Goro and Sanada Yoichi. Asahina Saburo is also 
depicted amongst dwarfs, or breaking a door during the Wada feud. 

45. ASAMA g fg] or KO NO HANA fc %> SAKUYA HIME, The Goddess 
of Fuji, also called SENGEN. 

46. ASAZUMA FUNE ^ lH $, A woman standing in a boat, dressed 
like Shizuka with flowing robes and long hair hanging down her back. She 
was the mistress of the fourth Tokugawa Shogun lyetsuna, who preferred her 
company, in endless boating parties, to the cares of government. A poem 
referring to this preference brought its author, Hanabusa Icho, the penalty of exile. 

47. ASHIKAGA / ^Ij, Family of Shoguns descendants of the Minamoto, 
who were in power from 1336 to 1573. 

12 




TASL'KI (.(.) 
NINE TAIL BADCKK (.!/. 
ATSUMORI (-!/. 7.) 



I1AKU ("'./.) 
BASIIIKO (II'.C.A.) 



BUMBl'KU CHAGAMA (//.T.7.) 

THE MACIC KKTTI.K (./.) 
TANUKI NO HARA TSUZUM1 (F.H.K.) 



LEGEND IN JAPANESE ART. 

48. ASHI ODORI /, jj|j, A toy, representing a buffoon's antics, a man 
lying on his back with his feet in the air, each foot carrying a Shishi mask. 

49. ASHINAGA (CHOKYAKU) P Jt long legged men generally shown 
with TENAGA or long arms. These mythical personages are said to live on the 
sea shore in north China near Hung Sheung Tree. They live upon fish which 
the Tenaga catches with his long arms, being the while perched on the back of 
the long-legged Ashinaga who wades into the sea. They are often met with in 
various attitudes jointly or separately. 

50. ASHUKU Pnj (fjjj, One of the GO-CHI-NYORAI, the five Gods of Wisdom 
and Contemplation. 

51. ATAGO (HOMUSUBI) J| ^, Deity protective against fire. 

52. ATAKA (Gate of) $ ^, Place where BENKEI (q.v.) foiled SAYEMON 
TOGASHI and helped YOSHITSUNE to make good his escape from his half 
brother and enemy YORITOMO. (Kan Jin Cho episode.) 



53. ATSUMORI (TAIRA) |fc ^ [^], also named MUKAN NO TAYU $ f 
^ ^ ATSUMORI, son of FUJI NO TSUBONE, and adopted son of TAIRA TADAMORI. 
He had been left in 1184 when sixteen years old to defend the town of Ichi no 
Tani, then beseiged KUMAGAI NAOZANE, a general of Yoshitsune's army. The 
defeat of the Taira was so complete that nearly all had escaped to their boats, 
and Atsumori was on his way to join them, playing the flute the while, when 
Kumagai entered by the western gate and heard him. He was on the point of 
killing the youth when he noticed the beauty of his face and was reminded of 
his own son. Atsumori would have escaped with his life but for the companions 
of Kumagai who taunted him for sparing a Taira. The Minamoto general killed 
Atsumori and sent his head and flute to Yoshitsune. Soon after he became a 
monk. Atsumori is said to have left a widow, who became a nun and is credited 
with the invention of the folding fan, by the refreshing use of which she cured 
the Abbot of a temple, of a malignant fever. This invention is however 
attributed also to a fan maker of 670 A.D. (See FANS.) It is worth noting that 
Atsumori's teeth were blackened, a custom which then applied to young nobles 



LEGEND IN JAPANESE ART. 

of both sexes. (See also Kumagai Naozane.) A fanciful version of the story 
of Atsumori forms the subject of the popular play Ichi no Tani Futaba Gunki. 

54. AUSHASHIMA ^ H (Burning Head) or Ushijima, a divinity shown 
with an Axe or a Dorge in its left hand, and with its left leg raised (Buddhistic). 

55. AWOTO SAYEMON FUJITSUNA W Wi If PI 31 IPL a retainer 
of Hojo Tokiyori famous for his wit, and particularly for the loss of ten small 
coins in the Nameri gawa. (See Lost Cash.) 

56. BADGER (TANUKI) >, the Racoon faced Dog (Nyctereutes Procyonides 
or Viverrinus) is one of the animals credited with magical or supernatural 
powers. As a Goblin it is a peculiarly mischievous creature taking all sorts of 
disguises to waylay, deceive or annoy wayfarers. Standing by the road side on 
its hind legs it distends its belly (or rather Scrotum) and striking it with its fore- 
paws uses it as a drum Tanuki no hara tsnzumi ; wrapped in a kimono, it 
begs like an itinerant monk, waylays folks at night across paddy fields, causes 
fishermen to draw up their nets empty and only laughs at their misfortune. 
When in priestly disguise it is called TANUKI Bozu. It is often met with 
represented wrapped in lotus leaves and with a lotus flower doing duty as a 
hat, carrying in one paw a bill for sake ; also, with distended scrotum, Hachi 
jo jiki (8 mats wide) Kintama as a Kimono, or as a means of smothering a 
hunter. Amongst classical Tanuki stories, see the lucky tea kettle (BUMBUKU 
CHAGAMA) and the revenge of the Hare (Story of KACHI-KACHI YAMA). 

The Shogun IEYASU has been irreverently nicknamed " The Old Badger" 
(FURU TANUKI.) 

A trinity of pot bellied personages sometimes met with, shows Tanuki in 
company with the FUGU fish and the fat, hilarious God of Luck, HOTEL 

57. BAG OF HOTEI ^ff ^ (See TAKARAMONO), the bag of precious things. 

58. BAG OF PATIENCE *& & gf. An invisible bag, in which a man 
who suffers a wrong is supposed to hide his mortification. Used as a model for 
Netsuke, with the word Patience ^ ^ written on it, and the owner tying 
it up. 

H 



LEGEND IN JAPANESE ART. 

59. BAGEN J5 7C- (See GAMA SENNIN.) 

60. BAKEMONO fa $}. Generic name for GHOSTLY GOBLINS, Bakemonos 
are shown without feet, and with long straight hair, BAKEMONO TOFU is the 
goblin seller of bean cake who goes about after midnight and with whom it is 
fatal to hold conversation. 

The BAKEMONO TORO is a lantern shown at the temple of Futaara in Nikko, 
to which it was presented in 1292, by Kanuma Gonsaburo. It used to take 
human shape and attack the passers-by, until a plucky warrior instead of flying 
away struck at the Bakemono with his sword, inflicting a deep cut to the top 
of the lantern. 

GUMBARI NIUDO, is the New Year's eve ghoul. 

HITOTSUME Kozo, with one eye only, a large hat on his head, carries a ball 
of fire in a sieve. 

KAKUREZATO, a blind old man, with a knotted staff, whose business it is to 
carry bad people to Hades. 

KAZANE NO ENKON Jf| 0) $5 ^|- The ghost of Kazane, depicted as a 
female with large round face, touzled hair and sometimes biting the blade of a 
curved knife. She was a jealous wife who was murdered with a scythe by her 
husband, Yorimon, and then thrown in a river. Her husband married again 
after his crime, and the ghost of the murdered woman haunted him and his new 
wife night and day, until the monk Yuten Shonin (q.v.) prayed for the disappear- 
ance of the ghost. In Hokusai's Mangwa, she is represented with one eye shut 
(symbolical of the moon) and the other open (symbolical of the sun). His 
pictorial treatment of the legend is, however, different in his illustrations to the 
Skin Kazane Gedatsu Monogatari of Bakin (1807) a general description of which 
has been given by the Goncourts. 

OKiKU^f;&;C7)$*|lf. The Well Ghost, popularly called Bancho Sarayashiki 
(Plate-house of Bancho) from the name of the street in Tokyo, though is supposed 
to have originated at Banshu in Harima. It forms the subject of a play, Aoyama 
Tessan (Shuzen) was a Hatamoto, and the possessor of ten pieces of precious plate 
received from the Dutch, the keeping of which was entrusted to a maid, O Kiku, 
who steadfastly refused to accept Aoyama's love. In course of time the desperate 

15 



LEGEND IN JAPANESE ART. 

soldier hid one of the plates, and suddenly ordered O Kiku to produce the whole. 
A hundred times she wearily counted them, but could only find nine. Aoyama 
then suggested that if she became his mistress he would overlook her supposed 
carelessness. She refused and he killed her, throwing her body into an old well. 

Since then her ghost visited the place, counting one two three nine! 

finishing with a heartrending wail, until Mitsakuni Shonin exorcised the well. 
In Mitford's version, the woman is said to have actually broken a plate, and 
being imprisoned by Aoyama, she managed to escape and threw herself in the 
well. The ghost issuing from the well faces the picture of Kazane in Hokusai's 
Mangwa (Vol. X). 

MIKOSHI NIUDO, bald headed, pulls its tongue and lolling it about, looks 
over screens. 

MITSUME Kozo or MITSU ME NYUDO, short necked with a long hairy face 
embellished with three eyes, one of which is in the centre of the forehead. 
Sometimes depicted as the ghost of the Palace of SOMA, frightening a court lady. 

TOORI AKUMA, hideous flying goblin. 

ROKUROKUBI with a long neck is occasionally shown as a female with three 
arms, often the male and female are depicted together. 

UBUME, the old woman of the under world, who comes with a child in her 
arms and beseeches the passer-by to hold the infant a while and then goes away. 
The weight of the child increases by degrees, taxing the strength of the good- 
natured individual, and finally drops to the ground in the shape of a huge 
boulder. This adventure is related of Urabe Suyetake, retainer of Raiko. 

As a parallel to the Ubume, note the myth of the old woman of 
Miiggelsberger in Altmark near the Teufelsee. She is seen in the form of a 
beautiful fair girl combing her hair who wishes to be set free from the 
enchantment which binds her to an underground castle : the only way to 
do so is for a man to carry her on his back round the church three times 
without looking backwards albeit strange sights and hideous beasts surround 
the rescuer, and the woman will grow heavier as the task proceeds until the 
man drops. 

"VAMA UBA, the mountain nurse is another female goblin, occasionally 

1 6 



BAKEMONO 




GHOST (-/..) 

MITSUMli KO7.O (.-/./,'.) 

GHOST (II--.L.K.) 



(JIIOST (H.S.T.) 

KAZA.Mi (O.C.K.) 



OKIKU (//..S.7-.) HADC.EK ('.HOST (;/'./..) 

CAT OF NABESHI.MA AM) ROKUUOKUlil (.I/.C ) 

M1KUSHI MUDO (O.H.N.) 



LEGEND IN JAPANESE ART. 

described as having a mouth under her hair, the locks of which transform them- 
selves into serpents, or catch small children, upon whom the Yama Uba feeds. 
Yama Uba (q.v.) mother of Kintoki, however, differed from these. 

YUKI ONNA, the woman of the snow, seen in YABUMURA. (See Yuki-Onna). 

TANUKI Bozu, the Badger disguised as a monk, KITSUNE Bi the Fox fire 
(Will-o'-the-wisp) are other goblin manifestations. More will be found under 
FOXES (KITSUNE). All spiders after dark become goblings, namely : Hiratakumo, 
the flat spider, Jikumo, the earth spider, Tenaga Kumo, the long legged, and 
Tot ate Kumo, the trap -door spider. 

THE NUKE KUBI is a human head that leaves its body after dark. (See 
Hearn's Ghostly Japan and also his chapter on Ghosts in The Romance of the 
Milky Way (1905). 

UMI Bozu, the Sea priest, is a huge ghost, rising from the sea ; usually 
shown frightening Kumanaya Tokuzo. 

See also : Adachigahara, Abe no Seimei, Akuma, Cat of Nabeshima, 
Kama Itachi, Raiko, Shutendoji, Watanabe, Tamamo no Maye, and Kappa. 

61. BAKOKU ^ ||s (SENNIN) lived in the cave Enka, in the Konron 
(Kwen-lun), where he served the great sage CHOYO-SOSHI 1|t |||f jjj jljjjj while 
his wife SONSENKO ^ fill ^ stayed at home to compound some drugs. One day, 
he heard some music, and looking up, saw his wife in the clouds, with two pages 
with halberts and flags. He wrote a line on the nearest gate and went away. 
He is depicted as a sage watching his wife riding in the clouds, surrounded with 
handsome attendants. 

62. BAKU jf||, also called SHIROKINA KAMI, from a Chinese character 
which used to be hung in houses against pestilence, and is still painted on pillows 
to promote slumber. A mythical animal who feeds on the bad dreams of men, 
and is invoked by the words : Devour, o Baku \ (Baku Kurae). It has a hairy 
head with a long proboscis like an elephant's trunk, two tusks, a spiny backbone, 
a spotted hide and an ox tail, and it is said that one was once met, which spoke 
like a man. [Hearn, Kotto.] It is presumably inspired by the appearance of 
the tapir. There appears to be some confusion in Hearn's paper, as he gives 
the alternative name Hakutaku which usually applies to a different creature. 

17 



LEGEND IN JAPANESE ART. 

63. BANYU GAWA J| A Jl|- River which was formerly called SAGAMI 
GAWA, though it takes its source in Kai. It owes its new name to the following 
incident : INAGA SABURO SHIGENARI, retainer of the Shogun YORITOMO, once 
celebrated the opening of a new bridge upon this river, in the presence of the 
Shogun. Suddenly, a dark cloud arose off the water, accompanied by a storm 
and the apparition of evil spirits. Yoritomo's horse took fright and jumped into 
the river, where it died at once. This event took place in the twelth month of 
the ninth year of Kenkyu, and to this incident is also attributed Yoritomo's 
death a short time later. 

64. BASEISHI J| $c One of the Sennins. 

65. BASHIKO Jjji ffi j||. A Sennin, the legendary Chinese physician MA 
SHE WANG, said to have lived from 2697 to 2597, B.C., at the time of Hwang Ti, 
and to have been specially skilled in the treatment of horses. He is represented 
performing acupuncture on the throat of a sick dragon, or carried into the clouds 
on the back of his grateful patient, whom he had cured by this operation and 
a draught of liquorice. 

66. BATTLES : DAN NO URA (1186). (See Minamoto, Taira, Yoshitsune.) 

UJIGAWA (1184). (See Ichirai, Sasaki Takatsuna.) 
ICHINOTAKI. (See Yoshitsune, Tadanori, Atsumori.) 
ISHIBASHIYAMA. (See Yoritomo, and Sanada Yoichi.) 
YASHIMA. (See Yoshitsune.) 

67. BATEISEKI fijj $$ ~fc, or Horse-hoof stone, is a jet black mineral like 
obsidian in appearance but capable of being cut and polished and made into 
small objects. Its name is due to the legendary story of it having been formed 
when the mare of SASAKI TAKATSUNA, plunged into the waters of the lake Dogo 
in search of her drowned foal, striking the bottom with her hoofs. 

68. BEAUTIES OF NATURE. The three beauties of nature are the Moon 
the mountains, the Flowers in the rain and the Snow on the country. 

69. BEGGARS. Amongst picturesque beggars, the most common 
is Komuso, the disgraced Rdnin, playing the flageolet with a tall 
basket resting on his shoulders hiding his head, two holes being left 

18 




BAIFUKU (ll-:l..K.) 
BENTEN (.)/.<;.) 



BEKKAKO ('f ) 
BAIFUKU (.-/.) 



BI.IN1) MUSICIAN (il.l-;.) 

KOMUSO (O.i'.K.) 
BEI.l. OF MIIDEKA (tl.li.) 



LEGEND IN JAPANESE ART. 

for the eyes, he is depicted almost in every ferry boat, with the Saru 
Mawashi or monkey showman. But in reality the begging monks are 
probably the most numerous, the Sennichi Bozu begs for a thousand 
days, gathering money to help sick people, the Namatsu Bosu begs for some 
temple, and calls attention by striking together two pieces of wood, the 
Takuhatsu (Begging friar), hails from some buddhist temple, with staff, bronze 
bell and rosary, to prove his bona fides. The pilgrims to the temple of Kompira, 
called Kompira Mairi share with the pilgrims of the Nichiren sect to the temple 
of Seishoko (Kato Kiyomasa) a similar occupation, the latter accompany their 
tramping with the clanging of hand drums and the invocation, Namu mio ho 
renge kio. In fact, most pilgrims beg and are called Junrei. The Saimon Katari, 
plays the role of a story teller and beggar, and uses a conch shell as distinctive 
musical instrument. Gozenno are blind women carrying Samisen. Kadotsukc are 
musical beggars in Tokyo. 

70. BEIFUKU or BAIFUKU (MEI FUH) $ H- One of the Sennins, shown 
riding on a Ho\vo bird (Phcenix). He was a Chinese governor of Nan Ch'ang 
(Nansho-no-Jo), who, disgusted with the corruption then prevailing, resigned his 
post in 14 B.C. and retired to mount Hiko, in Yunnan, where he penetrated the 
secrets of the genii, and having drunk of the elixir of everlasting life, returned to 
his native Show Ch'un. After a short while, some genii and a Lu-an bird (Peacock 
or Phcenix) swooped down from the skies and carried him away to the Taoists 
Paradise. 

71. BEKKAKO ^ ^> $* "2 ^ Derisive gesture consisting in pulling 
downwards the lower eyelids, with or without accompaniment of putting out 
one's tongue, and often both eyelids are pulled down by the index fingers, while 
the thumbs are placed in the corners of the mouth. The meaning is the same as 
in France or in England (" No, you won't or " See my eye "). It is commonly 
found on representations of boys hiding some object, as for instance, a mask in 
the AKAMBE Game. 

72. BELL OF DOJOJI $j[ Jfc % SEE KIYOHIME (Wrapping of the Bell). 

73. BELL OF MIIDERA H ^ ^- This bell was hung according to 

19 



LEGEND IN JAPANESE ART. 

legend, over twenty centuries ago, in the Temple of GION SOJA which the 
Buddha himself had built. It got into the possesion of RIUJIN, the Dragon 
King, whose daughter OTOHIME later presented it to TAWARA TODA (q.v.). The 
latter gave it to the temple of MIIDERA in the famous Monastery founded in 
600 A.D, by the 38th Emperor of Japan TENCHI TENNO. It was subsequently 
stolen by BENKEI (q.v.). This bell is five and a half feet high, and its dull 
surface is accounted for by a legend. In the old days it used to shine like a 
mirror, but once, a Kyoto beauty beholding the bell, climbed upon it, and 
wishing aloud that she might have such a fine mirror, began playing her fingers 
around the reflection of her face, the metal shrank from her touch, leaving a 
dull corroded surface in place of the fine polish. 

The bell is sometimes shown carried over the waves by oni, or represented 
alone, but more often carried on his back by Benkei, although the burden was 
nearly half a ton in weight. 



74. BENKEI (MUSASHIBO) |$ J| [j H J^], also called SENNINKIRI. Hero of 
the twelfth century, whose history has become wrapped in legend. The son of a 
priest of Kumano, in Kii, he was of so boisterous a nature as to receive the nick- 
name of ONIWAKA (young demon) ; as such, he is depicted fighting with the 
Yamabushis, or capturing a huge fish in a waterfall. When seventeen years of 
age, he started in his career as a wandering priest (Yamabushi), and is often 
represented in that dress with the skull partly shaven, and supporting a small 
hexagonal cap, or blowing in the conch shell, which forms one of the attributes 
of that sect, or even inside a huge conch shell, drinking Sake to his heart's 
content. He grew to a height of eight feet and was as strong as one hundred 
men ; a stone is still shown in the gardens of the temple of Yoshino in which he 
is said to have driven two big iron nails. Later in his life, he posted himself at 
one end of the Gojo bridge in Kyoto, and there challenged all comers, reaping a 
fine harvest of nine hundred and ninety nine choice swords. In vol. XII. of the 
Mangwa, he is depicted attacking the wife of a fencing master with his spear, 
but the woman (Osono) caught the weapon under her arm, and held it fast, and 
escaped with her life. One day to complete his collection, he challenged 
YOSHITSUNE, who, though smaller in size easily beat him, thanks to his very 

20 



BENKEI 




USHIWAKA (A-..V.) 
KANJINCHO (A.) 
GOJO NO 1IASIII (M.I,. 



11ENKEI AND THE BELL (I--..I.M-) 



BENKEI AND YOSHITSUNE (A.) 

KICNKEI IN THE SHELL (A.) 

CAPTURE OF TOSAIiO (A.) 



LEGEND IN JAPANESE ART. 

thorough training as a swordsman under the tuition of a Tengu Sojobo. Benkei 
then became the most faithful follower of his victor, with whose story his own 
becomes linked till the end. The fight on the Gojo Bridge is often met with 
especially on Tsuba, and is sometimes tersely suggested by the simple design of a 
pecular bridge post. One of the most celebrated of Benkei's own exploits is the 
carrying away of the bell of Miidera (see above), which he wanted to take to 
Hiyeisan, and which he actually took away on his shoulder with the beam still 
attached, and his paper lantern acting as a balance weight. As soon as Benkei 
reached Hiyeizan, he began to strike the bell with the other Yamabushis, but the 
faintest of sounds could only be obtained, like a dismal wail, till under the 
repeated blows it grew louder and louder, distinctly uttering " Miidera ye Yuko" 
("I want to return to Miidera . . . ! "). Benkei, in a rage shouldered the bell again, 
dropped it on the edge of the mountain, and giving it a running kick, sent it 
back all the way down to the very door of the Miidera monastery. A less 
romantic version says that he made such noise with the bell for a whole night 
that the Abbot beseeched him to return it, and he did so, on condition of his 
being given as much Miso soup as he could swallow : a boiler five feet wide ! 

When Yoshitsune was compelled to escape from his half-brother Yoritomo, 
by flying from place to place, he determined to seek refuge in the castle of 
HIDEHIRA the Daimio of Oshu, whence he proceeded with Benkei and two others, 
in the disguise of Yamabushis. They found their way stopped in Kaga, by a 
barrier which had been erected at ATAKA (San no Kuchi), and which was guarded 
by a troop of Yoritomo's men under the command of SAYEMON TOGASHI, who 
refused to allow them to pass through. Benkei remonstrated with the only result 
that Sayemon threatened to behead the whole party. Feining resignation to this 
fate Benkei and his companions began praying to prepare for death, thus 
impressing Sayemon, who afraid to blunder, asked whether they had not 
some proof of their bona fides. Benkei seized the opportunity by drawing from 
his sleeve a roll, which he began to read, taking care not to let Sayemon look 
too closely at it. The document purported to be a letter from the Abbot of 
HOKOJI commanding them to collect monies for the reconstruction of the Todai 
temple of Nara ; Sayemon who according to the Shako Bukuro, was aware of 
their identity, appeared to be satisfied, when one of his party whispered to him 

21 



LEGEND IN JAPANESE ART. 

pointing out Yoshitsune. Benkei, equal to the occasion, swiftly turned, and 
reviling Yoshitsune for what he styled irreverent demeanour, gave him a stiff 
beating and apologized to Sayemon for the disgraceful conduct of that young 
monk, thus succeeding in getting through the gate. This is known as the 
Kan Jin Cho (subscription list) episode. At some previous time, when Yoritomo 
had sent Tosabo Shoshun to murder Yoshitsune by stealth, Benkei discovered 
him and brought him to the presence of his master. 

He is also shown attaching, by order of Yoshitsune, a notice to the plum 
tree of Amagasaki, which had been the subject of a poem of the Emperor 
Nintoku's. Benkei is often represented with seven weapons, swords, bow and 
arrow, axe, kanabo, etc. Benkei died erect, pierced by numberless arrows, 
on the bridge of the fortress of Takadachi, in Oshu, at the battle of Koromo 
Gawa, where Yoshitsume was defeated by Fujiwara Yasuhira in 1189. But 
legend says that only a dummy was on the bridge, and that he escaped with 
his master. 

75. BENTEN p % also BENTEN SAMA and DAI BENZAITEN ^ 
~% J$. ]C> The only female member of the SniCHi-FuKU-JiN or Gods of Good 
Fortune, she is the Goddess of learning and speech, the transformation of 
SARASVATI, and her attributes are the Dragon and HAKUJA, the white serpent 
sometimes shown with the appearance of the former : as an old man with white 
eyebrows and a crown. She is also the Goddess of Love, and is particularly 
worshipped at Enoshima, (in connection with this temple, see the Story of Hojo 
Tokimasa) and in the islands of Chikubushima, Miyajima (Itsukushima). 

Benten has fifteen sons : the fifteen youths (Jingo Dojii) Aikio, Hanki, 
Hikken, Guiba, Inyaku, Jusha, Keisho, Konsai, Kwantai, Sanyo, Sensha, 
Shusen, Shomo, Tochiu, and Zensai (q.v.) 

Benten is variously depicted with eight hands, vajra hilted sword and 
chakra, rope, axe, bow and arrow, as the Happi Benten, and the Kongo mio 
Benzaiten, or merely as Dai Benzai ten with the sword and Tama. Her 
worship replaced that of Itsukushima (daughter of Susano-o), subsequently to 
the introduction of the Shingon sect by Kobodaishi. (See Anderson and 
Butsu Dzo Dzui.) 

22 



LEGEND IN JAPANESE ART. 

Benten is also called Kotokuten (Kung Te) or Goddess of meritorious works 
and Ako mio-on-ten, Goddess of the marvellous voice. 

A popular story quoted by Puini (II sette genii della felicita) says that 
Bunsho, daughter of Shimmiyosu Daimiojin prayed to Benten to grant her 
male heirs. One day she gave birth to 500 eggs, and afraid least some monster 
might issue from the eggs, she had them placed in a basket and put in the 
Rinzugawa near by. A fisherman lower down rescued them from the stream, 
and set them in warm sand to hatch ; great was his astonishment a few days 
later, at finding instead of chicks, a crowd of boys. The poor man asked the 
advice of the head man, who advised him to seek help from the charitable lady 
Bunsho, and thus the boys were returned to their progenitor, educated as 
befitted their station, and their mother was deified. 

76. BEN WA ~j\ ^Q. Chinese sage, shown on one side of a river, with a 
jade stone, whilst on the other, a Prince looks at him. He brought the stone 
to the King, who would not believe it was jade, owing to its size, and sentenced 
him as an impostor, but Benwa stood his ground, and after repeated audiences, 
convinced the Prince of the purity of the gem. 

77. BIDORI. (See the Tongue cut Sparrow.) 

78. BIMBO j^ 2>,. Bimbo was a poor farmer of Hakuzan in Echizen, 
whose worldly possessions after twenty years of unremitting toil, were barely 
three-quarter of an acre of land, and who, having no son, wished to adopt a boy, 
One day, as he was leaving the field, a storm broke out, and lightning fell at 
his very feet, dazzling him. After many invocations to the Gods, he was starting 
for home, when he noticed a rosy little boy lying on the ground, whom he picked 
up and 'took to his wife. They called the baby RAITARO : The first born of the 
Thunder God, a Gift from RAJJIN. Prosperity followed, and Bimbo changed his 
name to KANEMOCHI. When Raitaro was eighteen years old, he took the shape 
of a dragon and flew away towards a castle shaped group of clouds, far away 
above the hills. When Kanemochi and his wife were buried, their gravestone 
was hewn in the shape of a dragon. (Griffis). 

79. BIMBOGAMI J| ; P The God of poverty, attended by the poverty 

2 3 



LEGEND IN JAPANESE ART. 

insect (Death-watch : Anobium notatum) or BIMBO MUSHI, the ticking of which 
betrays the presence of the God. He is black and is the shadow of the white 
God of riches FUKU NO KAMI. Charms are of very little avail against his 
presence, but one consists in placing a copper rin in one of those bamboo tubes 
used as fire bellows (Hifikidake), and after reciting a magical sentence, throwing 
the lot out of doors. See the story of ENJOBO. (Hearn). 

80. BINGA CHO H Hm J|, " Angels," (See GARIO). 

81. BINGO NO SABURO ft $ H MR. (See KOJIMA TAKANORI). 

82. BINSON PH Jf|. The Chinese paragon of filial virtue MIN SUN who is 
also named in Japanese SHIKEN. He had a step-mother with two sons of her own, 
who treated him badly, left him half starving, and clothed in rags. Once when 
he drove his father's wagon, he was so weak that he could not keep the reins in his 
hands, and his father discovered the ill use he had to stand. He then proposed to 
divorce his wife, but MIN SUN intervened saying that it would be better for him 
to die of cold and hunger than to let his step-mother and two half-brothers be 
driven away. It is said that the wretched woman reformed her ways. 

83. BINZURU H[ Hf JH (JIKAKU DAISHI). One of the sixteen Arhats 
(Pindola) who broke his vow of chastity by remarking on the beauty of a female, 
and is accordingly excluded from the circle, and his statues left outside the 
chancel. Buddha gave him the power of healing, and people go and rub the 
part of his statue corresponding to the part of their own body which is in need 
of cure. He is said to have been a retainer of the King Udayama, and is often 
confused with Ikkaku Sennin and with Kume no Sennin. 

Binzuru's name is also given as Hatsuratasha in the Butsu dzo dzui and 
various legends relating to him make of this fallen Arhat the Wandering Jew 
of Buddhism. Indeed its story has been discussed under that title in Nature 
(1895), and later in Notes and Queries by Mr. Minakata Kumagusu (1899- 
1900). 

84. BISHAMON TEN ?4t ^ H ^C (TAMONKEN), the equivalent of KUVERA 
the Hindoo God of riches, is also the God of wealth in the Chinese Pantheon. 
He is one of the Shichi Fuku-jin, and also belongs to the Jiu-ni-O (Twelve Deva 

24 




UBUMR 
GOBI. IN CAT 



(Cotlccttons of Sltitzo I'Ctito and the Author) 



trMI ROZU 
IGA NO TSUBONB 



LEGEND IN JAPANESE ART. 

Kings), and is shown in full armour, with a fierce expression, carrying in his right 
hand a small pagoda shaped shrine, and in the left a lance. The latter attribute 
is responsible for his erroneous description amongst the Gods of war. 

Identical with Vaisramana, the Maharajah of the west he is one of the Shi 
Tenno, and he saved the life of Shotoku Taishi, in the latter's holy war against 
the enemy of Buddhism Moriya. According to tradition, Shotoku Taishi had in 
his helmet figures of the four Maharajah's, and Bishamon appeared to him in 
battle as a venerable old man. 

85. BLIND MEN, earn their living as Shampooers, money lenders and 
musicians. When addicted to the first occupation they are called Amma San, 
and they form an unending theme for funny carvings or other artistic presentment, 
either single with a huge sponge, or in pairs with all their working paraphernalia, 
their whistles and sticks, or at work on a patient, and often in humorous groups. 

Blind men feeling an elephant is a common subject, and there is a story that 
once an Indian elephant having been brought to Japan, a party of blind people 
went to feel it, and could not agree in their opinions of the nature of the 
monster, finding it like a dagger, a snake, the trunk of a tree, as they touched the 
tusks, the trunk or the legs of the animal. And a moral is deduced therefrom, 
not to judge of anything on the impression caused by parts only, instead of the 
whole. The patron of the blind is KAGEKIYO, and their headman holds an official 
diploma and the title Kengyo. 

86. BOEI ^ ^ (SENNIN), ascended to heaven in a cloud, in the fourth 
year of Shogen, in the reign of Sen of the Kan dynasty. His brothers KI-I and 
SHIKWA then resigned their respective governorships of Suikwa and Bui, and 
went to the eastern mounts where he instructed them, (sitting on a cloud). 

87. BOKKO ?fC (SENNIN), controlled the inhabitants of fairyland and 
superintended the magic of the world. He is represented standing on a terrace 
from which on the day of Tei-U, he looked over Tenko. 

88. BOKU-O ^ f| 3 (See MUHWANG). Fifth sovereign of the fifth 
dynasty of CHOW in China, reigned from 1001 till 947 B.C., and his history is 
shrouded in legend. Two episodes are most often chronicled ; one his journey to 

2 5 



LEGEND IN JAPANESE ART. 

visit Sei Wang Mu (Seiobo) in the Kwen-lun mountains when but seventeen years 
old, the other his expedition against the tribes of Southern China, in a war 
chariot driven by Tsao-Fu, and the eight horses of which carried him "wherever 
wheel-ruts ran or hoofs had trodden." These eight horses are also fairly often 
met with in Japanese art. 

89. BOMO 7$ H! or MAO-MENG of Kanyo, one of the Sennins, shown 
standing on the head of a dragon, was a servant and pupil of Kikoku Sensei. 
He went to mount Ko, and was carried to heaven by a dragon on the day of 
Koshi, the gth month, the 3oth year of the beginning of the Shin dynasty. 

go. BOKUSH1 |{| -f- of So, noticed in his sleep that a man from mount 
Sayu was reciting books, and heaping clothes upon him. Once he watched and 
when the stranger came he asked him whether he was the spirit of the mountain, 
and if so to teach him the secret of immortality. The stranger consented and 
gave him a sacred book. 

He is depicted rising from his bed to greet the spirit. 

91. BRIDGES See :- 

Banyu Gawa, Gensuke (Matsue Bridge), 

Ichirai Hoshi, Kakudaitsu 

Seta Bridge, and Tawara Toda, Rohan 

Benkei (Gojo Bridge), Tanabata. 

In Chinese romance, the LAN K'lAO jj^ ^ or INDIGO BRIDGE on CH'ANG 
NGAN is famous and emblematic of faithful love, because, once Wei Sheng Kao, 
having been given an appointment under the bridge by a woman, was overtaken 
by a sudden flood, but let himself be drowned clasping a pillar rather than 
abandon his tryst, and the Sennin P'ei Hang under the Tang dynasty, fell in love 
with a girl who lived near that bridge, and of whose name he had once dreamt. 
The Sennin had however, to spend a month in search of a jade mortar and pestle 
for the girl's mother, before the wedding could take place. 

92. BUGAKU |8| =H| or SAREGAKU, a warrior dance, anterior to the No. 
Amongst other books see Bugaku-no-Zu (1840) by Takashima Chiharu. 

93. BUJUTSU (CHO-) $1 ft (See Yojo). 

26 




BISIIAMON (<;.//..V.) 

BUTTERFLY DANCE (ir.L.B.) 

BISHAMO.N (ir.C.,/.) 



BOMO (If.L.K.) 



BUWO ('./..y;.) 

BUSHISHI (//'./.. K.) 

HORSES OF BOKUO (./.) 



LEGEND IN JAPANESE ART. 

94. BUNGORO ;> jS. 115 (DAIGOZAN-). The son of BUZAYEMON, born at 
Murakami in 1788, weighing then 3% kilogs, he grew to two feet high by the 
time he was nine months old, and as a monstrosity was daily paraded in the 
procession of wrestlers before the beginning of their matches (or Dohyo-iri). It 
is sometimes quoted as an illustration of a large but weak thing, like the big 
trunk of the Aralia Edulis aimed at in the Japanese proverb " Udo no Tai-boku." 
(Stenackers). 

95. BUNKI MANDARA ^ H J| P JH- When CHUJO-HIME 4 1 $f #15 
daughter of Toyonari Fujiwara became a nun, in 763, at the monastry of 
Tayema Dera she prayed ardently that the Boddhisatvas might appear to her 
in the flesh. At last they granted her prayer, and in a night one of them weaved 
before her, with lotus fibres, a picture of Paradise, fifteen feet square, in a room 
nine feet wide. 

96. BUMBUKU CHAGAMA jg ' |. The Lucky Tea Kettle. 

This is one of the Badger stories and relates to an old tea kettle, the property 
of a priest of the temple of Morinji in the town of Tatebayashi near Tokyo. 
One day as the priest was putting the kettle on the fire, he suddenly saw four legs 
appear at the bottom, the spout change into the neck and head of a badger, 
and a long bushy tail shoot out at the back. The kettle also became covered with 
hair, and assuming the shape of a badger, started running round the temple. 
After a difficult chase it was secured, and placed in a box, where it resumed its 
normal shape. The priest sold it for twenty vin to a tinker who, waking up in 
the night saw the kettle walking about the room. On the advice of a friend he 
started as a showman to exhibit this accomplished kettle, and after making a 
fortune, took it back to the temple, where it was laid amongst the treasures. 

97. BUNSHO 3t Jit- The Chinese Sennin WEN-SIAO, generally shown w r ith 
his wife SHINRETSU (Ts'Ai LWAN), daughter of the paragon of filial virtue Wu 
Meng ; both of them riding tigers which carried them to heaven. 

98. BUSHISHI j jj^ i- The Sennin Wu-Sm-TszE, generally shown 
ascending to heaven on an open scroll, as he was wont to ride on a magic blue 
scroll wherever he pleased. 

27 



LEGEND IN JAPANESE ART. 

99. BUTTERFLY DANCE. A woman's dance performed with butterfly 
wings attaced to the shoulders. Its invention is often attributed with that of 
several other dances to the Chinese P'AN FEI, " in whose footsteps grew the 
lilies." 

100. BUWO ^ 3E (Wu WANG). Founder of the SHU (Cnow) ^ dynasty, 
who in the semi-legendary period (1069 B.C.), led the revolt against SHO (SHANG). 
At the battle of Bokuya the opponent general Hoso, cut him down with a spear, 
but was put to flight by a golden dragon with eight claws. Hoso was captured 
by Sangisei and Nankinwatsu, but Buwo granted him his life on account of his 
bravery. When however he saw the troops of Sho defeated, Hoso beheaded 
himself. 

101. CARP $$[ (Koi). Often represented leaping a waterfall, in allusion to 
a Chinese story of a sturgeon of the Hang- Ho, which having swam up the river, 
crossed the rapids of Lung Men (Dragon Gate), on the third day of the third 
month, and itself became a dragon. 

The carp is an attribute of Kinko, Ebisu, Kensu. 

102. CASH. Copper cash strung together are often seen as netsuke. 
When fifteen, they represent the customary offering to the Gods of fifteen new 
coins, made at the time of every new issue from the mint. 

Sixteen are emblematic of the sixteenth day of the sixth month, when from 
from old times sixteen cakes were eaten as a charm against pestilence ; poor 
people who could not afford sixteen cakes, had sixteen cash worth, and in memory 
of the introduction of the Kago Tsuho (Chinese copper cash) in 1244 by Go Saga 
Tenno, the day is called Go Kajo. 

103. CASTLE (See AIR CASTLE). 

104. CATS 3f. Japanese cats are like Manx cats, with stumps instead of 
tails, and a long tailed one is accordingly credited with supernatual powers (See 
the story of O TOYO, the goblin Cat of Nabeshima). Cats of three colors are 
called Mike-Neko, and are considered lucky, especially by sailors, who believe 
them capable of keeping the Bake (Honorable ghosts) away. If a cat is left 

28 



LEGEND IN JAPANESE ART. 

with a dead body, the corpse will get up and dance. At the time of Buddha's 
death (Nehon no Shako) all the animals wept with the exception of the Cat. 

One meets sometimes with representations of two cats, one male and one 
female (0-han Chio-e-mon-o-michiuki) representing the story of two lovers who 
eloped, and were transformed into cats. The Neko Bake was an old cannibal 
woman haunting the old houses of Okasaki on the Tokaido road. 

Maneki Neko is the Beckoning, bewitching kitten. 

A story of two cats is given in Mitford's tales. A man had a daughter who 
was continuously followed by an old torn cat, and thinking the torn might be 
somehow in love with his daughter and trying to cast a spell upon her, he decided 
to kill him. But at night, the cat came and told him that really it was an old 
rat living in the loft which was in love with the girl, and he dogged her footsteps 
to protect her. He further advised him to borrow a cat named Buchi belonging 
to some Ajikawa man, so that with its help they might kill the rat. The old man 
followed the cat's advice, and during the same night was awakened by a great 
noise, to find that the rat was nearly too strong for the two cats. He thereupon, 
cut its throat. The two cats however, soon died of their wounds, and were buried 
in the temple. 

NABESHIMA NO NEKO f$ H $f. One of the Daimios of Hizen 
had a favourite named O TOYO, who one night was killed by a large 
cat, the brute burying her thereafter in the gardens, and assuming her shape, to 
harass the prince, whose life ebbed away day by day. His councilors decided 
that a guard of a hundred men should every night watch his sleep, but this 
proved ineffective, as they were driven to sleep irresistibly towards the ninth hour. 
It was then decided to get the priest Ruiten of Miyo-In to recite prayers, with 
a view to curing the prince. One night, this priest noticed a soldier praying to 
Buddha, and on enquiry, found that he was praying to the same end as himself, 
because being of too small a rank, he could not be allowed to watch in the 
Daimio's room. Ruiten arranged that this very loyal Ito Soda should watch 
that same night. At the usual time, all the retainers succombed to that strange 
slumber except Ito, who, as he felt sleep overcoming him, placed on the mats a 
square of oiled paper, and dug his ko-katana in his thigh, turning it in the wound 

29 



LEGEND IN JAPANESE ART. 

as sleep grew upon him. O Toyo's double, came and expressed her surprise at 
this loyal spirit, but thanks to his watchfulness she was unable to harass the 
prince, either then or during the following nights. She then desisted from 
coming into the room again, and thereafter the men did not feel this over- 
powering sleep. Ito expressed his opinion that this was proof of the apparent 
O Toyo's witchcraft, and induced Isahaya Buzen, the Daimio's chief councillor, 
to set an armed watch around the castle whilst he went to attack the witch in 
her own room ; when after fighting him for some time with a halberd, she took 
the form of a huge cat with two tails, and escaped, to be later caught amongst 
the mountains. 

105. CATFISH jH;. (See NAMAZU), EARTHQUAKE FISH, Jishin uwo. 

106. CHA NO YU ^ 0) H|. Reduced to a bare definition, the Cha no yu, 
tea ceremony, consists in the meeting of several guests in a room of simple con- 
struction, to partake each of a sip of a cup of tea specially prepared by their 
host, in a solemn manner, according to certain intricate rules. 

The tea plant was imported from China in the VHIth and IXth centuries by 
Dengyo Daishi and Kobodaishi, but its cultivation, though encouraged by Saga 
Tenno, did not flourish until the XHIth century, when Yeisai attempted to convert 
the Shogun Sanetomo to its use in place of the intoxicating liquors to which 
this ruler was addicted. Shortly after, a Buddhist monk brought from China a 
complete set of utensils then used in preparing the ordinary tea infusion, and 
these impliments became the property of the famous Ashikaga Takauji. By that 
time the plantations of tea trees made in Seburiyama by Yeisai (Senko) and his 
friend Myo-ye in Uji, had prospered, and when tea drinking became fashionable 
amongst the leading classes, Shuko, priest of Shomiyoji, was entrusted by 
Yoshimasa with the drafting of a code of rules to be observed in the preparation 
of tea. It was Shuko who introduced the method of grinding the tea to a 
powder, a practice which is followed to this day, and has received the name of 
Ma cha (powder tea). 

Kitanuki Dochin and Takeno Showo followed Shuko as tea experts (Chajin), 
and their pupil SEN NO RIKIU became attached in that capacity to Oda Nobunaga, 
and later to Toyotomi Hideyoshi. 

3 



LEGEND IN JAPANESE ART. 

Rikiu codified the rules of the Cha no yu to a greater nicety of detail than 
his predecessors, and, perhaps owing to the depleted state of the country after 
long internal wars, perhaps also from purely sesthetic motives connected with 
the highly religious associations of the Cha no yu, he decreed that the utensils 
were to be without intrinsic value, and the Cha no yu rooms, then called Sukiya, 
small (four-and-a-half mats), simple and decorated in the plainest possible style. 

The priests of the Zen-Shu sect had from the beginning been the apostles of 
the Cha no yu they became in time besides Chajin, art critics, to whom were 
submitted pictures, pottery, carvings, by those desirous to obtain expert opinion : 
to this state of afiairs the learned Keeper of the Musee d'Ennery, Mr. E. Deshayes 
attributes the taste of Japanese for plain pottery in a lecture delivered at the 
Musee Guimet, in January, 1898. 

It is chronicled that the simplicity which had at first been a natural con- 
dition of the Cha no ym became later affected and that a sentimental value was 
attached to tea bowls, bamboo whisks, kettles, etc., altogether beyond sane 
limits. It is questionable however whether the craze reached its apex before 
the sale held in 1899 at Tokyo and quoted by Brinkley, when a bamboo flower 
vase reached over five hundred yen, and a Kakemono on which the two characters, 
Hei-Shin, had been written by a literati of the Tang dynasty, nearly touched 
sixteen hundred yen. . . . An example worthily followed by western amateurs 
in their quest for archaic Japanese works of art. 

The rules of Cha no yu, however, altered in the course of time until there are 
at present several schools of Chajin, whose elaborate performances differ by 
details of more or less importance. Two kinds of tea are drunk : the Usu cha or 
weak tea, and the Koi cha or thick tea, said to resemble weak spinach. 

The general programme of the ceremony is as follows : (i) The host 
prepares the room ; (2) The guests, on arrival, assemble in a Pavilion in a garden ; 
(3) The guests are called by means of a wooden gong, they wash their hands, and 
enter the special room (Cha shitsu) through a very small and low opening ; (4) The 
guests congratulate the host, and partake of a light repast ; (5) The guests 
retire to the garden ; (6) They re-enter the room ; (7) The host brings forth 
from his kitchen (Mizu-ya) the various implements which are duly admired one 
by one in rotation and their artistic value commented upon ; (8) The host 

3 1 



LEGEND IN JAPANESE ART. 

places in a tea bowl a spoonful of ground Uji tea, pours water over it, whisks 
the mixture to a frothy mass, and hands it to the chief guest who raises the bowl 
to the level of his forehead, lowers it, drinks, lowers it again, brings it to the 
level at which he received it from the host, wipes it, passes it to the next guest. 
The bowl makes a complete turn on itself during the several motions indicated 
above. When the host receives it back, he drains it, apologizes for the poorness 
of the brew, and after wiping the bowl passes it round again for examination, 
and his guests leave with due ceremony. 

In summer a portable furnace is used to prepare the boiling water, in winter 
the fire-place in the floor of the room is made use of. The Tamagawa River 
famous for the passage of Narihira is associated with a Cha no yu garden called 
Tamagawa Cha Niwa in memory of a chajin Rosha who lived near that river. 

A more detailed account of the Cha no yu can be found in the fifth volume 
of the Trans. Japan Society, by W. Harding Smith ; a historical sketch in the 
preface of Von Langegg Thee Geschichten, and a general article in " Things 
Japanese." 

As the implements of the tea ceremony are of frequent occurence in art, 
our illustration has been prepared chiefly from the Nikon Fuzoku Shi, and 
the following list gives the names of the various utensils, for the convenience 
of collectors. 

r. CHA IRE, Tea caddy. 

2. CHA IRE FUKURO, Silk bag for same. 

3. FUTA OKI, Stand for kettle cover. 

4. CHA SEN, Tea whisk. 

5. HABOKI, Feather brush for ashes. 

6. KOGO, Incense box. 

7. GOTOKU, Kettle holder. 

8. HAI NO NABE, Ash box. 

9. CHA WAN, Tea bowl. 
10. IDO CHA WAN, id. 

n. FUKUSA, Silk wrapper. 

12. CHAKIN, Tea napkin. 

13. CHASAZI or CHAHI, Spoon shaped tea measure. 

3 2 



CHA NO VU 



i\ 








TEA GATHERER (./.) 
CHAJIN ASLEEP (-Y.) 



CHAJIN (1I.S.T.) 
IMPLEMENTS (II.S.T.) 



CHAJIN (/!/..) 
CHAJIN EXPERT (f.D.) 



LEGEND IN JAPANESE ART. 

14. HISHAKU, Water dipper. 

15. HIBASHI, Fire tongues (used like chopsticks). 

1 6. KWAN, Split rings to lift the kettle. 

17. RAKU, Nane of ware (Cha wan). 

1 8. KAMA, Kettle. 

19. FURO, Stove used in summer. 

20. Mizu ZASHI, Fresh water jar. 

21. HAIJO, Tool used in arranging the ashes with a pattern on the surface. 

22. CHIZUKEI, Bamboo flower stand. 

22A. KAKE HANA IKE, Hanging flower basket. 

23. JIZAI, "Pot hook" to hang kettle above fire. 

24. KAMA SHIKI, Bamboo mat for kettle. 

25. SETTO, Cover for stove. 

26. KANKEI, Lamp stand. 

27. Ro, Fire-place iron frame, for winter use. 

28. SUMI TORI, Charcoal basket. 

29. SUKIA ANDO, Paper lantern. 

30. Mizu KOBOSHI, Slop basin. 

31. CHA Usu, Tea mill. 

A common enough type of netsuke represents the Tea gatherer, a bonny 
little woman in gay clothes, carrying a basket of green leaves in her hands, 
another common subject is a gibe at the Chajin, who is represented asleep on his 
tea mill. 

It is reported of Itakura Shigemune that when he was called upon to try a 
case in which he thought the personal appearance of the parties might prejudice 
his mind, he sat behind a screen grinding tea whilst the litigants gave their 
evidence. 

According to tradition, leyasu desired to be rid of Kato Kiyomasa and 
ordered one of his retainers to invite him to a Cha no yu, in which the tea was 
mixed with poison, the retainer duly died, but some say that Kato Kiyomasa 
escaped death. 

It is told of Rikiu, that once his servant having swept the garden path 
quite clean prior to a Cha no yu, the Chajin went out, and silently shook a tree, 

33 



LEGEND IN JAPANESE ART. 

the leaves of which scattering on the path reestablished its natural appearance. 
He was allowed to make a tea ceremony for himself before his execution. 



107. CHAN CHU ityt $$i [M Ml A Chinese legend. Chan chu is the sacred 
frog HiA-Mo symbol of the rainy moon, in earthly life she was CH'ANG-NGO, wife 
of the archer How-I. When the moon was a prisoner in the clouds, and the ten 
suns had nearly wrecked the world, How-I struck them with his arrows, and 
delivered the moon ; in gratitude, Seiobo, gave him a jade cup containing the 
dew of Immortality, but Ch'ang Ngo stole it and flew to the moon, where she was 
at once transformed into a frog. 

108. CHANG-K'IEN. ?Jt ^. Chang K'ien was a minister of the Chinese 
Emperor Wu-Ti of the Han dynasty about 130 B.C. He is celebrated for his 
numerous journeys and embassies, and especially for his travels in Western China 
up to the sources of the Yellow River, this journey being the subject of the 
following legend : 

Chang K'ien travelled for seven days and nights up the Yellow River dis- 
covering vine trees, and meeting all the animals of Chinese Mythology: the huge 
tortoises, the tiger, seven feet long and a thousand years old, quite white and 
bearing on its forehead the character 3E (King), the blue storks sacred attendants 
of Seiobo, the Kwei or cassia tree of immortality, ten thousand feet high, the 
flaming fruits of which are more powerful than the peaches of Seiobo, conferring 
everlasting life to whoever eats them ; he saw the hare which lives in the moon, 
and the old man who binds lover's feet ; finally on the seventh night he noticed 
that there were no stars reflected in the waters. The following morning, near the 
sources he saw a woman dressed in silver cloth on which were embroidered figures 
of stars, and who was weaving the net of the Zodiac. He enquired what was her 
name and what was that place, but she only showed him her radiant shuttle, telling 
him to refer the matter to the astrologer on his return. This worthy, Gen Kum 
Pei ;|j ^P, told him that no doubt he had been as far as the star Chih Nil, 
the spinning maiden who, on the seventh night of the seventh month is allowed 
to cross over the milky way, to meet her lover, K'ien Niii, passing over a bridge 
of magpies, (some others say of red maple leaves), and that in fact referring to 
his observations, he had at that very same date noted a shooting star passing 

34 



LEGEND IN JAPANESE ART. 

near Chih Nil. He had therefore travelled the whole length of the Yellow 
River as far as the milky way, which continues it into heaven, as decreed by 
Nil Kwa. 

The Chinese and Japanese Repository says that he brought to China the 
Spinach, and that he went south of the Equator, never to return ; but his 
oar was carried back by a spirit, who dropped it from heaven, and stated 
that the remainder of his ship would soon follow. In allusion to his 
journeys, the inscription, "The sea is full of propitious stars," is still written 
over the doors of boat cabins. 

109. CHANG LIANG (See CHORIO). 
no. CHAO YUN (See CHOUN). 

in. CHARMS (Mamori fuda) ^ %\j, are carried by people, in a small bag 
the shape of which is used as a model for netsuke, and which are called Mamori 
Bukuro, or Kinchaku. 

The Exorcism of Devils (Oni Yarai) is described later on, the return of the 
Oni after being cast out is prevented by driving in the top joint of the door frame 
a wooden skewer, passing through a holly leaf, and into the split head of which 
is fixed the head of a dried fish (Iwashi). 

Hinode (Sunrise), grass if allowed to grow on a roof, ensures the house 
against fire. 

The Kusudama is a charm formed of oranges, white and red flowers, and 
chrysanthemum leaves, used on the boys' festival or Tango no Sekku : The various 
components of the charm are bound together by strings of five colors. 

Amongst love charms, the ashes of the newt are specially valued, and the 
animal itself on being asked whether there was any other love philtre, made with 
his toe a ring, meaning : only this : Money ! 

The Ten Teri Bozu are rude figures of a man and some children cut out of 
paper, which are fastened to the doors of houses, or to a species of belladonna to 
obtain fine weather. 

Clay statuettes of Hotei are bought by the people on the first horse day of the 
second month at the temple of Inari at Miyako ; if kept in good order, on a 
raised throne near the kitchen oven for seven years, this is considered a token of 

35 



LEGEND IN JAPANESE ART. 

good luck, the images are then buried in the garden of the temple, and a new 
series started. 

Ants being unwelcome visitors, the ant charm (Ari yoke) trades upon their 
thrifty instinct, and consists only of a strip of paper with the notice Ichi nin maye, 
jiu roku mon, (each passer by to pay sixteen mon}. 

A Poem of Michizane was held in great esteem in Kiushu as a protection 
against the Kappa (q.v.). 

Small Zori (straw sandals) are hung in front of doors to prevent children 
from catching infantile diseases. 

Gohei and Shimenawa, identical with those used in Shinto temples, form 
part of the working paraphernalia of the Corean Sorceress. Sorcery is 
monopolised there by females. 

Strips of paper or thin wooden laths with inscriptions, or impressions of 
sacred woodcuts, are used as general charms. They are obtained from temples, 
and are placed above the door, year after year. 

Burglars and thieves are easily caught if one burns moxas on their foot- 
prints. Their visits are avoided by pasting in the house a print of the Dog of 
Mitsumine, or by placing a kitchen knife (hocho) under an inverted wash basin, 
. made of brass, and called Kanadarai, on the bottom of which is placed a Zori 
(straw sandal). 

Unfortunately, there is a counter charm intended to bring sleep upon the 
inmates, and which consists in the would-be thief performing in the garden a 
simple but indescribable operation. The burning of moxas is said to make sore 
the feet of the author of the foot-prints and prevent him from fleeing afar. It is 
also recommended to apply moxas to the getas (clogs) of any guest who remains 
too long in the house, bores being apparently common the world over ; a broom 
is set upside down at the same time, and the unwelcome visitor will then leave. 

DOG AND BABY. Figures of a dog and child, placed in a room in the raised 
Tokonoma, are believed to be a charm against most evils. 

USHI TOKI MAIRI Q $f fa 9 , " Praying at the hour of the Ox " is a 
mode of incantation or envoutement to obtain from the Gods the speedy death of 
an enemy or a faithless lover. The woman bent upon this purpose, goes at two 
o'clock in the morning to the local shrine, armed with a hammer, some nails, and 

36 




CHINNAN 
CAT GHOST (M.E.) 
CARP (A ) 



CHINNAN (M.E.) 



CHARM [MITSl'MINK] (ff.S.T.) 

CHINNAN (.l/.r.) 
CHIYO'S BUCKET (G.H.ff.) 



LEGEND IN JAPANESE ART. 

sometimes a straw doll, representing the doomed person. She drives the nails in 
a tree and prays for the demise of her enemy, repeating the invocations several 
nights in succession. Usually the woman lets her hair down her back, carries on 
her head an iron tripod with three lighted candles, and wears very high clogs. 
See Bimbogami, Nanakusa. 

112. CHENG (SHE WANG Ti) jgr rj Jl ^]. Said to be the son of the 
Chinese Minister Lu Pu WEI, and of the wife of the Emperor CHWAN SIANG WANG 
whom he succeeded in 247 B.C. He is responsible for the construction of the great 
wall, and the destruction in 213 B.C. of all the literary records, with the exception 
of a few on medicine, Feng Shuy, and of those which, according to legend, were 
taken to Japan by JOFUKU (Su She), though there appears to be a difference of 
six years between the two events. He was highly superstituous, and having been 
told that his empire would be overthrown by Hu, he spent most of his forces in 
keeping at bay the northern tribes of barbarians (Hu), little dreaming that the 
prophecy would be fulfilled by his own son, Hu Hai. 

A favorite representation shows him under a pine tree, sometimes as a boy, 
(he mounted the throne when thirteen years old), in allusion to the legend that 
one day a storm breaking whilst he was walking he ran for shelter under a 
gnarled tree, which at once shot forth twigs and leaves to provide adequate 
shelter for the august head. 

113. CHENG FEI. See CHOHI. 

114. CHENG TU ^ {jlj, called the begging bowl priest, was a Chinese 
priest whose magic powers were doubted by a magistrate. In answer he boiled 
some water in his alms bowl, and from the seething water he caused flowers to 
spring. 

115. CHESTNUTS. See Emblems. Story of the Monkey and the Crab. 
(Tooth- marked), See Go-Daigo. 

116. CHIHAKU|H&. SeeYojo. 

117. CHIHAYA=p J^. See OMORI HIKOHICHI. 

118. CHINGI ffi, f!|, (leading an ox with his wife) of Gogun, learned 

37 



LEGEND IN JAPANESE ART. 

Taoism in Shokuchu, and acquired great merit in curing the sick. His virtue was 
recognised, and Roshi called him to heaven. He ascended to the sky with his 
wife KEISHI JF -f in broad daylight, during a frost, after which the spectators 
below could not see him, or his wife, any more, but the bull which was hitched 
to their waggon remained in their field marking the place of their ascent. 

119. CHINHAKU ^ |$, who was also called UN-SENSEI (Mr. Cloud), rode 
on a donkey, and travelled to Kwaen for pleasure. 

120. CHINNAN ^ >fj|). The Chinese Sennin CH'EN NAN, also called 
SUIKYO and NANBOKU, shown evoking a Dragon from a gourd or bowl, or 
sailing on a large hat. Like many other Rishis, he is an old man of beggarly 
appearance and he was wont to travel several hundred Li daily with his 
hair flowing behind him. 

Legend has it that he lived 1,350 years, mostly on dog's flesh, making baskets, 
and hiding in the dust, besides transmuting metals, and concocting magic pills. 
Once passing through a village in Sogo, he found the people praying for rain, 
whereupon he thrust his stick into a pool of dried mud in which he detected the 
presence of a dragon, and compelled the latter to open the cataracts of heaven 
upon the parched land. He is often called the Dragon Sennin, and his hat plays 
the role of a boat as well as his umbrella, because he once used it to cross a river 
as there was nobody to ferry him. 

121. CHIUYU ffi ft, the Chinese CHUNG YEO or TSZE Lu, one of the filial 
paragons who used to carry ice blocks on his back for the sustenance of his 
parents in his young age. He lived from 543 to 480 B.C., and was one of the 
disciples of Confucius. According to legend, the Thunder God was his father, 
and he was a very martial character. 

122. CHISHI (KEISHI), the family name of the Chinese priest deified as 
HOTEI (q.v.). 

123. CHIOSU. During the war between the Minamoto and Taira, one of 
the retainers of the lord of Chiosu, having been sent on an expedition, encountered 
a party of the enemy and barely escaped with his life, his armour being cut to 

38 



LEGEND IN JAPANESE ART. 

pieces. On his return he was presented by his lord with his own set of armour 
as a mark of appreciation. This story is sometimes found in prints. 

124. CHIUAI ffl lik. Jfc JE- One of the Emperors, the pusillanimous 
husband of JINGO KOGO (q.v.). Kwannon sent him two dreams, ordering him 
to subdue Corea, but as he disdained them, sent him a fever, of which he died. 

125. CHISHO-DAISHI |? gg ~X frfi. Posthumous name of ENSHIN [H ^r. 

126. CHIYO ^p ftl (KAGA NO). Poetess who once found her water bucket 
floating in her well, and the well rope entwined by the tendrils of a convolvulus. 
Rather than disturb the dainty plant, Chiyo went out and begged water from her 
neighbours, saying : 

Asagao ni, 

Tsurube torarete, 
Morai midzu. 

"My well bucket being taken from me by the convolvulus (Asagao) gift 
water ? " 

In allusion to this story, flower arrangements of Asagao are usually made 
with a water bucket. 

127. CHOCHU 5J^ tf. Sennin shown with a long hair brush ; he wore an 
iron cap from which he took his surname TETSUKAN-DOJIN. 

128. CHODORIO UJ| it gt The Sennin CHANG TAO LING. He was nine 
feet two inches high, with features correspondingly large. A fine beard, green 
triangular eyes, and arms so long that the tip of his fingers covered his knees when 
he stood upright, complete the picture given of him in Taoist books. He was 
born in A.D. 34 at a place named Tien muh San, and was the eighth descendant 
of Cho Shibo (Chorio, q.v.). The Ehon Shuku Bai says that when only seven 
years old he had mastered the Do Toki Kio of Lao Tsze and that he soon became 
proficient in the magic arts. Ocho 3E H. became his pupil, and they went, in 
the first month of Juntei, to Mount Kakumei, where Chodorio, under the name 
Shinjin, received further instructions at the hands of various Sennins. Later they 
both repaired to Mount Seijo, where they met six large devils, the chief of which 
at once set to exterminate Ocho, who threatened him with his magic. The 

39 



LEGEND IN JAPANESE ART. 

demon, Rokudaijin, thereupon called some of his followers, whom he transformed 
into eight large tigers. Shinjin created a magic Kamshishi, which put the tigers 
to flight, but other demons came in the form of eight large dragons. Shinjin 
then produced a Kinchiso (bird with golden wings) which sprang on the dragons 
and bit their eyes out. The chief dragon lay at Chodorio's feet, and he threw 
upon the monster a block of rock weighing ten thousand Kin, upon which he 
placed two long fibres ; mice came out of the ground and pulled on both ends of 
these fibres. The pressure thus produced upon the dragon caused it to crave 
Chodorio's forgiveness, which was granted. Shinjin received the title Sei itsu 
Shinjin, and Lao Ts/.e himself honoured him with a magic book. After spending 
some years on the Lung Hit mountains, Chodorio compounded an elixir, and at 
the ripe age of 123 became one of the Immortals. His son Chang Heng followed 
in his steps, and according to Mayers his descendants were invested with the 
hereditary title " Preceptor of Heaven," the spirit of Chodorio passing by 
transmigration from the dying representative to some young member of the 
family, in the same way as with the Dalai Lama. 

Chodorio is depicted as a martial figure, sometimes standing on a cloud. 
Our illustration depicts the fight with Rokudaijin from a Tsuba, the treatment 
of which almost reproduces Tachibana Morikuni's composition in Ehon Shukit 
Bai. 

129. CHOGEN JH $fj or SHI'XJO. Old priest who reconstructed the Todaiji 
temple after its destruction by lire in 1180, the work lasting ten years, and temple 
being consecrated by the Emperor Go Toba in 1195. Following the example of 
one of the Emperors who had received voluntary contributions for the building of 
a temple, Shunjo went mounted on mule and armed with an imperial rescript, 
begging for alms v\ herewith to prosecute the work. He is represented on his 
mule and carrying the order in his hand. 

130. CHOHI H. ff. See TENAGA, or Long arms. 

131. CHOHI J| ffi. (CHANG FEI). A famous Chinese, who after being a 
butcher and a wine seller, became a sworn brother in arms of KWANYU and 
GENTOKU, with whom he led the wars of the Three Kingdoms in 184. One of 
his exploits is commonly represented and called the Story of the Undefended 

4 



LEGEND IN JAPANESE ART. 

City. Finding himself in the presence of a large body of Tsao-Tsao's troops, he 
sent his army away leaving only three or four men, one of whom sat above the 
main gate playing the harpischord, whilst another swept the road in front. His 
troops effected a flanking movement, and joining some of his allies he attacked 
Tsao-Tsao on the rear and defeated him. Chohi was murdered by Fan Kiang 
in 220. He is characterised by his stature, flowing hair, fan-like beard, and 
a straight double-edged spear. See Kwanyu, Gentoku (Riubi). 

132. CHOJI H. lEf. Mythical beings in human shape and with long ears. 
These strange creatures are mentioned in the Xllth Century romance Huon de 
Bordeaux (Ed. Geo. Paris, p. 73) " dans la terre des Comains, ce sont des 

gens qui ne connaissent pas le ble et couchent en plein air, 

se couvrant de leurs oreilles." 

133. CHOKIAKU j| P. See ASHINAGA (long legs). 

134. CHOKITSU J|. "p^. Taoist worthy who was blind of both eyes, he 
declared himself 120 years old. He is shown groping with a cane. (See KIGA). 

135. CHOKO (CHANG HIAO) <JH and CHOREI $| jjj (CHANG Li) 
were two brothers who looked after their mother in her old age. Once the first 
one was bringing home a cabbage when he was set upon by robbers, and as he 
could not give them anything they decided to kill him, but agreed to stay the 
deed until he had delivered the cabbage to his mother. His young brother 
happened to be hard by and came to offer his own life in exchange for his 
brother's, and the robbers set them both free. 

136. CHOKWARO 51 ^ or TSUGEN $& . The Chinese Sennin CHANG 
KWOH ; one of the eight chief Rishis of the Taoists, said to have lived at the end 
of the seventh century. He died during the reign of Wu Hii but came to life 
again after a few days. Ming Hwang, in 723, sent three messengers to invite 
him to court, the first two fell with disease on their way, but the third brought 
with him the Sennin, who delighted the Emperor. He refused the hand 
of a princess and declined the honour of having his portrait placed in 
the Hall of Ancestors and finally refused the offer of a high priestly office at 
court, preferring his wandering life in the company of his magic mule. 

41 



LEGEND IN JAPANESE ART. 

This wonderful animal could carry him for thousands of miles at a time, 
and required no fodder, the Sennin keeping it in a gourd when not 
otherwise in use, and simply spraying water from his mouth upon the dried 
up and shrivelled form to get it ready for a fresh trip. Chokwaro is always 
shown with his gourd, and the mule, or, as a pun, the Koma (horse) pawn 
of the game of chess. Often the mule is shown alone, in netsuke, escaping from 
the gourd, or wrapped in cobwebs inside the gourd. In the first case it is not as 
might be thought emblematic of Chokwaro, but of the proverb Hyotan kara 
Koma (Detta) meaning : horse out of a gourd (coming) is a very unexpected 
occurrence [compare Dragon] which may however have originated with the 
legend of Chokwaro. 

137. CHOKIUKA $| Jl If (CHANG Kiu Ko). Toaist sage who lived in 
the Keireki period, under the So dynasty. It is said that he wore thin unlined 
clothes, even in the depth of winter. Once he was invited to court, and 
exhibited his magic powers to the Emperor En, by cutting pieces of his own 
clothes, which became transformed into butterflies, but resumed their original 
nature and position when he clapped his hands. This original version has been 
modified to the effect that he remonstrated with the Emperor, because the latter's 
clothes were too thin, and that his magic operation was performed upon the 
monarch's robes. 

138. CHORIO H j, The Chinese CHANG LIANG, one of the Three Heroes 
of China, said to have been a governor of the province of Han, and despoiled by 
the Emperor of Tsing, whom he tried to defeat, failing, however, at the battle of 
Hsiai Hai, after which he led a wandering life until he joined Liu Pang, in 
208 B.C. He is usually depicted under a bridge, picking up a shoe, and 
threatening a dragon with his drawn sword. According to a Taoist legend, he 
was one day crossing the bridge of the river I, when there passed mounted on 
a mule, an old and poor looking man whose sandal had dropped from his foot 
to the bank of the river. According to one version the old man commanded 
Chorio to pick up the shoe, which he did, moved to pity for the old man, though 
feeling very much the indignity. 

A more often accepted story is that he picked up the shoe of his own free 

42 




CHORIO (.l/.G.) 



CHODORIO'.S EXORCISM. (O.HJf.) 
THE EMPTY CITY. (K.S.) 



CI10KIO AM) KOSEKIKO (,/.) 



LEGEND IN JAPANESE ART. 

will and gave it back to the passer-by. This individual was no other than 
HWANG SHI KUNG, the Yellow Stone Elder, KOSEKIKO (q.v.), and he asked 
Chang Liang to meet him five days later, at a certain place, as he intended 
to give him a slight reward. Chang Liang arrived after Kosekiko, and the 
elder postponed the gift, doing so again the second time, until at last on the 
third appointment he was satisfied that Chorio had respectfully preceded him by 
a sufficiently long interval. He then gave him a roll of manuscript, and 
told him that the man who read that book would become the preceptor of 
the King. 

This book is said to have passed from China to Kiichi Hogen, and to 
have been studied by Yoshitsune, and later Kusunoki Masashige. 

He also told him that thirteen years later Chorio would meet him at Kuh 
Cheng, in the form of a yellow stone, as in fact did happen. The shoe incident 
is often presented in art, one of its variants showing Chorio astride a Dragon in 
the river and handing the shoe to Kosekiko. Chang Liang was one of the first 
adherents of Liu Pang in his revolt against the Ts'in, which led to the 
foundation of the Han dynasty. He became one of its ministers, but retired 
from public life in order to pursue a magical career with CHIH SUNG TSZE. 
This supernatural being who had visited Seiobo was, however, unable to help 
Chorio in his search for the elixir of eternal life, and as the latter had nearly 
given up the use of ordinary food, his demise followed speedily in 198 B.C. 

Chorio was taught the value of patience on another occasion by seeing an 
old woman grinding down a big iron rod to make a needle. 

Chorio is said to have once called at the camp of Kanshin, describing 
himself as a country friend. On meeting the hero he told him that for many 
years his family had treasured three swords, but that he had decided to sell them 
to people worthy to possess them. The Emperor's sword (Tenshi ken) he had 
sold to Haiko (Gentoku), the Saisho no ken or Prime Minister's sword he had sold 
to Shoga, and he held before him the Genju no ken or General-in-Chief's sword. 
Kanshin examined the blade and asked him whether he was not Cho Shibo 
(as Chorio was then called), and upon his affirmative answer asked him how he 
could join the Prince of Han (Kan no Koso). Chorio then instructed him 
and departed (Shaho Bukuroi). 

43 



LEGEND IN JAPANESE ART. 

139. CHOSANSHU $| H -jr, or KUMPO, had a body like a tortoise, big 
bones, round eyes, large ears, a beard like horse hair, and he was seven feet high. 
He plaited his hair in a cue, wore in all seasons a fur coat and a hat, and carried 
a short dagger in his hand. 

140. CHOSHI (KiANG SHE). See KIOSHI, one of the twenty-four paragons 
of filial virtue. 

141. CHOSHIKWA $| jg Tffl (CHIH Ho), lived in the reign of Shukuso of 
To, and could drink up to three to (nearly twelve gallons) of wine without losing 
his head or feeling tired. He could sleep in the snow, and the water could not 
wet him. His bosom friend was GWANSHINKEI, and once after banqueting 
together, Choshikwa spread the mat on a pond and sat on it drinking 
alone, a crane flying from the sky alighted upon his head. He is depicted 
accordingly. 

142. CHOSHINJIN i|j| J|L X was a wizard of mount Seijo in the time 
of the Emperor Bun of Zui. He became governor of the Shokugun, a district 
in which a certain river was infested by a mischievous dragon, which sometimes 
stopped the flow of the water and killed people on the banks. He had the 
dragon challenged with trumpets and gongs and leapt into the river, soon 
coming back with the monster's head in his left hand and a dagger in the 
other. 

143. CHOSOYU $1 flf" $$ (CHANG SANG-YU) was a Chinese painter of 
the sixth century. Once he painted a dragon, and as he put the last touch 
of his brush, a black cloud arose from his paper accompanied by thunder 
and lightning, and the dragon escaped from the room. Professor Giles gives a 
variant according to which the two dragons were painted, without eyes, on 
a wall of the Temple of Joy ^ ^ ^p at Nankin. Later a disciple of Chosoyu 
painted the eyes, the dragons flew away and the wall was shattered to pieces. 
The same story is told of various painters ; see Godoshi. 

144. CHOUN iH| @. The celebrated CHAD YUN, one of the adherents of 
Riubi (Liu Pei or Gentoku) whose son, A Tow, he rescued and carried away on 
his saddle at the battle of Ch'ang Fan Kiao, when Riubi was defeated by, and 

44 




CHOHI (ir.r.K.) 

CHOKWARO (./.) 
CHOKVVARO (xf.) 



C1IOK1UKA (T.I..] 



CHOUN (J.) 
CHOKWARO (M.T.) 

CHOSOYU (A.) 



LEGEND IN JAPANESE ART. 

had to fly from, the troops of his opponent Tsao Tsao (208 A.D.). Choun is 
represented as a handsome warrior of powerful stature, on horseback, and some- 
times jumping a river, with the boy hidden in the bosom of his cloak. 

145. CHUGORO J& jfL IB- A lad living in the Koishikawa quarter of 
Yedo, met a beautiful girl, standing near the bridge Naka no Hashi and fell in 
love with her. After several meetings, she gave him an appointment to visit her 
home under the river. The boy thinking himself in the same vein of luck as 
Urashima Taro, accepted, and one night went to meet the girl. They descended 
to the brink of the river, when she changed into a gigantic frog, and killed the 
boy to suck his blood. 

146. CHUJO HIME *$ ffi jg. See BUNKI MANDARA. 

147. CHUNG KO LAO. Sennin holding a musical instrument made of 
bamboo and sometimes described as another presentment of Chokwaro (q.v.). 

148. CHU-KO-LIANG. See KOMEI. 

149. COCK ON DRUM. This is a very common subject in art treatment 
as an allusion to a Chinese story. In the legendary times, a large drum was 
kept on the main gate of the palace to assemble the troops. Under the rule of 
the famous Emperor Yao, peace being general, the drum fell into disuse, and 
became a roosting place for fowls, whilst the people themselves used to come and 
beat it to call the attention of the officials when they had to seek redress for 
some grievance. Kotoku Tenno, on the fifth day of the eighth month of 645, 
introduced this custom in Japan, and decreed that a KANKO (drum) should be 
provided, with also a box to receive the petitions of the people. The Shoguns 
of Kamakura followed his example. The drum is usually ornamented with the 
Mitsu-tomoye design of three comma shaped figures, the points of which are 
elongated to form a complete circle, and which is held to be symbolical of luck 
and good fortune. This design is also found on the drums of the Thunder God 
RAIJIN and sometimes on the hammer of DAIKOKU (q.v.), and the " two comma " 
with the Hakke (divination sign) are found on the national Corean flag. 

COCK-CROW. Once the Chinese hero Prince Tan Chu, son of Yao, being a 
prisoner in the town of Kan Kok Kan, the doors of which were closed from 

45 



LEGEND IN JAPANESE ART. 

sunset till the cock-crow, attempted to escape in the night with his retainer 
Keimei. They would never have succeeded in their design but for the skilful 
imitation of the cock-crow which Keimei gave as they neared the gate of the 
town. The guards suddenly woke and opened the door to the fugitives without 
any questions. The story is also given under the name of Moshogun, and is 
attributed to several warriors. 

COCK FIGHTING was practised at the time of Yuriaku Tenno (465 A.D.) as 
appears from the Story of Sakytsuya in the Nihongi, and such rights are some- 
times represented ; in fact, the beautiful appearance of the animal, especially the 
Japanese bird with its long tail feathers is a common theme for artistic treatment. 
DAIKOKU'S son (Koto Shiro Nushi no Mikoto), however, appears not to be an 
admirer of chickens, and his hatred results in a scarcity of poultry at Mionoseki. 
See Ebisu. For some unexplained reason Cocks are nearly always associated 
with Dutchmen by Netsuke carvers. 

150. CONFUCIUS JL & ^P- See KOSHI ; Three Sake tasters. He is 
sometimes depicted standing by a well with three buckets, one of which is 
emptying itself. This is an allusion to his visit to the tomb of the Emperor 
Hwang Kung ; he explained to his disciples that the three buckets were 
emblematic of moderation : filled up to the level of their trunnions, they retained 
the water, but if the water level was above the pivots they toppled over and 
emptied themselves. 

CONFUCIUS, TEN DISCIPLES are worshipped, in a position immediately 
inferior to the four Assessors ; they are given in the work of Bumpo Sanjin, the 
Five hundred worthies }j ]Jb ^ jjff Bumpo Kangwa (1803), as 

The most virtuous : GWANEN, BINSHIKEN, SENPAKUGIU, and CHUKYU. 

The best speakers : SAIGA and SHIKO. 

The administrators : SENYU and KIRO. 

Those with literary talents : SHIYU and SHIKA. 

151. CROW J^. A three-legged crow is a good omen, it is called YATA 
GARASU, and was one of the messengers of the Gods. Its origin is traceable to 
the Chinese myth of the three-legged crow which lives in the sun and is 
responsible for the sun spots, besides being endowed with numberless mythical 

46 




COCK ON DRUM (/'./..) 
DA1KO1UJ (C..H.L.) 



DAIKOKU (.I/. 7'.) 
CONFUCIUS (..!/.) 
DAIKOKU AM) HAIKON 



DAIKOKU MAHAKARA 
SAN MEN DAIKOKU (j/.(.V.) 



LEGEND IN JAPANESE ART. 

powers and significances. Crows are often depicted in silhouette partly 
covering the disc of the Sun. 

The croaking of an ordinary crow is held to be unlucky, and this is quite in 
agreement with European tradition. 

Two crows passing in the sky caused the Chinese Emperor Tsao-Tsao (Soso) 
to stand in his boat and compose a poem, and he is often thus depicted. 

152. CUCKOO %$ , also f || and fc " 1~, and the moon. 
The Cuckoo bird is called Hototoguisu, from its note, and it has been the subject 
of several poems and allusions, amongst others, the following story. A court 
noble hearing a Cuckoo whilst presenting Yorimasa with the sword, Shishi no 
(King of wild boars), sent by Narihito Tenno, made the verse* : 

" How does the Cuckoo rise above the clouds ? " 
The occult meaning of which is : 

"Like the Cuckoo, so high to soar, how is it so?" 

\ 

to which allusion to his own fame, Yorimasa replied by another verse"]", also 
capable of two interpretations : 

"The waning moon does not set at command," 
and 

" I only bent my Bow and the Arrow sped." 

This last meaning being an allusion to Yorimasa's prowess in shooting the Nuye, 
cause of the Emperor Konoye's illness in 1153. (See Yorimasa.) 

Another poem dating from the twelfth century, says : " When I gaze towards 
the place where the Cuckoo once sang, nothing remains but the moon in the 
early morn : " 

Hototoguisu, 

Nakitsuru kata wo, 
Nagamureba, 

Tada ariake no, 
Tsuki zo nokoreru. 

* Hototoguisu naoba kumoi ni agurukana. t Yumihari tsuki no, irunimakasete. 

47 



LEGEND IN JAPANESE ART. 

153. CUTTLE FISH (TAKO). The Octopus is an article of diet of the poorer 
classes, and its strange appearance is often met with in art so treated as to 
make its features suggest some impish, almost human, face. It is sometimes 
shown as an incense burner, with the long arms and tentacles forming the 
base, or it is entwined around the legs of Ashinaga, walking about the 
mainland, eating sweet potatoes and frightening paysans, or retaliating upon 
the fisherman who cuts it into pieces ; or the dried-up head only is shown, as 
a representation of the piece of cuttle fish which used to be sent with 
presents. Its large head does duty for the elongated brain pan of Fukuro- 
kujiu. His many-sided talents are put to full use by his master, Riujin, the 
Dragon king of the waters, to whom he acts as Physician-in-waiting, and 
occasionally as " Maitre de Chapelle." We find O TAKO in attendance, 
extricating the hook of HOHODEMI (q.v.) from the throat of the Funa fish, or 
prescribing for his royal master (see Story of the Monkey and the Jelly fish). 
In another legend, he brings back to Japan the sacred image, now in the 
Taku Yakushi temple of Meguro, which Jikaku Daishi (q.v.) had been compelled 
to throw into the waves. Covering with its tentacles a bell, or an upturned 
vase, it suggests the story of Kiyohime. See also Go DAIGO. 

154. DAIGO TENNO 1H Hjjj ;?C j|l. In 930 a thunderstorm broke over the 
palace of Seirioden, killing the Dainagon Fujiwara Kiotsura, Taira Mareyo and 
several others, Daigo Tenno took refuge in the Jonaiden palace. In the fire which 
succeeded the storm the sacred Mirror was found to have removed itself from the 
palace and deposited itself in a tree, where a court lady discovered it. See 
Michizane. 

155. DAI JIN ^C ^ or TOCHIU %$ %&. One of the Fifteen sons of Benten, 
shown with sheaves of rice. It is indentified with MONJU BOSATSU, (q.v.) the 
attributes of which are however different. 

156. DAIJINGU Jt 0$ H The Shinto Goddess Amaterasu O Mikami 

(q.v.). ,,-' 

157. DAIKOKU ;fc H&, or DAIKOKU TEN. One of the SHICHI FUKU JIN, 
Seven household Gods, or Gods of Luck. His Shinto name is OHO KUNI NUSHI 

48 








HANGONKO 

(Mall Gnrl'titt collection} 



LEGEND IN JAPANESE ART. 

No KAMI, or Deity master of the great land. He is particularly worshipped at 
Kitzuki, the streets of which he is said to honour by riding through, on the 
bronze horse, on Miniye, the festival of the Body escaping. He represents also 
the Buddhist God MAHAKARA, the black God (Daikokujin), so named because of 
the colour of its image after being rubbed with oil. According to legend, he was 
revealed to KOBODAISHI, who introduced the attributes with which he is repre- 
sented : his Hammer bears the sign of the Jewel (Tamo) of pyriform outline and 
with three rings across, embodying the spirit of the JIN (Yin) and Yo (Yang), or male 
and female principles, in token of the God being a creative divinity; this hammer 
is also shown with the Tomoye, figure of the two commas or the Mitsu tomoye of 
three commas (see Cock on Drum), and a stroke of this lucky attribute confers 
luck and wealth to its recipient. (Fairy tale of the Lucky Mallet.) The Rat is 
his second attribute : finally Daikoku is dressed in Chinese guise as a prosperous 
individual, with a peculiarly shaped cap or hat, and usually shown standing on 
bales of rice (some say one of rice the other of tea), and with a bag of precious 
things on his shoulder. A common variant shows him seated on his bales, or 
showing his treasures to a child, or holding the red sun against his breast with 
one hand, and grasping his mallet with the other. A common group is that of 
Daikoku and his son EBISU, either as serious minded individuals, as for instance 
in the figures in the somewhat rough style called " a coups de serpe " (Nata tsu 
kuri] sold in pairs at the Kammiyama temple in Ise, or irreverently as revellers, 
sometimes masquerading as drunken Dutchmen. 

His familiar, the rat, has been held to have an emblematic and moral meaning 
in connection with the wealth hidden in Daikoku's bag, and which like all other 
riches requires constant care and watch to prevent it from dwindling away under 
the tooth of the parasite. This rat is often pictured, either in the bale with just its 
head protruding, or on it, or playing with the hammer ; sometimes a swarm of 
rats is shown, and the rodent plays the main role in the following story : The 
Buddhist idols wished to be rid of Daikoku, to whom the Japanese were still 
daily offering prayers and incense after their introduction. YEMMA O, the regent 
of Hades, agreed to send his most cunning Oni, SHIRO ,to get Daikoku out of the 
way. The Oni, guided by a sparrow, went to Daikoku's castle, which he found 
void of its owner. Finally he hit upon a large storehouse in which he saw the 

49 



LEGEND IN JAPANESE ART. 

God seated. Daikoku called his chief rat and ordered him to find who was near. 
The rat saw the Oni, and running into the garden brought back a branch of holly 

with which he drove the Oni away right to the door of Yemma O, beating him 

*. 
the whole way. This is said to be the origin of the New Year's Eve charm (q.v.) 

consisting in a holly leaf and a skewer, or simply a sprig of holly wedged in the 
lintel of the door of a house, to prevent the return of the Oni after the Oni Yarai 
proceedings. The bag of Daikoku, like that of Hotei, contains the Takaramono 
or precious things (q.v.), and sometimes Hotei is shown seated in the bag which 
Daikoku is pulling along. 

The rat is also said to be Daikoku's emblem, because his festival is held on 
the day of the rat, the Katsushi of the Cycle, and on the Kinoye days one hundred 
black beans are offered to Daikoku. 

ROKU DAIKOKU (The Six Daikoku) are given in the Banbutsu Hinakata as : 
Makura Daikoku, ordinary form with hammer on lotus leaf, 
Ojikara Daikoku, youthful, with sword in the right hand and vajra 

in the left, 
Bika Daikoku as a priest, with shaven pate, hammer in the right 

hand, vajra hilted sword in the left, 
Yasha Daikoku, youth, with the wheel of the law (Rimbo or Chakra) 

in his right hand, 

Shinda Daikoku, a boy seated, holding a crystal in his left hand, 
Mahakara Daikoku, seated female with a small bale of rice on her 

head. 

As a modification of the Hindoo God of War MAVISHI TEN, he is also shown 
with MARISHITEN and BISHAMONTEN, as the San Senjin, or Three Gods of War, in 
the form of a man with three heads and six arms riding on a boar. This form is 
also known as SANMEN DAIKOKU, or three-faced Daikoku, and is called San Tenjin 
Daikoku in the Shaho Bukuro. 

158. DAI MOKUREN ^ g f jg. One of the disciples of Buddha who, 
seeing the soul of his mother in the Hell of Hungry Spirits (Gakido), sent her 
some choice food which became transformed into flames and blazing embers as 
she lifted it to her lips. 

50 



LEGEND IN JAPANESE ART. 

He asked the Buddha for an explanation of this occurrence, and was told 
that in her previous life his mother had refused food to a wandering mendicant 
priest, and that the only way to obtain her release from perpetual hunger was to 
feed on the tenth day of the seventh month the souls of all the great priests of 
all countries. Notwithstanding the difficulty of this undertaking, Dai Mokuren 
succeeded, and in his joy at seeing his mother relieved, started to dance. This 
performance is said to be the origin of the Bon Odori dances during the Festival 
of the Dead (July 13-16). 

159. DAI NICHI NYORAI ;fc B #11 3fc. One of the personages of the 
Triratna or Buddhist trinity, VAIROTCHANA TATHAGATA, the deity of wisdom and 
perfect purity- His name (Chinese TA SHI SHULAI) means Great Light ; he is the 
personification of the supreme intellect of the Buddha, and the spiritual father 
of FUGEN BOSATSU (q.v.). He is somewhat similar to Jizo in appearance and is 
generally shown seated, as KONGO-KAI DAI NICHI, with the left hand closed upon 
the index of the right hand, in the Dharma-Datsu Mudra, or gesture peculiar to 
the Dai Nichi of the Spiritual World. As Dai Nichi of the TAIZO KAI or 
Material World he is seated, in a meditating attitude, and wearing a tiara. 

1 60. DAI ITOKU. MAHADEVA. See Mio O. 

161. DAI TENGU ;fc ^ $J. See TENGU. 

162. DAKIU K; PJ. The Game of Polo. See Games. 

163. DANKA. Skeleton of a priest beating a wooden drum, in the form of 
a jingling bell (Mokugyo), or a fish head (Waniguchi). 

164. DARUMA ^ Jff , BODHI DHARMA. Sage to whom the introduction of 
the Zen sect of Buddhism in China is attributed. He is said to have been the 
son of a Hindoo King, and to have left his teacher, Panyatara, and retired in 520 to 
Lo Yang where he remained seated, absorbed in meditation for nine years, during 
which, temptations were heaped upon* him by the evil spirits without any result ; 
and he is accordingly often shown surrounded with demons of both sexes, like 
Saint Anthony, or being bitten in the ear or other parts of his holy person by rats. 
At the end of that period his legs had "rotted away" under him. The humorous 

5? 



LEGEND IN JAPANESE ART. 

treatment of his long retreat is an unending theme for artists ; netsuke carvers 

represent him stretching himself, or stretching his arms above his head, or, and 

\ 

more often, without legs, entirely enveloped in his garments, shaped like a bag, 
from which emerges his swarthy scowling face, shorn of eyelids, because, having 
once fallen asleep, on waking up he cut. them off as a penance. The eyelids, 
thrown on the ground, took the form of the Tea tree. A less common, though 
quite as irreverent a presentment, shows the Sage surrounded with cobwebs, and 
even a female Daruma may be met with, sarcastically directed at the weaker 
sex, no member of which could remain in meditation for nine years, or resist the 
temptation to talk. An owl is sometimes shown in the garb of Daruma. 

As the 28th patriarch of Buddhism in succession to Kasyappa, he is pictorially 
treated as a swarthy Hindoo priest with a short spiky black beard. His journey 
to Japan is pictured in a similar way, the figure standing on the waves, supported 
by a millet stalk, or a bamboo or a reed. He died circa A.D. 529. 

He is often found as a toy, sometimes with one eye open and one shut, and 
is the favourite snow-man of the Japanese boys. Humorous prints show the toy 
taking life on the eyes being marked out, in allusion to the popular belief that 
images of holy personages become alive, or at least effective, when their "eyes are 
opened" by the priests, who bless the figures, after which they can see, hear and 
revenge themselves when irreverently treated. 

Daruma sometimes is shown with one bare foot and carrying a shoe in his 
hand. Legend has it that three years after his death and subsequent burial, 
he was seen travelling towards India, in the western mountains of China, 
with one shoe in his right hand. The Emperor caused Daruma's tomb to 
be opened and it was found empty, but for a cast off shoe which the saint 
had left behind him. 

165. DEMONS. See ONI. 

1 66. DENSHIN |B jg, DENKEI J| and DENKO B J|f were the three 
Chinese brothers TIEN CHEN, KING, and KWANG. They inherited a rose tree at 
the death of their father, and as they could not agree as to ownership, they split 
the tree in three, when of course it died. After this event they remained 
together in complete union. 

5 2 




DARUMA ON REED (lI'.L.K. 



ONNA DARUMA (if.L.K.) HAXGONKO DARUMA (A.) 

DARUMA DRINKING (tl.T.) DARUMA TOY (j.) DARUMA STRETCHING (st.T.) 

EBISU (K.S.) DARUMA'S RETURN TO INDIA (MG.) 



LEGEND IN JAPANESE ART. 

167. DOG HUNTING ^ }6 $j, by horsemen (!NU OMONO), with bows and 
arrows, was a pastime introduced by the Emperor Toba in the i2th century. It 
is represented as being followed to commemorate the delivery of the Emperor 
from Tamamo no Maye, because dogs chased her upon the moor of Nasu when 
she fled from Abe no Seimei's exorcism in the shape of a nine-tail fox. (Shaho 
Bukuro, Vol I.) 

It forms a part of a No dance. 

168. DOJOJI NO UTAI. See KIYOHIME. 

169. DOJOJIN it ff JjitjJ. The all-hearing genius of Hell. 

170. DOKEI jj|i H?. Name assumed in 1473 by Ashikaga Yoshimasa, 
when he entered the priesthood after his retirement. 

171. DOLPHIN. Ornamentally treated, the Dolphin receives some of the 
characters of the Koi or sacred Carp. Golden dolphins (KiN NO SACHI HO Ko), 
eight feet seven inches in length, made of solid gold, and said to be worth nine 
thousand pounds each, were made by order of Kato Kiyomasa in 1610, and placed 
on the top of the roof of the donjon (Tenshu) of the Nagoya Castle, in Owari. 
One of them, which many years before had been the aim of a thief, was 
exhibited, in 1873, at the Vienna exhibition. The story says that Kakinoki 
Kinsuke, to win the love of some woman, attempted the theft by means of a 
big Kite, after which Kite-flying near the temple was forbidden. 

172. DOMEJIN JH Wft j$. The all-seeing genius of Hell. 

173. DOSOJIN if H 1$ (SAi NO KAMI), God of the Roads. See Koshin. 
Children's God, one in each village, whose feast is celebrated by the boys, with 
decorated bamboo, which were burnt, on the i4th of January, with all the writings 
made on the first and second day of the year ; and Mochi (rice cake) was cooked 
on that fire. 

174. DOYO, usually called YUTEN SHONIN jjffi ^ _h A> was a priest of 
the temple of Fudo at Narita, who spent a hundred days in contemplative prayers 
and meditation in the middle of the sixteenth century. The God then appeared 
to him, and offered him as penance for his sins the choice between two swords, a 

53 



LEGEND IN JAPANESE ART. 

blunt one or a sharp one, to be swallowed. Doyo selected the keen blade, and as 
Fudo drove it in his throat all his bad blood ran out, and after this operation he 
became deeply learned. His blood was used to dye some priestly robes, and he 
instituted a three weeks' fast to be practiced yearly as a commemoration of his 
vision. 

175. DRAGON f|. Of all the array of supernatural creatures forming 
the mythical fauna of Japanese lore, none perhaps is more commonly represented 
in art work than the Dragon. Imported from China, its appearance does not 
greatly differ from that of the Chinese Dragon, except in the matter of claws, 
three of which only are vouchsafed to the ordinary Japanese Dragon and five to 
the Imperial or Chinese monster, also found in Japanese art. The ordinary 
Chinese Dragon has four claws only on each of its four limbs. 

The Dragon is full of remarkable powers, and seeing its body in its entirety 
means instant death ; the monster never strikes without provocation, as for instance 
when its throat is touched. The Chinese Emperor Yao was said to be the son of 
a dragon, and several of the other Chinese rulers were metaphorically called 
"dragon faced." The Emperor of Japan was described in the same way, and as 
such hidden, by means of bamboo curtains, from the gaze of persons to whom he 
granted audiences, to save them from the terrible fate otherwise inevitable. 

In Gould's book, Mythical Monsters, the dragon is dealt with at length, the 
translation from a Chinese Encyclopaedia of an article upon the dragon being 
given in extenso (page 243). An exhaustive description is also given by the 
Japanese novelist, BAKIN, in Hakkenden. [See Griffis Mikado s Empire, 1896, page 
478 & seq.]. 

The Chinese call the Dragon Lung because it is deaf ; it is the largest of 
scaly animals, and it has nine characteristics. Its head is like a camel's, its horns 
like a deer's, its eyes like a hare's (? a devil's), its ears like a bull's, its neck like a 
iguana's, its scales like those of a carp, its paws like a tiger's, and its claws like 
an eagle's. It has nine times nine scales, it being the extreme or lucky number. 
On each side of its mouth are whiskers, under its chin a bright pearl, on the top 
of its head the POH SHAN or foot rule, without which it cannot ascend to Heaven. 
The scales of its throat are reversed. Its breath changes into clouds, from which 

54 




CHINESE DRAGON (/<"./...) 
AMAKUR1KARA (iy.L.K.) 

RAIN DRAGON (G.H.lf.) 



CARP DRAGON (.U.S.) 
SASHIOKO (DOI.PHIN) (H:L.B.) 

SHIFUN (//'./-..) 



DRAGON' AND TAMA (ll'.L.K.) 

DRAGON AND WHEEL (ll'.L.n.) 

HAYIFUKI KARA RIU (H.S.T.) 

DRAGON AND TIGER (A.) 



LEGEND IN JAPANESE ART. 

come either fire or rain. The dragon is fond of the flesh of sparrows and 
swallows, it dreads the centipede and silk dyed of five colours. It is also afraid 
of iron. In front of its horns it carries a pearl of bluish colour, striated with 
more or less symbolical lines. It has the power of invisibility and of trans- 
formation at will, it is able to shrink or to increase in size without limits. 

In both the Chinese and the Japanese mythology, the watery principle is 
associated with the dragon, and especially with the rain dragon Amario, or U-ko, 
or U-shi, also with the storm dragon. The ruler of the waters, Ryu o Kio, or 
Ryujin, or Ryujin Sama, lives beneath the seas, or at the bottom of lakes in the 
Ryugu-jo, the dragon palace. See Tawara Toda, Urashima Taro, and Air Castle, 
Monkey and Jelly-fish ; see the story of the happy hunter Hikohohodemi no 
Mikoto. 

Riujin has a messenger in Ryuja sama or Hakuja, the small white serpent 
with the face of an ancient man ; and he carries the precious jewel (Tama, the 
Mani of the Buddhists) or the two jewels of the ebbing and of the ilowing tide, 
the " Tide ruling gems" which he presented to Jingo-Kogo, to Hikohohodemi 
(q.v.), etc. See RIUJIN, KAMATARI, etc. 

The Dragon (TATSU) is one of the signs of the zodiac; the four seas, which, 
in the Chinese astronomy limit the habitable earth, are ruled over by four 
Dragon Kings. 

The celestial dragon presides over the mansions of the Gods and keeps them 
from decay. 

The spiritual dragon ministers to the rain. 

The earth dragon marks out the courses of rivers. 

The dragon of hidden treasures watches over the precious metals and stones 
buried in the earth. 

There is a hornless dragon, the Chinese Kiu lung. The Chinese winged 
dragon Ying lung is the Hai Ryo, shown with feathered wings and tail and 
birds claws, besides the dragon's head, they are also called Tobi Tatsu and 
Shachi Hoko. 

A white dragon which lived in a pond at Yamashiro in the province of 
Kyoto, and changed every fifty years into a golden bird, the Goncho, with a 
voice like a wolf's howl, and whose apparition was followed by terrible famine 

55 



LEGEND IN JAPANESE ART. 

and pestilence. Another white dragon was the transformation of Raitaro 
(see the story of Bimbo). 

The yellow dragon is, however, the most honoured of the whole family. The 
Chinese attribute the origin of their system of writing to the yellow dragon, who 
presented to Fuh Hi a scroll inscribed with mystic characters as the sage was 
gazing upon the waters of the Yellow River. 

BAKIN, in his description of the dragon family, enlarges considerably upon 
the four dragons of the Chinese, as described later by Mayers : 

Sui Riu, a rain dragon which causes the rain to fall when in pain, the water 
presenting a reddish colour due to his blood. 

HAN RYU is striped with nine different colours. It is forty feet long and 
sometimes has red stripes with dark blue bands. 

KA RYU is a fiery dragon of scarlet hue, only seven feet long. 

The dragon of good luck is FUKU RYU, that of whom the luck is bad or 
indifferent becomes HAKU FUKU RYU. 

Ri RYU has a wonderful sight, hundreds of miles being as nothing to this 
creature. 

Some dragons cannot reach heaven, the long-bodied HAN RYU in particular. 
Dragons can breed by intercourse with ordinary animals, with a mare, a Ryu-Me, 
with a cow, a Ki-Riu. 

The Dragon Queen is occasionally shown, dressed in shells and corals, with 
other marine attributes. 

As an emblem the dragon represents both the male and female principle, the 
continous changes and variations of life, as symbolised by its unlimited powers 
of adaption accommodating itself to all surroundings, therefore never finished, 
like the everlasting cycles of life. 

In connection with a Tiger, generally crouching near a cave or some bamboos, 
the dragon in the sky represents the power of the elements over the strongest 
animals.* The association of the two creatures was meant in Chinese to 
represent the Emperor and his ministers. 

The dragon is associated with numerous personages and stories. See Bashiko, 

* Anderson calls it U-Chiu no Tora, and says that it is emblematic of the power of the faith (C.B.M.-p. 53). 

56 



LEGEND IN JAPANESE ART. 

Chinnan, Shoriken, Handaka Sonja ; also Tokimasa's crest, Ojin and Take no 
Uchi, etc., mentioned under Emblems and Attributes. 

For the eight-headed dragon, see Susano-o. 

The rain dragon entwined around a sword is a frequent theme, the sword 
being as a rule the Vajra hafted ken of Kobodaishi. 

Another sword, connected with a dragon legend, is the Kuzanagi, one of the 
three relics of the Japanese regalia, the fire quelling sword used by Yamato 
Take, and which Susano-o no Mikoto had drawn from the tail of the eight- 
headed dragon. 

Two dragons "affrontes," with the Tama between them, form the handles of 
bells, whether large temple bells or small grelots ; it is also a very common mode 
of decoration of sword guards, called Namban Tsuba. 

Dragon netsukes were the specialite of Tomomasa. 

A dragon ascending Fuji in a cloud is symbolic of success in life. 

BENTEN is often shown with a dragon, and her intercession in Enoshima 
against the troubles caused by such a creature, belongs to the story of Hojo 
Tokimasa (q.v.). In fact this Goddess is said to be " partly " a dragon. 

KWANNON is also represented in company with a dragon upon whose scaly 
body she stands. 

A dragon issuing from an ash-pan or Hayifuki (in the hibachf) frightening 
the man who uses this implement, represents the story of the boaster, and 
illustration of the saying : 

Hayifuki kara Riu (or - - Ja detta) almost identical with Hyotan 
Kara Koma : "It is the unexpected that happens." 

The Kumozui Taisei (Encyclopaedia for children) gives two more types of 
dragons, one with wings called Shi fun, and one with large scales, spiny fins, and 
the body of a fish, which is named Makatsugyo. 

KAN NO Koso, SUSANO-O, etc., are shown killing dragons. Another dragon 
slayer was T'an T'ai Mieh Ming, disciple of Confucius, whom the God of the 
Yellow River caused to be attacked by two dragons, to rob him of a valuable 
gem, but T'an T'ai slew the dragons, and to show his contempt of wordly goods 
threw the treasure in the river. Twice it leapt back into his boat, but at last he 
broke it, and scattered the fragments. 

57 



LEGEND IN JAPANESE ART. 

176. DREAMS ^. Dreams are often occasioned by demons, and in 
particular evil dreams, are the work of the Oni RINGETSU, but they form the 
food of the mythical animal Baku (q.v.). Lucky dreams may be induced by 
placing in the drawer of one's pillow a picture of the Takarabune (q.v.). The 
Clam's dream is another name of the Air Castle (q.v.). 

Rosei's dream, illustrating the fallacy of worldly honours is frequently 
represented and sometimes attributed to Lii Yen. See Rosei, Soshu. 

A classical dream is that of a Chinese Sage, CH'UN Yu FEN ^jjk -f ^, who 
thought that he had lived for several years in a palace, and on waking up after 
a while, under a tree in his garden, told the story to his friends. They said that 
as he fell asleep an ant came down from his beard, and went into a hole near by ; 
thinking there might be a connection between the Ant and his dream, they dug 
up the place, and found an Ant's colony built exactly as he had described the 
palace of his dream. Ch'un yu had dreamt that the King of that underground 
realm had married him to his daughter, and given him the governorship of his 
Southern provinces, hence the names Nan Ko Che Meng given by the Chinese to 
this fairy-tale, the author of which is said to have been Li Kung Tso. It is 
called in Japanese Nan Ko no Yume, and its curious resemblance to the dream of 
Rosei will be readily noticed. 

Another dream, famous in Chinese lore and sometimes illustrated, is that 
of Tsai' Siang given as a moral example in the Kan-in-pien >(C Jl ^fi J$| JH. 
Tsai Siang loved to eat quails, and one night in a dream he saw a young man 
clad in yellow who, in eight verses, reproached him the hecatombs of living 
creatures necessary to satisfy his appetite. Tsai Siang went at once to his 
kitchen, where he liberated some scores of quails then awaiting the cook's 
attention. During the following night an equal number of adolescents dressed 
in grey came to thank him in another dream. The glutton mended his ways 
and later became a minister.* 

Another dream forming the theme of prints or pictures is that of Raiko 
being presented with bow and arrows by a Goddess. 



The dream of the quail-boys, or Hantan's dream is easily confused in pictures with the feather-clad dwarf 
god Sukuna Hiko no Mikoto A? ^ $3 ^ (q.v.), also called Sukuna Bikona. 

58 




o 





j \y 
^ 



LEGEND IN JAPANESE ART. 

Dreams of Fuji Yama, of two falcons or three fruits of the egg plants are 
considered lucky omens, predicting long life to the dreamer. Ichi Fuji, ni taka, 
san nasubi is the Japanese proverb expressing this belief. See Sagami Takatoki, 
who dreamt that Tengus were hovering around him in his sleep. 

177. EARTHQUAKE FISH Jjjj f| ^, or NAMAZU or JISHINUWO. This is 
the catfish to which earthquakes are due; the creature has a body like an eel, a 
large flattened head, and long feelers on both sides of its mouth, it lies with its 
tail under the provinces of Shimosa and Hidachi, and when angry, wriggles 
about, shaking the foundations of Japan. A large stone rests on its back, the 
Kaname Ishi, protruding in the garden of the temple of the God KASHIMA 
DAIMIOJIN (Takemika Tsuchi no Mikoto). This stone goes deep into the bowels 
of the earth, it is the rivet (Kaname) which binds the world together : when 
KASHIMA and KADORI MIOJIN came from Heaven to subdue the world, Kashima 
thrust his sword through the earth, the mighty blade shrank and became the 
Kaname Ishi which Kashima alone can move. Kadori Miojin is Futsu Nuchi no 
Mikoto, he has a gourd, and with that gourd and the help of Kadori, this God 
keeps the fish quiet. Mitsukuni, Daimio of Mito, grandson of Tokugawa leyasu, 
with a Saint Thomas bent of mind, had the earth dug around the Kaname Ishi, 

but his men could not get at the base of it. Kadori and his gourd, hugging the 
Namazu, is sometimes a subject for artistic treatment. His efforts are little 
thought of if one believes the proverbial sentence : A Gourd against a Namazu 
(meaning useless effort) alluding to the slipping of the gourd on the fish's skin. 
Earthquakes are also attributed to a beetle, named the JISHIN MUSHI or Earth- 
quake beetle, with a dragon's head, ten legs like spider's and a scaly body, 
which is supposed to live deep under the earth. 

178. EBISU lj$. jfc ^jf, or YEBISU, one of the Shichi Fukujin. Sometimes 
also named HIRUKO. He is the third son of Izanagi and Izanami, Koto Shiro 
Nushi no Kami, though sometimes said to be the son of Daikoku. 

Ebisu's name as a luck bringer shares with Daikoku the honour of a place 
in a cradle rhyme celebrating the arrival of the Takarabune on New Year's 
Eve quoted by Anderson : 

59 



LEGEND IN JAPANESE ART. 

Sendo, mando, o fune wa gichi gichi 

Ebisu Sama, Daikoku Sama, 
Fuku no Kami yo 

Gichi, gichi kogeba. 

etc. 

Most of which consists of onomatopoeia. 

His particular temple is at Mionoseki, where figures made of pottery, and 
metal ornaments for pouches, bearing his traditional appearance, are regular 
articles of trade. Legend has it that he originated the clapping of hands, usual 
in Shinto temples to call attention of the Gods to the prayers. 

Ebisu is deaf, so much so that he cannot hear the summons which in 
October calls all the other divinities to the temple of Izumo. This infirmity 
forms the pretext for a festival, the Ebisu Ko, falling on the twentieth of 
October. It is probable that originally Ebisu was an Aino divinity. His very 
name means " The laughing God," and his countenance is altogether that of an 
happy individual. Bearded, smiling, or laughing, on his head a cap with two 
points, or a bonnet, generally sitting on his crossed legs and holding a fishing 
rod and a big Tai fish, Ebisu cannot be mistaken. He is often shown with 
Daikoku (q.v.), in more or less humorous groups, and his own emblems are 
somewhat varied in their treatment : he may be cutting up his fish ; or hugging 
it ; or trying to cram the animal into a basket several sizes too small ; striking 
with his rod one of Daikoku's rats having a fight with the Tai ; or dancing with 
the fish strapped on his back, etc. 

Ebisu is the God of honest dealing, he is also the patron of fishermen and 
the God of food; often coupled with Daikoku as the two Gods whose 
shrines are the most common in households. This God has a peculiar hatred of 
cocks, hens and chickens, responsible for the paucity of eggs at Mionoseki. 
Hearn (U. J. I. p. 231) gives a humorous description of the troubles which befall 
anyone carrying as much as the image of a chicken in defiance of the deity's 
wrath. It seems that the God used to spend some of his time fishing at Cape 
Miho at night, and it is even hinted that his occupations were not always of so 
simple a nature, so that he had made it the cock's duty to crow loudly at sunrise 
to warn him that it was time for him to return. Once, however, chanticleer 

60 




IKKIlt ANT) THK JOKO 
(Sheza Kato collection) 



LEGEND IN JAPANESE ART. 

failed in his duty, and Koto-Shiro, on the return journey, having lost his oars, 
had to paddle with his own august hands, which the fishes sorely bit. Hence 
his hatred of chickens, the effects of which the native simple folks dare not bring 
upon themselves. 

179. EISHUKUKEI Hf ^ JJpp. (A man on precipice, bowing to Sennins 
playing Go above.) One day the Emperor Bu of Kwan wanted to know where 
Eishukukei lived, as it was known in his native district of Chuzan that he eat 
mother-of-pearl, and he passed for a wizard. So he sent to Hakuryo for the son 
of the sage, named TAKUSEI j| {, and ordered him to go to Mount Kwa to 
hunt up his father. The son, when he reached the mountain, saw his father, 
seated on a rock floored with jewels and shaded by a purple cloud, occupied at 
playing with several other sages a game of Go. He inquired who were the 
players, and his father told him : Kogaisensei, Kyoyu, Sofu, and Ojishin. He 
then reproved him for his interference, and telling him that there was a talisman 
hidden under the pillar of his house, sent him home. (Ehon Kojidan.} 

1 80. EMMA O, EMMA TEN. See YEMMA, Regent of Hell. 

181. ENCHIN H %, Buddhist priest (814-891), founder of the Jimon 
branch of the Tendai Sect. He received from Go Daigo the posthumous 
title of CHISHO DAISHI. 

182. ENDO MORITO ^ ^ ^ ^, (MONGAKU SHONIN) ^C ^ _h A 
also called ENDO MUSHA MORITO ^ |ffc 3^ ^ ^ ^, from his military grade, 
Mushado Koro, was a captain living in Kyoto, who fell in love with KESA 
|S| He, wife of a Samurai, WATANABE WATARU fj|f $ ^, in 1143. As she 
resisted his entreaties, he vowed to kill her family, unless she allowed him 
to kill her husband and became his wife. She made an appointment to 
receive him in her house at night, when he would find her husband asleep 
in a room, alone, and could kill him. Endo came, and cut off the head 
of the sleeping individual he met in the appointed room, only to find that 
it was the lady herself, who, taking the opportunity of her husband being 
on a journey, had dressed herself in some of his clothes, and sacrificed her 

61 



LEGEND IN JAPANESE ART. 

life to save her honour. Endo, finding his mistake, was overcome with 
grief, and, repenting his evil ways, shaved his head and became a monk, 
under the new name of MONGAKU. He retired to the district of Oki, and 
for twenty-one days remained naked, holding in his teeth the dorge-shaped 
handle of his bell, counting his beads, and praying under the waterfall of 
Machi (Kumano, Kii). Another version says that he began his penance on 
the 2oth day of the i2th month, and that three days after his body froze, 
but FUDO Mio-6 and his two attendants lifted him from under the icicles 
and brought him back to life. One of the Mountains of Oki bears the 
name of Mongakuzan, in his honour, and in commemoration of the holiness 
which he managed to attain. Mongaku doing penance is a pretty common 
subject. 

He is said to have been sent to Izu in 1179, and to have incited 
YORITOMO to fight the TAIRA, and later to have been exiled to Okishima, 
where he died, because of a plot against the Emperor TAMEHITO (Tsuchi 
Mikado) in 1199, a behaviour hardly to be expected from a man who had 
acquired such a store of merit. 

183. ENJOBO was a priest of Owari, whose claim to celebrity consists in 
his having got rid of BIMBOGAMI, the God of Poverty, by means of a charm, used 
whilst imitating with peach tree twigs the action of pushing someone out of 
doors, and forthwith shutting the doors of the temple. This operation took 
place on the last day of the year, but Enjobo's slumbers were troubled the same 
night by a dream, in which the skeleton of a priest came and reproached him for 
having thrown away his companion of so many years. (See Bimbogami.) 

184. ENKO DAISHI M ;)fc ;fc ^ifi. Posthumous title bestowed upon 
the monk GENKU, also called HONEN SHONIN (1133-1212), who, after passing 
four years in the monastery of Hiyeizan, without finding the complete truth 
he was seeking, left it when eighteen years old to go to Kurodani, 
and, rejecting the practices of the Tendai sect, became the first exponent 
of the Jodo sect. He is said to have limited his prayers to the repetition 
sixty thousand times daily of the name of the Buddha Amithaba. 

62 



LEGEND IN JAPANESE ART. 

185. ENOKI ;fif. The Enoki tree is the Celtus Sinensis or Celtus 
Wildenoiviana ; it is sacred to the God KOJIN, and it is considered a goblin tree, 
inhabited by malevolent onis. Its wood however, when made into chopsticks, is 
supposed to cure toothache. There is near Tokio a tree called Yenkiri Enoki 
(Union breaking tree), to which jealous lovers pray. According to legend, there 
was in Omi, an Enoki tree over one thousand years old, which grew amongst a 
forest of pines near the estate of a Daimio called SATSUMA BISHIZAEMON. The 
latter decided to have the tree felled, as it interfered with the landscape, seen 
from the castle, obstructing the view of a beautiful lake. The Daimio was 
beseeched not to carry out his idea, but without avail. During the night 
preceding the day fixed for the work, a dragon appeared to Satsuma's mother, 
predicting the end of her son's race if he did not desist ; Satsuma was deaf to 
all prayers, and the work was proceeded with. As the tree fell to the ground, a 
terrible noise like a loud moan was heard, and Satsuma's mother, his wife, his 
children, his retainers, and finally himself started to howl and run like mad 
animals. The Daimio hanged himself, and his mansion was deserted, until a 
princess of the Satsuma family, who had become a nun under the name of Jikin 
in the neighbouring Yamashiro temple of Kwannon, was prevailed upon to 
exorcise it. (See Shungyo in the Shobo-nen-jo-kio.} 

1 86. EN-NO-SHOKAKU ^ /h j. One of the earliest Buddhist 
Prophets of Japan living in the seventeenth century, and who ascended 
several of the highest mountains, Hakusan, Tate Yama, Daisen, etc., to 
consecrate them to Buddha. During his climbing expeditions, Enno Shokaku 
was accompanied by two demons, Goki and Zenki, whom he had made his 
servants. Both were endowed with great magical powers, and they built, 
under their master's direction, several bridges over mountain chasms and 
torrents. The popular name of Shokaku is Yenno Guioja. His supernatural 
powers were objected to, and he died in exile at Oshima. He is depicted 
in an okimono preserved at the Musee Guimet, amongst the patriarchs of the 
Shingon sect of Japanese Buddhism. 

187. ENRYAKU-JI $E H ^f. The temple founded on the Hiyeizan by 
SAICHO (later dignified with the title DENGYO DAISHI) in 788, during the 

63 



LEGEND IN JAPANESE ART. 

Enryaku Nengo (782-805). More than three thousand temples followed its 
erection; they were then called Hokurei, and became the headquarters of 
the Yamabushi, whose dissolute ways led them to terrorise the whole town 
of Kyoto, and to rebel, with ASAKURA ECHIZEN NO KAMI, against Nobunaga, 
who in 1573 captured all the temples and purified them by reducing the lot 
to ashes. 

1 88. ENSHI $\\ ^. The Chinese paragon, YEN TSZE, depicted hidden 
in a deer's hide. His mother suffered from an eye disease for which the milk 
of deer was reputed the only remedy. He went to the mountains to get 
some, hiding in the hide of a stag, and laid in wait for a doe. All he got 
was a severe hiding from a party of disgusted hunters, who, however, 
pardoned him his disguise when they understood his story. 

FANS. 

189. The fan is characteristic of the Japanese ; in olden times, i.e., 
before 1868, it was the attribute of every individual man, woman, coolie or 
prince and likewise it was put to every possible use, doing duty either as 
an insignia of commandment or as a substitute for fire bellows. 

Fans are of two sorts : the flat, or Chinese, fan, named Uchiwa, and the 
folding fan, Ogi, Hi-Ogi, or Awo-Gi. The Uchiwa was imported from Corea, 
and remained in general use up to the fifteenth century. It is the attribute of 
Fukurokujiu, Jurojin, Benten, Bishamon, Seiobo and the Queen of the Sea, etc. 

The folding fan, however, displaced it amongst the male population, and 
even took the place of a short-tapered staff, called Shaku, which, ceremonial 
decreed, had to be held against the belt, at a certain angle, to give its 
holder a dignified appearance when appearing before the Imperial family. 

The invention of the folding fan is attributed to the widow of 
Atsumori (q.v.), who is credited with having cured the abbot of Meido by 
her use of the folding fan. Another story attributes the invention to a fan 
maker of the Tenji period (668-672) living near Kyoto, at Tamba, and 
whose name has been forgotten. The poor man was married to a shrew, 
and one night a bat came into their room ; the woman started to revile her 
husband for not getting up to throw the vampire out ; the poor animal 

64 




ENSI1I (//..V.7-.) 

FOX GHOST (.;.) 

FOX AND CHRYSANTHEMUM (7..V.C.) 



K\l)0 MOKITO (ir.!..K.) 
FOXES WEDDING (/t.S.T.) 



EARTHQUAKE FISH (t:./f.\.) 

1-ROG, SNAKE, SLUG (II'.L.K.) 

FOXES AND BI.1NDMEN (C.//..V.) 



LEGEND IN JAPANESE ART. 

came in contact with the lamp and scorched its wings, falling to the floor. 
As the man picked it up to put it out of doors, one of the wings opened, 
and gave him the idea of a folding fan which could be carried in one's 
sleeve. The first one which he made was composed of twenty-five slats of 
Hinoki wood, hence the name Hi Ogi given to it. 

The slats are fixed between two Ova hone, or parent sticks, slightly 
curved inwards to keep the fan compact when closed, and the whole is 
rivetted by means of a bit of tube and two washers, called the Kaname 
(Crab's eye). 

Daggers (Tanto) are often made with the scabbard and handle shaped 
like a closed fan. 

War Fans were made of metal, iron or bronze as a rule ; those used 
by Generals bore on one side the red Sun of Yamato on gold ground, and on 
the other the moon or dragons and groups of stars ; but the decoration of 
metal fans varies much. 

The following list gives the names of the chief varieties of fans : 

Akoya Ogi, of sixteen blades, painted with emblematic designs and 
from the two outside sticks of which depended bunches of long streamers. 
(Isai Gwcishiki, 1864.) 

Akome Ogi. The folding fan attributed to Atsumori's widow, composed 
of thirty-nine inside blades, painted white, and decorated with the emblems 
of longevity : the Chrysanthemum, Ume, and Matsu figured in lacquer. This 
type of fan was used by the court ladies until 1868. 

Chukei. A fan carried by priests and nobles. 

Gumbai Uclriiva, made of two pieces of leather, or of iron, fastened 
together on either side of the straight stick, and used in war only. 

Gun Sen. Also a war fan, either flat or folding, and made of metal, 
chiefly iron. 

Hi Ogi, made of twenty- three inside blades of Chamaerocyparis obtusa 
and used as a court fan from the Xlth. century. 

Jin Sen, a camp fan made of feathers, frequently shown in the hands of 
warriors, the feathers of the peacock or of the pheasant being most often 
used. It has the shape of an Uchiwa, with the feathers pointing separately. 

65 



LEGEND IN JAPANESE ART. 

Komori. Open court fan, with fourteen bamboo sticks, upon which is 
pasted coloured paper of any shade, except the unlucky green and light 
purple. 

Mai Ogi. Dancer's fans, used from the XVIIth. century. They are built 
upon ten ribs only, and held together by a leaden rivet. They are covered 
with thick monochrome paper, with a Man painted on it. 

Maki Uchhva. These fans are so built as to allow of their being rolled 
up like an umbrella around the central stick. 

Mizn Uchhva. Fans made in Fukui, with waterproof paper, and which 
are occasionally dipped in water to reduce the temperature when in use. 
They were invented about the end of the XYIIth. century, and are often 
lacquered. 

Mita Ogi, are huge fans carried by firemen, and used in processions 
and festivities. They are seven feet long, and are made of six blades of 
Hinoki wood. 

Rikin Ogi. Tea ceremony fans, dating from the beginning of the 
XVIIth century ; they have only three sticks, and were designed by SEN- 
NO-RiKir, of tea ceremony fame. See Cn.v NO Yu. 

Shibu Uchhva, are used for kitchen purposes ; they are liberally coated 
with the evil-smelling mucilage made from unripe persimmons, and from 
which they take their name. 

Suye Hiro Ogi, are very flexible fans used in the No dances, and the 
skeleton of which consists of fifteen, eighteen, or twenty-five sticks. 

Tetsn Sen, are the folding war fans, with ten iron ribs, dating from 
the Xllth. century, the covering of which consists of stiff monochrome paper, 
with designs of the red sun and the moon. 

Uma Jirushi (horse ensign), was a huge fan with silk covering and 
sticks five feet long, mounted at the end of a pole some fifteen feet long ; 
it was used as an ensign by the Tokugawa Shoguns. 

For an extensive illustrated monograph on fans, see Mrs. Salwey's 
book and her Japan Society paper, which have been to some extent used 
in the above article. 

66 



LEGEND IN JAPANESE ART. 

The fan plays a role in a great many stories, amongst which see 
ATSUMORI, BENKEI and YOSHITSUNE, ANTOKU, NASU NO YOICHI, ARAKI, KIYOBA- 
VASHI the wrestler. See also EMBLEMS, ATTRIBUTES, and OMENS. 

190. FAN DANCES. The fan is the attribute most commonly used 
in dances : it is generally shown in the hands of the Kagura dancers 
(see Manzai dancers) or of the performer with the Shishi mask. The Kagura 
dance is said to commemorate the performance of UZUME when getting 
Amaterasu out of the cave. In the Fan Dance, which is, however, more 
of a juggler's performance than a dance, the fan represents the leaves of 
a pine tree, and the performer adds to the number he carries until some 
are balanced on his forehead, nose or mouth, hands and feet. 

191. FAN GAMES. See GAMES. 

192. FAN LI ^ ?H. See HANREI. 

193. FIREFLY LOVER. See HOTARU HIME. 

194. FISH ^&. See EARTHQUAKE FISH. 

195. FISH ^ (DRIED) or HIMONO -f *$} , forms often a motive for 
Kodzukas and Netsuke. Given as a present to anyone entering upon a 
journey, it has a hidden meaning, and expresses the wish that the 
recipient will be "well preserved" in health. 

It is also given with some peas (mame), the allusion being a pun on 
mame (busy or healthy), and expressing the same wish. A grilled HERRING 
has also a hidden meaning ; KONOSHIRO means " burnt castle," and this 
unlucky double entente made it a very ominous food, of which nobles took 
good care never to partake, fearing lest the omen should apply to their 
own castles. IWASHI, a sardine, like the Himono, is used to prevent the 
return of the demons after their expulsion on New Year's Eve, as described 
under CHARMS. This custom has given rise to a proverb : Iwashi no atama 
mo shinjin gara " Even the head of a sardine can do something for you 
if you pray (to it) long enough." And the proverb is sometimes found 
illustrated in print, an Iwashi head surrounded with rays being prayed to 
by several individuals prostrated before it. 



LEGEND IN JAPANESE ART. 

KAZUNOKO (dried roe of herring), means many children, .and as 
expression of this wish is used in the New Year's festival. 

FISH HEAD. A wooden hollow fish head is used as a sort of drum in 
Shinto temples; it is commonly called Waniguchi (crocodile mouth). Wooden 
gongs, made in the shape of a fish, and hollow, are used in China. 

FISH (made of paper). On the Tango no Sekku, or boys' festival, 
taking place on the 5th of May, huge Carps, made of paper or of cotton 
cloth, are attached to masts and poles, one for each boy in the household, 
as an allusion to the emblematic perseverance of the A'oz, which swims 
against the current and even attempts to leap waterfalls (see CARP). In 
a like manner, the boy is expected to fight against adversity and reach a 
fortunate position in the world. 

196. FISH SAVE. A Japanese Ambassador to China, married there, 
and after his departure for his native land, his Chinese wife gave birth to 
a son. The father refusing to return to live witli his wife and offspring 
in China, the mother cast the boy into the sea, where a fish picked him 
up and carried him to the coast of Osaka, landing him just as his father 
passed by. The boy was given the name of Fish Save. 

197. FOREIGNERS, and MYTHICAL INDIVIDUALS. 

In Hokusai's Mang-wa are pictured a series of mythical creatures, whose 
bodies are partly related to the genus Homo, and which are called Mythical 
Foreigners in Anderson's Catalogue of pictures, etc., in the British Museum : 

CHOHI or TENAGA, long arms. 

CHOKYAKU or ASHINAGA, long legs. 

CHOJI, long ears. 

GEKIBOKU, tailed men, carrying on the shoulder a hoe, to dig holes 
in the ground for their tails. See Telliamed, 1748, for a similar myth. 

HITOBAN, flying head, probably one of the Bakemono, but the hands 
of this creature can also fly away in opposite directions during the night, 
and return to the body in the morning. 

IPPI, half man, shown walking with his mate (Vol. III). 

JIURI, one arm and one leg only. 

68 



LEGEND IN JAPANESE ART. 

KAFURI UMIN, flying men, shown in Vol. III. with a bird's bill, 
and in Vol. XL with a human face. They are said to live in Funtan. 
See TENGU. 

KOGAN, nape eye, with bow and arrow. 

KOBITO, pigmies, nine inches high. 

KOKEI, crooked legs. 

KUKOKU, dog's head (has a wife of normal appearance, shown next 
to him). 

MUFUKU, no belly. 

MITSUME KOZO, with a third eye in centre of forehead, is one of 
the Bakemono 

ROKUROKUBI, whirling neck. 

SANSHIU, triple face. 

SANSHIN, triple body with one head only. 

SENKIO, perforated chest. q.v. Anderson gives the name Kenkio, 
although the Kana transliteration in the Mangwa reads Senkio A^jMJj&j 

TEIREI, horse legs. 

UMIN, flying men (same as Kafuri Umin). 

Several of these are also described as Goblins. Most are drawn from 
the chapters on the Ethnography of the foreign and barbarous countries 
in the Wakan san sai Dzuye and from other Chinese sources ; Japanese 
artists, however, have not, as a rule, given much prominence to these 
creatures ; the Dutchman, the curly haired foreigner with a long trumpet 
(like the Tibetan ones) and his female companion, of shorter stature, 
with long straight hair, leading a Karashishi at the end of a chain are 
more commonly met with. 

Coral divers are always depicted as black men with curly hair. 

198. FOX ^. The Fox bears the name of Kitsune, and is reputed an 
evil creature, a great many degrees more so than the Badger (Tanuki) 
(q.v.), and capable of demoniacal powers, such as possession. This form of 
misfortune bears the recognised name of Kitsune-tsuki, and, according to 
B. H. Chamberlain (Demoniacal possession in Things Japanese), the belief in 

69 



LEGEND IN JAPANESE ART. 

it is still strong, even in these years of enlightened scepticism. The 
belief in foxes' magic came from China about the tenth century, and 
the mere description of the evil deeds of foxes would fill a volume. 
An essay on the subject will be found in Lafcadio Hearn's Unfamiliar 
Japan, Vol. /., pp. 316, & seq. The Inari fox, by exception, is a 
well-disposed creature, perhaps the messenger of the God of rice and 
harvest had to become benevolent, but the others, the field fox, the 
Kokko, the Jenko, Reikko, are bad, and worse than all is the man fox, 
the Ninko, or Hoto Kitsune. 

Foxes are long-lived animals ; at the age of a hundred they may 
possess human beings, or delude them by taking the form of women (see 
ABE NO YASUNA and ABE NO SEIMEI). 

A fox with a brush in its mouth, and nursing a baby, represents 
Kuzunoha. 

When a thousand years old they become either white or golden, and 
their powers are extremely great ; they have nine tails, and take the name 
Kiubi no Kitsune. In Ehon Wakan Homare such a fox described as 
" golden hair nine tail evil Fox," is depicted with human hands, flying 
away from a warrior, and on the following page YUN CHU TSZE (Unchiushi) 
HI f4* ""?* is shown contemplating a picture of a fox dressed as a courtier, 
when he predicts the ruin of his country at the battle of jj:^ jiff |lj Mount 
Shunan. According to legend, TA Ki J& ti> the favourite of Chow Sin, 
was a fox in woman form (see the story of Go TOBA'S concubine, 
TAMAMO NO MATE). 

The fox forms the popular representation of Inari Sama, and as such is 
often met with in the form of stone images, showing the animal in a seated 
posture, with or without small bronze bells, and which are used at the 
entrances of Inari's temples and in many other places. 

White foxes, with the sacred jewel in their ttvlons, are sometimes a 
subject met with in art. Another familiar subject is that of the foxes' 
wedding, or KITSUNE YOMEIRI, when the sun shines amidst the rain, the 
bride being carried to her husband's house. Every fox is said to have a 
family of seventy-five, and possesses the infinite vision (Ten Gan), the all- 

70 



LEGEND IN JAPANESE ART. 

hearing ear (Ten ni tsun), the secret of the souls of others is open knowledge 
to him (7'a shin Isun). He has the full knowledge of the universal past 
(Shiyuki mei tsim), and of the universal present (Zhin kyan Isun), besides 
the widest powers of self-transformation and transmutation, of which he 
makes the largest use in its evil designs upon men. 

Like the badger, the fox disguises itself as a priest, or uses its belly 
as a drum (Kitsune no ham Isuziuni), or generates the fox fire (kitsune-bi), 
the Will-o'-the-wisp. With its distended belly it is, like the badger, some- 
times shown with the Fugu fish, playing with Hotei at To hachi ken. 
They occasionally shave men's heads, and make them look like monks ; 
other fox tricks consist in eating the grease of candles after extinguishing 
them, of deluding blind men in following them about, grasping their tails, 
which they believe to be the kimono of some friendly guide. 

When the moon is in the sky they can manage to take its form. 
They are, however, afraid of wrestlers, and cannot utter complete words : A 
Hoin or a Yamabushi can exorcise them out of a possessed individual. 

The fox is worshipped in Matsue, at the Temple Kodomo no Inari, or 
Jigyoba no Inari, and prayed to by people whose children fall sick, or 
object to having their heads shaved, or refuse to be bathed (perhaps because 
of the high temperature of the bath). 

In Tales of Old Japan, A. B. Mitford, now Lord Redesdale, gave two fox 
stories. One (from the Kanzen Yawa) is that of Tokutaro, of Iwahara, in 
Shinshiu, who, not believing in foxes, made a wager to spend the night on the 
Maki moor, to disprove their existence. On arriving there he saw a fox run into 
the hedge ; a moment later he was accosted by the wife of the headman of Maki, 
' who was going on a visit to her parents in upper Horikane, and begged that 
he would accompany her. He consented, but when they reached the house of 
her parents he told her father that she was undoubtedly a fox in disguise, 
and would prove her to be so. In endeavouring to do so, he burnt her 
to death in front of the kitchen fire. He was bound with ropes and tied 
to a post, to wait till the morning, when he would be taken to his lord 
for judgment. At that juncture, appeared the priest of the temple Anrakuji, 
of Iwahara, with a servant, who inquired into the cause of the headman of 

7 1 






LEGEND IN JAPANESE ART. 

Horikane's grief, and recognising Tokutaro, offered to shave his head and 
make a monk of him as a penance since he had not killed the girl from 
any other cause than his belief that she was a fox. The headman having 
agreed, Tokutaro's head was duly shaved by the priest . . .In the 
morning, Tokutaro awoke in the middle of the moor, to find that he had 
been the victim of a bad dream, but his pate was bare, and he became 
a priest under the name of Sainen. 

The story of the grateful foxes is more popular. A man once bought 
for half a Bu (sevenpence) a fox cub, which three boys were going to kill; 
he dressed the fox's wound and gave it back to its parents, which came 
near him to find their cub. A short while after, his own son got sick, 
and the physician ordered him as the one and only cure the liver of a live 
fox. None could be procured, but late at night a messenger came, with 
a liver, stating that he came from a certain person, whose name he gave, 
the very man who had tried to procure it but had failed. This person 
being invited to dinner, after the child had recovered, was quite surprised 
at his host's expressions of gratitude, as apparently he knew nothing of the 
messenger who had brought the liver. 

During the same night the man had a dream, in which the old vixen 
told him that she had killed her cub to requite her debt to him, and that 
her mate had acted as messenger in the circumstance. 

The BADGER and the Fox. Tanuki and Kitsune were in sore straits 
through lack of food ; the badger suggested, that he would pretend to be 
dead, and that the fox, taking human shape, should carry him to the 
town, sell him, and with the money buy food for both. This ruse proved 
highly successful, and the two animals resolved to repeat it, changing role in 
turns. The badger, however, had made up his mind to keep all the money 
for himself, and when he sold the fox whispered to the buyer that Kitsune 
.was shamming. The man killed the fox. Then the tale of vengeance 
began. The son of the fox made a wager that he would so disguise 
himself that the badger, with all his cunning, would not be able to recognize 
him and avert his fate. He would, said he, dress as a noble, and in that 
disguise ; cross a certain bridge unheeded. 

72 



LEGEND IN JAPANESE ART. 

The badger heard this, and went to the bridge to watch. Late in 
the day a Daimio passed with his retinue, and the badger shouted to him: 
"I know you; you have come to pay me that wager." The fox cub was 
hidden near by, and as the badger gave himself away he killed him on 
the spot. 

In another story of fox revenge, a goldsmith of Oji, whose work 
consisted in chasing menukis and fuchi-kashiras for sword hilts, used to 
scoff at Inari. One day a woman came and asked him to call with some 
gold ornaments which one of her relatives desired to inspect, with a view to 
purchase. The goldsmith came as desired, taking some choice specimens 
along, which the lady took from him, begging that he would wait at the 
door of a castle on the Oto-nashi-gawa. While the man waited, he saw 
the building decay and crumble to dust under his very eyes ; nothing 
remained but a ruined well, from which flew away a fox, snarling at the 
bewildered goldsmith. 

Eoxes are shown amongst chrysanthemums, as an allusion to another 
fox girl story. A prince, having once become infatuated with a beautiful 
young girl, her real form was later revealed to him as she was sleeping 
amongst chrysanthemums, when she resumed the shape of a fox. 

. .In one of the No dances is preserved a presentment of the legend, 
according to which Inari Sama, the Fox God, helped the smith Sanjo 
Kokaji Munechika to forge a sword for the Emperor. 

B. H. Chamberlain says that Inari blew the bellows for Kokaji, the 
swordsmith, and that this legend is commemorated in the fires lighted on 
the "occasion of the Fuigo Matsuri, or feast of the bellows, on the 8th of 
November. 

Kitsune Tsuki is a common subject in art : a fox, wrapped in a man's 
dress, slumbers near or under a sheaf of straw. The hunter, who unexpectedly 
finds the animal, is too surprised to kill it. Or, the reapers in the field 
think that they see a fox, while it is only their master's servant bringing 
them food, and the poor man gets beaten to death. 

Foxes are also depicted attempting to break Daruma's meditation. 

In his translation of Chiushingnya (2nd Edition, p. 80), Mr. F. V. Dickins 

73 



LEGEND IN JAPANESE ART. 

gives the following names of Goblin foxes : Shinochr, Kurosuke, Reita Sansuke, 
Osuke, Yatsuyama, and Kuzunoha. See also the Hundred Stories of Monsters, 
Ehon Hiaku Monogatari (3 vols., illustrated by Takehara Shunsen). 

199. FROG. The frog and the toad are of common occurrence in 
Japanese art. See TOAD, GAMA Sennin, JIRAIYA, KOSHIN Sennin, ONO NO TOFU, 
CHUGORO, TOKUBEE. Frogs over an upturned water-bucket, or basking upon 
a lotus leaf while a kingfisher watches his opportunity to pick the delicate 
morsel ; frogs ascending Fuji with hats, umbrellas, and picnic box made of 
lotus leaves and fruits, while Fuji itself takes the appearance of a huge 
frog's head ; frogs drilling like soldiers, playing with foxes and monkeys, 
or worshipping another and bigger frog, seated amongst leaves like an 
enthroned Buddha, are but a few common adaptations of this animal. 

The frog, in company with the snake and slug, form an allegory 
called Sa Sukumi, "the three cringing ones," afraid of one another because 
the snake can eat the frog, which disposes of the snail, but the slimy 
secretion of the latter is fatal to the snake. This belief is made use of in 
the legend of Jiraiya, where magic powers in the same relation to one 
another are attributed to the three animals. 

There is a proverb which says : " What does the water frog in the well 
know of the great ocean ? " and it is said that a Kioto frog and an Osaka 
frog, feeling hurt by the aspersion thus cast upon their race, decided to set 
upon their travels and enlarge their minds by contemplating the Eastern 
Ocean and the China Sea respectively. They met on the road after enduring 
many hardships, and after the usual greetings, inquired from one another what 
the two towns were like. They found that there was hardly any difference 
between them, according to one another's description, and the older frog 
suggested that instead of going further, they should both set back and 
return to their own wells, saving themselves further trouble and travel. 
And they did so, returning home feeling that they had been very foolish, 
but consoling themselves with the old proverb that " Even Kobodaishi 
drew some characters badly." 

The croaking of frogs is not very melodious, which may account for 
their being called Dutch nightingales, with the exception of the Kajika, 

74 








KITSUXE TADANOIIU (r.) 
KITSITNE KEN' (ir.L.B.) 
NINE TAILS FOX (.V..) 



KIT.SUNE TSUK1 (a.s.T.) 

FOXWOMAN (U.S. r.) 



KUZUNOHA Ll.) 



K1TSUNE ODOKI (./.) 



LEGEND IN JAPANESE ART. 

whose cry is esteemed. The Emperor Go TOBA strongly objected to 
the noise, and since his days the frogs of Shike-kuro-no Ike have been 
silent (q.v.). 

ONO NO TOFU, the caligraphist (q.v.), was encouraged in his studies by 
watching a frog trying to get at a willow leaf hanging over a stream. The 
subject is used in the Hana garuta (nth month set). 

For the Erog in the Moon, see CHAN -Gnu. 

A man crouching, in a peculiar pose and with a vacuous expression on 
his face, is also intended to represent a frog. (See drawings by Toyokuni.) 

200. FU DAISHI / ff ^ @p. A Chinese priest, who lived in the Vlth 
century. He is generally represented between his two sons, FUJO ^ jfc an d 
FUKEN ^ $|, and popularly called WARAI BOTOKE (the laughing God). He is 
credited with the invention of the revolving bookcase, or Rinso, containing the 
6,771 sacred books of Buddhism, and which it suffices to revolve three times to 
acquire as much merit as would be obtained by the earnest perusal of 
the whole, besides which, a long and prosperous life is thus secured by 
means of a relatively slight physical exertion. Fu Daishi and his sons form 
the first illustration of the Butsu Zo Zui. 

The Rinzo, or Tenrinzo, is figured in Hokusai's Mangwa, and in the 
work of William Simpson, The Buddhist Praying Wheel, page 115. 

201. FUDO >T I|J]. Buddhistic divinity, identical with ACHALA the 
Immovable ; he is also called FUDO Mio O, and is one of the Dai Nichi 
Nyorai ; its other Sanskrit name is AKSHOBHYA. 

He is represented seated over the brink of a precipice, or standing on 
a rock, surrounded by flames. In his right hand he carries a vajra hilted 
sword, or sometimes the Amakurikara, and in the left a rope, which, 
according to some, is intended to bind the wicked. According to Buddhist 
texts, the rope is used by the God, like a fishing line, but with better and 
more constant results, to draw men to the other side of the river, where 
they find the true knowledge. 

His head is covered with thick black hair, with a long plait of eight 
strands extending to the left shoulder. 

75 



LEGEND IN JAPANESE ART. 

He is the Divinity of the waterfalls, one of the eight patrons of life in 
the Japanese astrology, and also the God of Wisdom. He has two acolytes: 
one, pink coloured, is KONGARA DOJI, the other, like a red lotus, is SEITAKA 
DOJI, both of whom are often indentified with CHOCEN and CHOAKU, 
respectively. 

202. FUGEN BOSATSU ^ | (SAMAXTA BHADRA). The Chinese Pu- 
HIEN, a Buddhist divinity, seated at the left of the Buddha (Sheika).. He 
is as a rule shown with a roll of texts in his clasped hands, or occasionally 
a lotus, and seated on an elephant, the latter having often as many as 
three pairs of tusks ; or sometimes seated upon a group of elephants. 

He is the God who dispenses knowledge and wisdom, and is the 
spiritual son of Dai Nichi Niorai (Yairotchana). 

Fugen is the patron of the extatic sect, which practises the Hokkezammai. 

203. FUH HI ^^, or FUKKI, the Inventor of the Eight Diagrams 
of the Chinese. See SHINNO. 

204. FUJI YAMA H Uj, FUJI SAN. " The " mountain of Japan, 
celebrated in art and in poetry from the earliest times. Hokusai devotes to 
its appearance the hundred views of Fuji (Fuji Hyakkei), and the thirty-six 
views, Saigio-Hoshi's contemplation of the peerless (/f^ "".) snow-clad mountain 
is a common subject, not only for the artist, but even for the free caricature 
of the school-boy. The poet Narihira cannot tear himself away from it, 
and stops with his retinue at the foot of the peak, composing a poem. 
Jofuku is said to have ascended Fuji, and found there the monks from 
Mount Horai concocting the elixir of life (^f ^E Fuji, immortal), which his 
master, the Chinese Emperor, SHIN NO SHIKO (see CHENG), had sent him to seek, 
with the result that he came over to Japan with 500 Chinese couples and 
the best books of China. His deception being found, the Chinese sages 
were put to death and all the books destroyed. (This legend is not in 
agreement with the Chronology of Mayers' Chin. Read. Manual.} 

It is usually credited that Lake Biwa was formed at the same time 
as Fuji San. Fuji is associated with dreams, as the omen of greatest 

76 




DRAGON ASCENDING FI'JI (//.) 

FUKUSUKE (A.B.) TEE DREAM (.-;.) 

FUJI IN THE SAKE CUP. HAICHU NO FUJI (,/.) 



NARIHIRA (../.) 
FUJI HIME 



LEGEND IN JAPANESE ART. 

luck. Dragons, across the mountains or clouds, or the Caps of Fuji, are 
common art subjects. 

205. FUJIFUSA $ffc H [jj$ )^] (FUJIWARA). Patriot and, according to 
legend, later, monk (1335) who accompanied the Emperor, Go DAIGO, during 
his exile. The Yedo Osetsuyo (I. 28) compares him with HANREI. 

206. FUJI HIME jj$ $|. Princess Fuji, the divinity who inhabits 
Fuji Yama. She is also called the "Princess who causes the blossoms of trees 
to flower" (Ko-no-hana-saku-ya-hime), or ASAMA, or SEXGEX, and is pictorially 
represented with a large sun hat and a twig of wistaria (perhaps through 
some popular pun upon Fuji *^. C and Fuji ^ t> wistaria )fc) in her hand; 
the name of her elder sister is IXYAXAGA HIME. Some of their adventures 
in the age of the Gods have been recorded in the Kojiki and the Nihongi. 

207. FUJIX (FUTEX) 5c Ji, (FENG PKH JH f). The God of the Winds, 
shown with the head of a demon, two claws on each foot and a thumb, with 
three claw-like fingers on each hand, with one of which he grasps a bag 
containing the winds, whilst the other holds a spear from which depends 
a red pennant. When thus depicted he is one of the Twelve Deva Kings, 
VASU ; when without the spear, he grasps his bag with both hands, the 
winds escaping from one end of it. He is sometimes shown with Raijin, 
the Thunder God, whose attributes he occasionally borrows, both repairing 
their "plant," very much the worse for wear, or fighting in the sky. 

208. FUJIWARA $H |j^. Powerful family, who from 660 to 1050 
practically ruled Japan, and who, even after the advent of the Shogunate, 
kept to the fore of the Japanese nobility. From its ranks were selected 
the Empress and the chief officials. The name has also been honoured by 
artists and poets, besides warriors. 

209. FUJIWARA HIDESATO ^ |jjp. See TAWARA TODA (HIDESATO). 

210. FUJIWARA SADATOSHI jf| ^. Shown unwrapping the Biwa 
sent him by his Chinese master, Liu (RenjSbo). (Zen Ken Kojitsu.} 

211. FUJITSUNA ||fc $PSJ (Aworo SAYEMON). See the story of the LOST 
CASH. Once during a famine the Shogun, TOKIYORI, was sending rice to 

77 



LEGEND IN JAPANESE ART. 

a convent, when one of his oxen relieved himself in the river. AWOTO 
FUJITSUNA said : " See how the ox follows the example of his master." 
Explaining that the Shogun was sending rice to the wealthy priests while 
the people were starving, and that likewise the ox contributed to the river, 
which was already full of water, instead of waiting until it came across 
a paddy field suffering from the drought. 

Fujitsuna's wit was appreciated by the Shogun, who offered him a ' 
place at court, but he strenuously refused. 

212. FUJO and FUKEN. Sons of Fu Daishi (q.v.). 

213. FUKIUHAKU ffi ^ i&- Sennin watching flowers in a vase. 

214. FUKUJIN H p. See SHICHI FUKUJIN. " Les Sept Dieux du 
Bonheur," according to Humbert, generally called the Seven Household 
Gods, or the Seven Gods of Good Fortune, or the Gods of Luck. 

215. FUKUKONGO, or AMOGHA VAJRA (704-774) ^ <*? Pu KUNG. A 
priest from India, who went to China about 733 A.D. under the Emperor 
HIUENG TSUNG, and became one of the patriarchs of the Tantra sect. Accord- 
ing to Eitel (C.B.) he introduced a new alphabet for the transliteration of 
Sanskrit, and published 108 works, mostly translations. 

216. FUKUROKUJIU jfg jfc tp. One of the Seven Gods of Luck, 
shown with a tall head, sometimes much longer than the whole of his 
body. Old and bearded, he is the God of Longevity, and as such, usually 
accompanied by the crane and the tortoise. His name means Wealth, 
Prosperity, Longevity, and the first item of it is often represented by the 
Tama, or sacred jewel, which he carries in his hand. A stag, also 
emblematic of long life, is often with him. The Stag, according to Chinese 
legend, is a long-lived creature, but instead of becoming white in its old 
age, it changes to blue when a thousand years old, and to black at its 
second millenium. 

Fukurokujiu is bald-headed, and dressed in old-fashioned garments : 
some see in him a presentment of LAO TSZE (Rosni) ; other writers would 
identify him with Jurojin, from whom he often borrows the staff and 

78 




FUKUROKUJIU (H.S.T.) 
FUJI MI SAICYO (M.Ut.) 



SAIHYO (..!/.) 

FUGEN (MGI.) 



FUKOROKUJIU (T.L.) 
FU'lEN (U.GI.) 



LEGEND IN JAPANESE ART. 

makimono, or the fan and the peculiar head-gear, but not as a rule the 
dignified countenance. In fact, Fukurokujiu is more often shown in pleasant 
or humorous groups. His elongated cranium is particularly attractive to 
the other Gods of Luck, or even to ordinary boys, who play with the 
benevolent deity, attaching a scarf around his head in a modified game of 
Kubi Kitbi (neck pulling), climbing on his head, shaving it, standing 
upon a high stack of tables, etc. ; or Fukurokujiu will exhibit his caligraphic 
skill with a brush tied to his forehead, or examine some roll of texts, or 
be depicted exorcising the Oni on New Year's Eve, or having a chat with 
the Chinese Emperor, Chen Tsung. He is, of course, often represented in 
the Tarakabune, or treasure ship, with either the whole or part of the 
Shichi Fukujin. It is said that once the sage, Ya Kuwaboku (KIKWAHAKU, 
q.v.), was visited by a dwarf, three feet broad, five feet high, whose head 
was half his total height ; this personage had a long beard, a red dress, 
and was very boisterous, he held in hand the Kotsu (Tablet). Noticing 
Saisho, the disciple of Ya Kuwaboku, he told the latter that this disciple 
was no other than the God of the mountain Tai San. The author of 
the Ye-ma no te-hon moreover thinks that Jurojin is identical with Fukorokujiu; 
and this is confirmed by the Sogenjigo saying that a Taosse, Fukuraku, was 
in Kiayen (1056-7) transformed into the Nankiyoku rojinsei (southern Star of 
long life), and obtained the names Ko no Minami and Jurojin, and in the 
Fnzoku In it is recorded that in Gen yo (1086) a dwarf answering to 
the above description came to visit the Emperor, So Chi Zung, and, after 
getting drunk, told him that he was Rojinsei of the Southern star, the 
holy one who prolonged the life of men. 

217. FUKUSUKE |g $)]. A Toy made in the shape of a dwarf with 
a big head, sometimes used as a model for netsuke, especially poised on 
one foot or a stool, reaching a dinner service in a box, or as a shop sign, 
or as the first figure in a lantern entertainment. 

218. FUKUTOMI ORIBE jjjg g $j| gR. A tale which dates from 
circa 1340, tells how a man named Fukutomi Oribe became extremely rich, 
thanks to his skill as a punster. He had a cantankerous wife, who was 

79 



LEGEND IN JAPANESE ART. 

called by his neighbours Mrs. Demon, as they could not find any other 
way to describe the ugliness of her person and the unloveliness of her 
nature. One of the neighbours, thinking profitable puns easy to make, 
gave up his own work to try imitating Fukutomi, but failed in every 
attempt. The tale forms a book, intended to warn people who yearn for 
unexpected luck by keeping before them the example of the unlucky 
neighbour, Hokusho Tota. 

219. FUKYOKU SENSEI g Jg] ft & (shown carrying the tools of a 
mirror polisher), seemed to hail from a foreign land, as his speech differed 
from that of the people. Me polished mirrors to earn his living. One day 
his landlord asked him: "Who could live in the world without a disease?" 
" I have a good medicine which can cure any disease," replied the sage, and 
as a pestilence soon after decimated the land, he distributed it on the 
door-steps, curing no less than ten thousand people without exacting any 
payment. 

220. FUMON MUKWAN H H f$ M- A vei 7 learned priest who 
lived in 1212-1291, and who, after twelve years of travel in China, came 
back to his native land and succeeded his master as Abbot of the temple of 
Tofukugi. It was rumoured in Kyoto that the palace of Higashiyama was 
haunted, and the then Emperor, Kameyana, thought that perhaps a con- 
templative Buddhist priest might be effective as a demon queller. He sent for 
Fumon, asking him whether he could lay the ghosts. The Abbot replied that 
" Even in the secular books it is said that a ghost cannot overcome virtue, 
how therefore could they exist where a priest lives ? " The Emperor, acting 
on that advice, had the temple of Xanzenji built in the palace, and the 
abbot took his residence therein, to remain in possession until his death, 
after which he was canonized under the name of TAIMIN KOKUSHI ^ ^ 13 $$ 

221. FUNDO. See the sacred treasures of the Takaramono. 

222. FUSE HIME of SATOMI. Lady depicted in court dress, with a 
makimono and a pet dog. It is an illustration of the story of SATOMI, in 
Hakkenden. Her father vowed to give her as a bride to whoever would 

80 




KUKIUHAKU (...) 
FUKUSUKE (.,. 



PUDOU) 



.,. FUTEN - (y.. v . t -.) FIIJ , H , ME (Wi _ A) 

TOBOSAKU, TAKENOUCHI, UKASHIMA, SSIOBO, MIURA NO OSUKE ; PLAYING AT FUKU BIKI (if.c 



LEGEND IN JAPANESE ART. 

bring him the head of one of his enemies. The happy suitor was a 
dog. 

223. FUTEN JJS, ;. See FUJIN. 

224. FUTON of TOTTORI Jjfj Jft. 0) ^\ Hfl. This is a ghost story given 
by Lafcadio Heani in Unfamiliar Japan. Two little boys were living 
in a small house, after the death of their mother. Alone and penniless, 
they could not pay the rent of the place, and their only possession was 
a dilapidated futon. Their heartless landlord took possession of it, and 
turned them out of doors, where they hugged one another for warmth and 
died in one another's arms, in the snow by the side of the house. A 
poor innkeeper who had bought the futon from the landlord, not knowing 
where it came from, was surprised night after night to hear the voices of 
the two brothers comforting one another, and found that the voices were 
those of the two ghosts. He gave the futon to the village temple, and 
had the Kyo recited upon it for the peace of the infants' souls, after which 
they were never heard any more. 

225. GAKI !$ j|. See GHOSTS. 

226. GAMA SENNIN 4g H flj A- The Sennin with the Toad, shown 
holding a toad (sometimes three-legged) in his hand, or with the animal 
climbing over his dress, or on his shoulder. The toad has often its full 
complement of legs, and in some rare cases it is even shown bigger than 
the Sennin himself. His name was KOSENSEI (Teacher Ko) f^ ^ ffi, or 
How SIEN SENG, and he is described as having had no hair on his face, not even 
eyebrows ; and his skin was covered with protuberances. One day as he went 
to bathe he was followed by a man named BAGEN, who assumed the form of 
a frog, to watch the Sage; there is another version in which Kosensei is said 
to have assumed the frog shape when in the water. Kosensei, who put his 
magical knowledge to practical use by selling drugs endowed with wonderful 
powers, presented Bagen with a magic pill which gave him a hundred years of 
life. He is sometimes shown in the act of giving the pill to the toad 
or frog. 

81 



LEGEND IN JAPANESE ART. 

227. GAMES. 

Bibliography : Chief!}' the second volume of the Nihon Fii zo Kit Shi. 

The works of Lafcadio Hearn, Griffis, Chamberlain, and Mrs. Chaplin 
Ayrton. 

A complete survey of Japanese games would require a volume in itself; 
the following list contains only some of the more common pastimes. 

AKAMBE consists in pulling down the lower eyelids, as explained under 
that word in the text. 

ANA ICHI appears to correspond to the Western game of pitch penny. 

CHIXSHIN MUGA MUGA or MOGURA is essentially a boy's game ; it 
consists in hopping for as long a time as possible on one leg only, the 
other being bent back. 

CHIYE xo ITA, boards of wisdom, is similar to the French jeu de 
patience. Pictures of some war scene are pasted on thin boards, which are 
afterwards sawn in irregular shapes. The player must fit them together, 
and reconstitute the picture. 

CHIYE xo 'YVA, ring of wisdom, Chinese puzzle of rings threaded on a 
bar of metal, much after the European types. 

COCK FIGHTING, TORI NO KEAI, appears to have been in vogue in the 
early period of Japanese history. B. H. Chamberlain tells us that it became 
a fashionable craze in 1874; whether the Dutch were responsible for a 
similar fashion during the seventeenth century is not clear, but netsuke carvers 
have made of the Dutchman hugging a cock a very familiar figure. 

DAKIU, the game of polo, was introduced from China, where, we are 
told by Prof. Giles, it was an Imperial pastime, so highly esteemed that 
a maker of polo clubs is reputed to have ascended to heaven, thanks to 
his skill. Dakiu, however, never was very popular in Japan, owing to the 
expense it entails. It differs from European polo in several points ; seven 
players on either side, dressed in a distinctive colour, enter the field, each 
carrying a ball of the same colour as his dress balanced in a sort of 
triangular net formed at the end of a long stick. The goal, in the centre 
of the field, some eighteen feet from the entrance, consists in a wooden 
screen with an eighteen inch opening in the centre, to which is attached 

82 



LEGEND IN JAPANESE ART. 

a bag of string netting. The game consists in throwing into this bag in 
as short a time as possible, seven balls of one colour. 

Do Cnu SUGO ROKU, travelling game ; compare the French jeu de I'oie. 
Its most popular form is called the Game of the Tokaido road ; it is 
played on the New Year's Day, and upon a large sheet of paper, on 
which are indicated the fifty-three stations of the Tokaido, the stakes are 
placed at Kyoto, and the players, starting from Tokyo, throw dice to 
determine their rate of progression. 

FLOATING FAN. This game, no doubt derived from the Chinese cup 
floating, followed the same rules. A winding stream was selected, upon 
which fans, specially lacquered, were floated by the players, who had to 
compose poems during the time taken by the fan to travel between two 
stations, say, for instance, two consecutive bends of the stream. An 
illustration will be found in Mrs. Salwey's paper, "Pastimes of the Japanese," 
in Vol. ]'. of the Japan Society's Transaction. 

FUKU BIKI is a game played during January. One of the players holds 
a bunch of ribbons, to which are attached prizes or labels bearing puns on 
the prizes given, and the other ends are pulled by the other players, who 
must guess the nature of the things attached to the tapes they hold. 

KARUTA, meaning card, probably from the Spanish Carta, forms the 
generic name of several games : 

In the GENJI GARUTA, allusions are made to the wars of the Taira 
and Minamoto families; the SHI GARUTA game is based on Chinese quotations; 
the KOKIN GARUTA upon ancient odes ; the HYAKU-NIX-ISSHIU GARUTA 
consists of a hundred cards, each of which bears a verse from that famous 
collection of hundred odes. 

The IROHA GARUTA bear the signs of the Iroha syllabary as initial of 
fifty cards to be matched by fifty proverb pictures. 

The UTA GARUTA consists of two sets of cards, one of which is adorned 
with pictures and the other with the corresponding poems, which must be 
matched. One hundred cards were used. 

In the HANA GARUTA, or flower cards, forty-eight cards are used, four 
cards being devoted to each month, and decorated with the flower 

83 



LEGEND IN JAPANESE ART. 

emblematic of that month : Pine, plum, cherry, wisteria, iris, peony, 
lespedeza, eularia (Japonica), chrysanthemum, maple, willow and paul- 
ownia. The relative values of the cards of each set of four are further 
distinguished by some small animal, coloured cartouche (Tanjaku), or particular 
design. As an example of the associated subjects, Ono no Tofu is depicted 
on the cards of the eleventh set, with the willow and the frog. This 
game was favoured by grown-up folks, who found in it opportunities for 
gambling. Less valuable were, as a rule, the stakes in the Iroha Garuta 
confined to children ; the loser of the game, if a boy, had his face marked 
with ink, if a girl, a wisp of straw was tied in her hair. 

GKNMI and HEIKK. This is a boy's game. The players have red or 
white flags attached to their backs, according to the clan which they 
represent, and they carry upon their heads earthenware pots, which the 
opposite side tries to break with wooden swords. The game was not 
without danger, as the heads chanced to receive as many blows as the 
pots. 

GHOSTS GAMES. In the most elementary O BAKE GOTO, a girl loosens 
her hair over her face, and plays the role of the O Bake, with frightening 
gestures, rolling of eyes, and lolling of tongue, in imitation of popular 
ghost pictures, accompanied with sundry noises. 

Amongst more organized ghostly games, the HIYAKU MONOGATARI consists 
of a hundred grisly tales told at night. The tales are short, never exceeding 
a few sentences, and the room is lighted by a lamp containing a hundred 
short wicks at the beginning of the game. After each anecdote has been 
told, one wick is removed ; darkness slowly invades the house as the reel 
of stories becomes exhausted, till, ultimately, the last tale told, the 
last wick is snuffed, and the ghost appears or should appear to the 
accompaniment of sundry noises made by the players. Another ghost 
game is the KON DAME SHI, or soul examination. A number of flags are 
set in some dismal place, as, for instance, near a cemetery, where ghosts 
are reputed to wander, and at night stories are told, the players going in 
the intervals to collect the flags, one by one. 

Go is a complicated game, of Chinese origin, and which was, according 

84 



LEGEND IN JAPANESE ART. 

to tradition, introduced to Japan by KIBI DAIJIN (q.v.), and which we find 
associated with not a few legendary worthies (see EMBLEMS). 

It is played on a low table of massive construction (Go Ban), on the 
top of which nineteen lines, drawn from one side to the other, intersect 
an equal number of lines drawn at right angles to the first. Three 
hundred and sixty-one crossing points, called Me, are thus formed, and 
the central one is named Taiyuki, or primordial principle ; the remaining 
three hundred and sixty represent degrees of latitude. The chief celestial 
bodies are represented by nine spots (Seimokit), Black ishi, or stones, of 
which there are one hundred and eighty-one, represent night, and one 
hundred and eighty white ones represent day. The game consists in 
capturing ones opponent's pawns by enclosing at least three crosses round 
his ishi, and slowly covering as much of the table as possible. A lengthy 
description of the game can be found in KORSCHELT'S paper in the German 
Asiatic Transactions, parts 21 cl scq. 

GOMOKU NARABE, is an easier game of Go, in which the first player to 
get five pawns in a line in any direction wins the game. 

HANETSUKI is the game of Battledore and Shuttlecock, specially favoured 
about the New Year. The shuttlecock consists as a rule of some round 
seed, perhaps gilt, and into which are fastened several feathers, much like 
the European article. But the battledore is a heavier implement : made of 
wood and nearly square, it might be called a bat ; one side of it is purely 
ornamental, carved with the figure of some hero or of some famous actor. 
The loser is fined by having his face blackened, or merely rings of ink 
drawn around his eyes. The game is common to boys and girls. 

HASAMI SHOGI is played with pawns. The game consists in pushing 
on the board a pawn between two of the other player's ; when this result 
is attained, the winner takes the pieces adjacent to his lucky pawn. 

HATATSUBURAKASHI. The game of Kite fighting, peculiar to Nagasaki, 
the point of which consists in cutting loose the adversary's kite. To 
that effect the kite (Tako) is attached to its ordinary smooth cord (Jada 
Yoma) by means of a hundred feet of a specially treated string, called Biidoro 
Yoma, and a second smooth cord depending from the lower corner of the kite. 

85 



LEGEND IN JAPANESE ART. 

The cutting cord is covered with glue and powdered glass, and attached 
to the centre of the kite. When it meets the cord of the other player, 
clever manipulation causes the cords to rub until one gives way. 

ISHINAJO, the game of Marbles. 

JIUROKU MUSASHI. Easy game played with sixteen round paper pawns, 
on a divided board. 

KABE DACHI. Man's game. The performer stands near a wall, with 
the back of his head touching it, supporting himself on the palm of his 
hands, which rest on the floor, with the fingers touching the wall. The 
feat consists in raising the body vertically, so that the soles of both feet 
touch the wall. Also called Shachihoko dachi. 

KAI AWASE or KAI Oi. The shell game, played with three hundred 
and sixty clam shells, one valve bearing a verse and the other a picture 
to which the verse refers. The poems are divided amongst the players, 
and as the pictures are thrown one after another on the mats, the holder 
of the corresponding poem must place his shell near it. 

KAKUREMBO. Hide and seek. 

KEHAZE KAMI. One player stands, holding a paper at arm's length, 
the other tries to kick it with one foot without tumbling. 

KEMARI. Football much favoured at Court in ancient times. The 
Japanese football was made of two hemispheres, stitched on a diameter, the 
stitching forming a hollow zone around the ball. Football rejoices in the 
possession of a Three Headed divinity called Mari no Kami (Ehon Tsuhoshi}. 

KISHAGO HAJIKI. Game of marbles played with hard round shells which 
are flicked away by a special motion .of the thumb and index finger, like 
in the Ishinajo. 

KIOKUSUI NO YEN. A game of Chinese origin* consisting in floating 
sake cups upon a winding stream, along which the players were seated. 
Poems were to be composed and committed to paper between the beginning 
of the game and the passage of the cup before the player if he desired to 
take some refreshment. If the player could not compose a poem in time to 

'"" Introduced by Gensho Tenno in 486 ; it took place on the third day of the third month. 

86 



LEGEND IN JAPANESE ART. 

seize the cup, he was expected to let it pass, and those who could not 
produce any poetry remained without wine until perchance a cup stopped 
in front of them by accident. It is reported that one of the Chinese 
Emperors had a winding stream specially constructed for this amusement. 

KEN. Games played with fingers, a few conventional motions representing a 
whole scene ; the name is derived from the Chinese lf fist. The best known are : 

JAXKEX, which represents a pair of scissors (nasami) cutting some cloth or 
paper (kami) and meeting a stone (ishi) hidden in its folds, the meaning 
being that a stone can be wrapped up, and the scissors can cut the wrapper 
but they cannot damage the stone. 

TOHACHI KEX, or Kitsnne Ken. Played by three people, one of the 
players depicts the fox by placing his hands at the side of his head to 
simulate the ears, another extends his arm to personify the hunter with his 
gun (teppo), a third one sits sternly with his hands on his knees to represent 
the headman of the village (shoya). The motions of the fingers of the 
players must be made in the proper sequence, and must be appropriate. The 
game is much favoured by women, and as an example in European games, 
similar in principle, but immensely easier, can be given the French Pigeon vole. 

MUSHI KEN is based upon the hierarchy of the snake (hebi), the frog 
(kaeru) and the slug (namekuji) in magical powers. The snake is represented 
by the index finger, the frog by the thumb, and the slug by the little finger. 

A game, somewhat akin to Ken, consists in casting shadows on a wall 
by means of one's limbs and simple " properties," such as a pipe or pieces 
of paper, so as to represent animals. 

Ko AWASE. The Perfume game or Incense game fully described in 
Lafcadio Hearn's works. 

This exquisite pastime necessitated such an elaborate set of utensils, 
that "Ko Awase sets" of beautiful lacquer have long been classified amongst 
collector's treasures. 

The principle of the game consists in guessing the nature and name 
of some incense from the perfume of its smoke. The various players, seated 
on the mats around a small scoring board were given counters, papers to 
write poems or the name of the blends, the host then passed the smoking 

8? 



LEGEND IN JAPANESE ART. 

incense round in small boxes closed but for a narrow slit at the top 
through which the smoke arose. The guests recorded their guesses in writing 
after smelling the incense, and handed in their counters according to certain 
intricate rules. 

Incense sticks vary considerably both in quality and in price, and 
the differences between the best blends being very subtle the players must 
be endowed with very acute senses to hit upon the right names at the end 
of a long game. 

KOMA ASOBI. Top spinning, for boys. The Japanese top differs from 
the European one, but is very similar to the Sabot of the French boys, 
its upper part is cylindrical, and the lower part tapers to a point where it 
is shod with iron. In the childrens' toys, the round part is made of 
bamboo with holes in the side to make them hum whilst rotating, the 
taper part is a hard wooden plug. Sometimes the tops are bound with 
iron rings, and are used in top fights. 

Another game played with a top is called Fox Catching : the top is 
placed on the floor, and the boy "fox" attempts to reach it without getting 
his head caught in a hoop held by his playmates between him and his 
prize. 

KOTORO KOTORO. Catching the child. The players walk in single file, 
touching one another, with a "father" at the head of the file, whose duty 
it is to swing his Hock so that they may not come in contact with a 
single child, the Oni, who attempts to catch the last of the line. Should 
he succeed, the " father " has to exchange places with him. 

KUBI HIKI, Neck-pulling. The two players are set back to back with 
an endless scarf joining their foreheads, which they pull by moving the 
head forwards till one of them gives in. 

MAKURA ARASOI. Pillow catching. The two players squat on the floor 
tied back to back, a pillow is set at some distance in front of each and 
they must reach the pillows without toppling one another over. 

MARITSUKI. Girls' game, playing at ball. 

MAWARI KOBOTOKE. Childrens' game : Small ghost, consisting in dancing 
in a circle around a blindfolded child. 

88 



LEGEND IN JAPANESE ART. 

MAWARI SEKKO. Circulating incense stick, so-called although there is 
no incense circulating, but the players sit in a circle and make poems, 
each player using as a first word the last one of the verse uttered by the 
previous player. 

ME KAKUSHI, or MEKUSAN. Blind man's buff. This game finds its 
application in the dramatised versions of Chiushingura. 

NAMAKO SUBERI. This is really more a physical exercise than a game: 
the players are two in number, naked and with the skin well greased, and 
the man who throws his partner down is the winner. 

NE No Hi No ASOBI. The amusement of the day of the Rat. Old- 
fashioned pastime, perhaps originally endowed with a religious significance. 
On the first day of the Rat of the first month, Court ladies uprooted small 
pine trees to celebrate the day. 

NIRAMI Ai or NIRAMI KURABE. The two players sit face to face. One 
with a piece of paper stuck to his forehead makes grimaces to cause his 
partner to laugh without smiling himself. 

OGI OTOSHI, better named To SENKIO, was a girl's game played by 
two people, with fans. Between them stood on a small table a target in 
the shape of an open fan, and the corners of which were provided with 
bells, this was called the Cho. The game consisted in the players hitting 
the target with the rivet end of their fans by throwing the latter in such 
a fashion that it turned on itself in its trajectory. 

ONI GOKKO. The "puss in the corner," or the French quatre coins. 
The oni stands in the centre of a group of trees or other points of vantage, 
and should one of the players be caught by the oni, when running from 
one place to the other, they change places in the game. 

OSAMA KEN. In this game some six or seven boys represent the various 
grades of society, and according to their playing they rise or drop in grade. 

OSHIKURA. There are several Udeoshi and Suneoshi, Yubizumo, which are 
really physical tricks played with the arms, legs and thumbs respectively. 

OTEDAMA or OJAMME. Girls' game played with seven small bags filled 
with small seeds. 

89 



LEGEND IN JAPANESE ART. 

POETRY. Besides the games given above in which poetry plays an 
important role, capping verses was a favourite pastime of the learned, and 
the value of such an achievement can be understood by referring to the story 
of Yoshiiye and Abe no Sadato, also Hosokawa Yusai. 

SAJI SUMO. Both players stand on the right leg, holding the left in the 
left hand, and with the right hand they try to throw one another down. 

SARU KABURI or HIKAKI KABURI. The player puts on his head a tall 
basket, through which he cannot see, and attempts to kick it off. 

SHITAE TACHI. A man stands near a wall, with his hands folded behind 
his back, and he must touch the wall with his forehead without, tumbling 
over. 

SHOGI. The game of chess, played with forty pawns (twenty each side), 
of a peculiar pentagonal shape, with the name written on each, a description 
of which can be found in Baron K. Suyematsu's -4 Phantasy of Far Japan. 

SUGOROKU. Travelling game such as that of the TOKAIDO ROAD. 

TAKE UMA. Literally WOOD HORSE, stilts. 

TAKO AGE. Kite flying on New Year's Day. 

TEMARI. A girl's game played with a ball. 

TENUGUI BIKI. Towel pulling, a man's game. The towel is held fast by 
the players in their elbow joints ; the game is merely a tug of war. 

TOKO or TSUBO UCHI. An old Chinese game, favoured by some of the 
Sennins, it consists in casting a ball in a narrow -mouthed pot or in shooting 
arrows in a long-necked bottle previously filled with peas. 

TSURU No HERIORI. A man's game. The player with his arms tied 
behind his back poises himself on one foot and tries to seize with his teeth 
a fruit placed on the ground, without tripping. (Imitating the crane.) 

WAMAWASHI. Hoop trundling. The only difference between this game 
and the European variety appears to be in the stick used, Western boys 
have a straight stick, Japanese have a forked implement, in the opening 
of which the hoop is guided. 

YAMI SAIKU is a patience game for blindfolded players. A large mask 
of Otafuku, or some other well-known type, is cut into parts, and the 
player must reconstitute it. 

90 



LEGEND IN JAPANESE ART. 

YUBI ZUMO. Thumb pressing. The two players sit face to face and 
force their thumbs together as a trial of strength. 

There are many variants to the trials of strength, they may be made 
with the legs, the fists, the hands; Kubihiki takes place with a long endless 
rope passing from neck to neck of the players under their bodies while on 
all fours, etc., until there is hardly any difference appreciable between the 
game and the physical exercise, and one might include wrestling amongst 
popular games. 

When a company meets, one sits outside the circle blindfolded, to decide 
who will perform some game. He is supposed to be Kaminari, the Thunder 
God, and whilst a plate or some other object is passed round from hand 
to hand in the circle, he cries Goro-Goro Zudon (the Japanese onomatopoeia 
for the Thunderclap), and the person who then holds the object must begin 
the entertainment. 

228. GARIO 3$!} |$H /iff UW, or BINGA, or BINGACHO. The companion 
of Vishnu : GARUDA. Mythical creature, half woman half bird, sort of 
winged and feathered Angel, with a tail like a Phoenix and legs like a 
Crane. 

It is also called the KARIYOBINGA BIRD. 

229. GEESE (Wild). See EMBLEMS, SENNINS, TAKENORI, YOSHIIYK, 
HACHIMANTARO. 

GEESE, with rushes in their bills, are emblematic of the care which 
should be exercised when selecting an abode, as it is believed that 
geese carry in their bills bits of rushes, which they drop in ponds, before 
taking to the water, or as some say, to stand upon. 

A favourite design consists in a wild goose, or a flight of wild geese 
passing across the disc of the moon. 



230. GEKIBOKU $$ vet- Tailed men, see MYTHICAL FOREIGNERS. 

231. GEKKAWO ^ T H. Poetical name of the God of Marriage: 
MUSUBI NO KAMI, YUEH LAO ^ ^, the Old Man under the Moon, who 
binds with a red silk thread the feet of lovers. In Chinese legends, the 

9 1 



LEGEND IN JAPANESE ART. 

old man varies this occupation, and by way of physical exercise, chops 
down the cassia tree, everlastingly growing in the moon, and which, when 
its foliage is too exuberant gives it a red colour. The red silk thread 
plays a role in the selection of the bride of Kwoh (Yuen Chin) amongst the 
five daughters of Chang Kia Cheng. Mayers give as an alternative name 
Kieh Lin |g J$. 

232. GENII ^fl ^ f$, the HAPPY, or the Merry Genii, see WAGO JIN. 
They are presented in the guise of two Chinese boys, trampling treasures 
underfoot. 

233. GEMPEI ^ ^. The war of GENJI (or MINAMOTO) and HEISHIN 
(HEIKE or TAIRA) which took place between these two families during the 
Xllth Century. 

234. GENJI $jt another reading of the word MINAMOTO, name of the 
clan descended from the Emperor SEIWA (856-877), which proved a terrible 
adversary of the FUJIWARA, and later in 1185 defeated the TAIRA at Dan 
no Ura after a war which lasted thirty years (GEMPEI war). The victor, 
YORITOMO, became Shogun, but died, after having driven his half-brother, 
YOHITSUNE, to commit suicide. The GENJI clan became extinct in 1219, 
when SANETOMO, second son of Yoritomo, was treacherously murdered by his 
nephew KUGYO, son of Yoriiye, on the staircase of the temple of Hachiman, 
at Kamakura. Amongst other books see Bakin's Ehon Genjio meizo (1804). 

235. GENJI. WHITE BANNER of the Genji. See the story of KOMAN. 

236. GENJI MONOGATARI jg & $9 g- Lengthy novel in fifty-four 
volumes, written at the end of the Xth Century by the poetess MURASAKI 
SHIKIBU (q.v.). Thirty-one of its chapters are devoted to the adventures 
of Prince Genji, and the number of personages it includes necessitates a 
biographical volume in itself. 

237. GENKEI I^C III- A Chinese sage, YUAN CHAO, represented as an 
old man carrying a flower basket on his shoulders. He is probably the 
prototype of a great many rough netsuke. He is said to have lost his way 

92 



LEGEND IN JAPANESE ART. 

in the Tendai mountains in the middle of the first century, A.D., in company 
with Ryushin. They were rescued by two female Sennins, whose favours 
they received, and after leaving them they found themselves seven generations 
older. See RYUSHIN. 

238. GENKU $j| 2j5. Celebrated Buddhist priest honoured after his death 
with the titles of HONEN SHONIN and ENKO DAISHI (q.v.). 

239. GENXO OSHO 0% 7ft] IP?, founder of the Raizoji temple of 
Kamakura, is the priest who, with his hosso, broke to pieces the death rock 
of Nazumo in Shimozuke, into which the Tamamo no Maye had been 
transformed. (See ABE xo SEIMEI.) A humorous picture of this incident 
is given in Jinji Ando by Kuniyoshi. See STONES. 

240. GENSO flft j|l. The Chinese Emperor, MING HWANG (HUAN TSUNG), 
of the Tang dynasty, born 685, and adopted son of the then Emperor Jui 
Tsung to whom he succeeded in 713 A.D. Genso delighted in the con- 
templation of the flowering cherry tree, and when the blossoms were too 
slow to open according to his Imperial opinion, he had the drum beaten 
by his female attendants to give them notice to hurry. He is generally 
represented playing the flute with his concubine YOKIHI (q.v.), the erstwhile 
wife of his own son, and of whom he had become so infatuated that he 
took her in his seraglio, gave his son another consort, and left the cares 
of the Empire to his ministers. Yokihi becoming all-powerful, her two 
sisters were also introduced into the Imperial harem, whilst her father and 
brother obtained elevated positions. The licence of the Emperor was only 
stopped by the revolt initiated by his own companion of debauchery, the 
Tartar minion, Ngan Lu-shan, ending in the massacre of the three sisters, 
and the abdication of Ming Hwang, in 756. 



241. GENSUKE BASHIRA jt| fljj & or A tt & EE Pillar of Gensuke, 
which was in the middle of the old bridge at Matsu (Hitobashtra Matsud). 
See also Matsuo. In the Keicho era (1596-1614) the Daimio, HORIO YOSHIHARU, 
decided to build a bridge over the Matsue river, but stone after stone 
was swallowed in the sand of the river bed, and when at last the bridge 

93 



LEGEND IN JAPANESE ART. 

was finished, the pillars sank or were swept away, men being continuously 
employed repairing the structure. There was no way to abate the trouble 
except by burying a live man in one of the piers, and it was decided 
that the first man who should pass the bridge, without having under his 
Hakama, the stiffener known as Machi, would be the victim. It happened 
to be a man named Gensuke, whose ghost ever after haunted the pillar, 
in the form of a red fire visible on dark nights. A similar but older 
story attaches to the bridge of Nagara famous in Japanese poetry. At 
some later date wicker or metal figures were used to propitiate the spirit 
of the waters instead of human sacrifices. 

There is a parallel to this curious belief in the effect of the immuring 
a live man, to make a building secure and strong, in the Roumanian 
ballad of Manoli. 



242. GKNTOKU 2lfl|. The Chinese Emperor, CHAD LIEU Ti 0j 
also known as RIUBI (Liu PEI |^lj fff ) the name under which he was known 
when a child. He is said to have been a grandson of the Paragon of Piety 
KEI TEI, and a distant relative of the Han rulers. He supported his infirm 
mother and himself by making straw sandals and mats. He met KWAN Yu 
and CHOIII, with whom he later took an oath of brotherhood in a peach 
orchard, and became commander of a small force, but when Tsao Tsao attempted 
to usurp the throne, the three brothers in arms turned against him, from 
the province of Sze Ch'wan, until his fall in 220, when his son, Tsao Pei, 
usurped the government and Liu Pei took the title CHAO LIEH Ti, as 
Emperor of China. This was the beginning of the period of the Three 
Kingdoms, and the foundation of the minor Han dynasty in Shuli. 

One of Gentoku's adventures is classical : he was betrothed to the 
sister of the ruler of Keishu, RIUHIO, who, desiring to abdicate in his favour, 
invited him to some festivities at his castle on that occasion. He had, 
however, reckoned without his brother-in-law, SAIBO, who beseiged the castle 
during the feast. The only place which was not surrounded was the steep 
western battlement, at the foot of which the river Dankei ran its course 
in a deep ravine. One of Gentoku's retainers, Iseki, showed him that 

94 




GENTOKtl (ir.LJi.) 

GAMA (A.) 
KIOKUSHI NO YEN (ir.L.K.) 



GOSH1S1IO (ll.S.I.) 
TOYS (C.//..V.) 



(JAMA SKNXIN (H.S.'J') 

G1OKUSHISI1O (if.L.B.) 

FLOATING FAN GAME (j.N.C.) 



(A 






LEGEND IN JAPANESE ART. 

dangerous means of escape, and the Emperor, quickly mounting his horse, 
Tokiro, cleared the torrent by a jump of over thirty feet. 

He is also represented travelling in the middle of the winter, on foot, 
amongst snow-clad mountains, to seek CHU Ko LIANG (KOMEI), his future 
adviser and general, whom he found in a hut of reeds poring over some 
classics, and very chary to accept the Emperor's offer. For his son, A-Tow, 
see CHOUN. 

243. GHOSTS (Yitrei). See also BAKEMOXO and GOBLINS. 

Since the painter, OKIYO MARUMAYA, limned the first ghost picture at 
the request of the then Shogun, from the appearance of his own dying 
aunt, the artistic presentment of ghosts and ghost stories has become 
common. 

The spirits are shown with long straight hair, hand waving or 
beckoning, or holding the dress, generally with flowing sleeves. The head 
is strongly delineated, and also the upper part of the body, but from the 
waist downwards, the forms are misty, and taper into airy nothingness, 
for ghosts have no feet. In netsnke, this latter point is of course a 
determinant feature. 

244. GINGA $j| yBf. See AMA-NO-GAWA, the Via lactea. 

245. GIUBA -^ $jj or ZUIREI, one of the sons of Benten, shown with 
horse and draught ox, transformation of Yakuwo Bosatsu (Baichadryaraja). 

246. GO jffic. See GAMES, EMBLEMS, KIBIDAISHI, SATO TADANOBU. 

Men playing Go in or outside a large orange. This is an allusion to 
a story given in the Wakan zoho guahon Kagami of Hasegawa Yasuyoshi 
(1698) and in Ehon Hokan. In a garden grew an orange tree which 
bore very large fruits ; two oranges particularly were of such an abnormal 
size that they were left on the tree for a very long time, as curiosities, 
and they remained wonderfully fresh, showing no sign of decay. Some 
day, however, the owner of the tree decided to cut down the fruit and 
to open them. As the oranges were split, two sages walked out of the 
fruit, and went to play Go upon a table which happened to be conveniently 

95 



,1. 
> v 



LEGEND IN JAPANESE ART. 

close. After a while, one of the sages pulled from his dress a dragon-shaped 
root, and all partook of this food ; then, calling for water, the old man 
drank some, and spat it on the ground, where it resolved itself into a 
dragon, which carried the four to heaven on a cloud. 

The story is sometimes illustrated by showing the sages issuing from the 
orange, or playing Go inside it. In some places, however, a ground cherry 
takes the place of the orange, but this variant could not be traced in books. 

247. GOBLINS. See BAKEMONO, BADGER, Fox, GHOSTS, KAPPA, YAMA 
UBA, YCKI OXXA, MITSUME NIUDO, SHOJO, TENGU. 

See also ADACHIGAIIARA, Tale of the tongue cut sparrow, Badger's 
money, and story of the Prince and the Badger in Mitford's Tales of Old 
Japan, and a great many scattered stories in the works of Lafcadio Hearn. 

248. GODS OF GOOD FORTUNE. See the SIIICHI FUKU Jix, and 
separately FUKUROKUJIU, JUROJIX, DAIKOKU, YEBISU, BEXTEX, HOTEI, BISHAMON. 

249. GO DAIGO ^ j|) ^C jjl- The ninty-sixth Emperor of Japan, 
who tried to shake the domination of the HOJO family of shikken of Kamakura, 
but failed, and was exiled by Hojo Takatoki, in 1332, to Chiburi, one of 
the Islands of Oki. After the happy campaign of Nitta Yoshisada (q.v.), 
he came back to Kioto, in 1333, on the advice of Yoshitsuna. The story 
of Go Daigo's checkered reign is surrounded with romance. When he fled 
from Kioto, he was followed by the poet Fujifusa seeing the latter weep 
upon his misfortune, he composed a verse, 

Sashite yuku 



i Kasagi no yama wo 

\ $ 

< Ideshi yori 

7 

b Ame ga shita ni wa 

a, Kakure ga mo nashi, 

which means both : " Since I have left the Kasagi mountains, I have no 
shelter under the heavens," . . and . . " Since I have lost my umbrella, 
nothing shelters me from the shower." 
To which Fujifusa replied : 

96 




THE EMPRESS JINGO 
(By courtesy of Messrs. }'<iinatt(ik<i) 



LEGEND IN JAPANESE ART. 

Ikani sen 

Tanomu kokage ni 
Tachiyoreba 

Nawo sode nurasu 
Matsu no shita tsuiyu, 
meaning : " Whatever can we do, if reckoning upon the shade one takes 
shelter under the pines, the drops in falling will still more wet the long 
sleeves." ... in which shita tsuiyu means falling rain drops, or tears 
as well. 

On the road to the Oki islands, several attempts were made to rescue 
the Emperor, one by a monk RIOCHIYU in Kioto, the other in Bizen, by the 
daimio KOJIMA TAKANORI, who, thwarted in his attempt, rode in advance of 
the escort, and with his sword removed the bark of a cherry tree upon 
the trunk of which he wrote the Chinese allusion : ^ 

Ten Kosen wo Munashu suru nakare, ... 

Toki ni Hanrei naki ni shinio arazu x.., 

(O Heaven ! do not destroy Kosen, whilst Hanrei still lives.) -*e- 

to give the Emperor a hint of his loyal designs. fe 

Go DAIGO, however, was placed in safe keeping in a temple. 
His daughter, HINAKO NAI Smxxo, tried to follow him, but she could 
not endure the hardships of the journey, and she died at Sozen Goku 
Mura, in Tottori. During her illness she asked for some chestnuts, bit one 
and threw it away. The fruit germinated into a tree, the chestnuts from 
which bear small marks, like tooth-bites, and it is called Hagata guri no ki. 
The tree of the tooth-marked chestnuts. After seventy days of exile, Go 
Daigo eluded the guard of Sasaki Kiyotaka, and with Minamoto no 
Tadaaki, managed to reach a fishing boat, the skipper of which hid him 
under loads of evil-smelling cuttle fish, and, telling the pursuing Kiyotaka 
that two men in court dress had been seen escaping in the opposite 
direction, took them across to Osaka no Minato, in Hoki, where the Emperor 
landed, carried on the shoulders of NAWA NAGATAKA, who, with his brother 
Nagashige, took him to the summit of the Funa no ye Yama, and defeated 
Kiyotaka when the latter arrived in hot pursuit. The triumph of the 

97 



LEGEND IN JAPANESE ART. 

Emperor was short-lived. The Ashikaga Takauji proclaimed himself ShSgun, 
and entered into open revolt, Go Daigo's son, Morinaga, fell into disgrace 
and was murdered. Go Daigo tried to retain Kioto as his capital, against 
the advice of Kusunoki Masashige, but soon again he had to fly to 
Yoshino, whence he and several of his successors have been occasionally 
called the Yoshino dynasty. After the death of Xitta Yoshisada, his 
followers rapidly dwindled away, and he died in August, 1339, holding in 
Ins hand his sword of which he had made so little use. 

250. GODOSHI ^ j|| =$. See Wi: TAO TSZE. 

251. GOKURAKU >gt ^. The Buddhist Paradise. 



252. 



GOMO ^t %&. The Taoist worthy, Wu MENG. When eight years 
old, he suffered himself to be bitten by mosquitoes, rather than brush them 
aside for fear they might plague his parents who lived in the same room. 
This paragon of filial piety became a disciple of the wizard TING I ^ A ~T 3% 
(SmjiN TEIJI), and as an example of his proficiency, he is often repre- 
sented crossing a river on a feather fan, which he waved over the boisterous 
waters, as the winds were against his progress. He is also represented 
with fan in hand, driving through the heavens a chariot drawn by two 
stags. He is credited with the slaying of a giant snake, and his favourite 
pupil appears to have been Fu Chen Kung. His daughter, TSAI LWAN, 
is the SIIINRETSU, or GOSAIRAN of the Japanese, herself an adept of Taoist 
necromancy and the companion of BUNSHO (WEN SIAO) (q.v.) with whom 
she is depicted riding on tigers above Mount Etsuo. 

253. GOMPACHI $| A and KOMURASAKI /h ^. The story of the two 
faithful lovers is a celebrated one and has been dramatised in popular 
plays. During the reign of Reigen Tenno (Kwambun period), in the second 
half of the seventeenth century, Shirai Gompachi, skilful swordsman of 
Inabi, killed one of his clansmen in a quarrel and flew to Yedo. On his 
way he met a girl, Komurasaki, who told him that she was held captive 
by robbers, and that he, too, would be caught by them unless he hurried 
away. Gompachi stopped, attacked the robbers, and rescued the girl whom 

98 



LEGEND IN JAPANESE ART. 

he took to her parents in Mikawa. He then returned to the Yedo road, 
met with another party of robbers, who would have despatched him but 
for the timely arrival of a man named Chobei, who rescued him and 
entertained him in Yedo. In the Yoshiwara, Gompachi heard of a new 
Joro, just arrived from the country, and who was called Young Purple. 
She was no other than Komurasaki, whose people had met with misfortune, 
and who had sold herself to pay their debts. Gompachi, deeply in love 
decided to redeem her, and as he had no money himself, he began a life of 
crime, killing and robbing people to get enough money wherewith to buy her 
back. He was caught and beheaded, Chobei buried his body at Ekko-in, 
and Komurasaki came a few days later to kill herself on his grave. 
Their common tomb is called the grave of the Shiyoku, and the souls of 
the twain are embodied in the legendary bird Hiyokudori (q.v.). See the 
Shossestn Hiaku mon, of Bakin and Hokusai in 1804 also Yedo Mnrasaki 
(Hokusai). 

254. GONGEN SAMA |f| J^ %jj[. Popular posthumous name of IEYASU. 

255. GORO TOKIMUNE JOB B It See SOGA Brothers. 

256. GOSANKE $P ^EL ^C- Name of three families issued from the 
Tokugawa Shoguns. See MITSUKUXI, Daimio of Mito, and KANAME ISHI. 



257. GOSHISHO ft ^ W tffi. Hi- Wu Yux, also called 
Su -^ -ff, Chinese general who, in a literary competition, showed his learning, 
as well as his wonderful strength, by holding above his head a three-legged 
bronze brazier, whilst with the right hand he wrote a lengthy stanza. He 
is generally represented in the act. The Shaho Bukupa. says that Goshisho 
was a general of So (Cnu). The Duke Ai, of Shin, desirous of grasping 
the supreme power, had proposed an assembly of nobles at Rinto, where 
all were to discuss the matter of his elevation to power. Being a man 
with little faith in chance, he posted a guard near the bridge of To with 
orders to kill anyone who dared to oppose him, and further he proposed 
that a president be elected for the conference, who should be a man of 
great strength, capable of lifting a kanaye weighing 1000 kin (1329 pounds), 

99 



LEGEND IN JAPANESE ART. 

and, at the same time, of such literary attainments as to solve three riddles 
which he, the Duke, had chosen. This was all pre-arranged to insure the 
election of his own favourite, Ko SONKO, who however got rather lamely 
through the test. GOSHISHO then rose and disputed the seat. Lifting the 
kanaye with one hand, he wrote the proper answers with the other, and the 
nobles enthusiastically elected him. Goshisho then asked the Duke to give 
him a guard as far as the gate of To, because he thought that he had seen 
some ill -looking knaves lurking about, and the Duke was thus thwarted in 
his plans. 

While Fu CH'A, King of Go (^ Wii), was at war with KOSEN, King of 
Yetsu (| Yiieh), the latter sent him a beautiful girl as a present. Goshisho, 
thinking this gift might be a dangerous one, advised the King to have 
nothing to do with the girl, but the King thereupon ordered him to be killed 
and his head to be exposed. According to legend, the King was later 
captured by the enemy, and, as he was led past the exposed head, this grim 
remain of Goshisho was seen to grin (see HANREI). Another version has it 
that Goshisho committed suicide in 475 B.C., after an eventful life famous 
in Chinese history. The Chinese and Japanese Repository (I. 311) gives a 
short history of his flight from his native country, T'su, to the Court of Wii, 
after the treacherous execution of his father and brother in B.C. 520., 



258. GOSHO NO GOROMARU fP $f 0) I|$ A- See SoGA Brothers. 

259. GO TOP.A TENNO ^ Mj % ^ Jl. The eighty-second Emperor 
of Japan, who was elevated to the throne by Yoritomo, after the defeat of 
the Taira clan at Dan no Ura, in 1184. Go Toba, who was then four 
years old, " invested " Yoritomo with the ShSgunate, and lived peaceably 
till the Shogun's death, in 1198, when he tried to take in his own hands 
the whole of the government and to get rid of both the Minamoto and 
Hojo, who were struggling for the regency of the Empire. After a short 
fight, Go Toba was captured and exiled to Amagori, in the Old Islands, 
where he lived till 1239. He is said to have whiled away his leisure by 
forging swords called Goshokaji (palace forging) with the assistance of twelve 
swordsmiths, one for each month of the year, in a smithy specially erected 

100 



LEGEND IN JAPANESE ART. 

in his palace, and yet legend has it, that the deposed monarch was highly 
sensitive to noises, one story being to the effect that he commanded a pine 
tree to be still, as the rustling of its branches in the night kept him from 
sleeping. According to another story the frogs of the pond of Shike Kuro 
no Ike have been dumb since 1200, because, when Go Toba was staying at 
the house of the Choja Shikekuro, near Amamura, their nightly croaking 
disturbed his august slumber and he forthwith commanded them to be 
silent. 

260. GOURDS (HIOTAN). See EMBLEMS; see EARTHQUAKE FISH. 

,, Banner of the 1000 Gourds, or Sen Xari Hisago. At a 

fight between Toyotomi HIDEYOSHI, and another of the Kuge, or retainers of 
OTA NOBUNAGA, Hideyoshi having no standard to carry before him, im- 
provised one by plucking a gourd plant by the roots and using it as a 
pennon. After beating his opponent he adopted the gourd as a standard, 
vowing that he would add to his banner (Umajirushi) one gourd for each 
victory he won thereafter. The incident is said to date from circa 1550, and 
the gourd banner, with the flowing strips, is a common feature frequently 
met with in art, and, curiously enough, Kuniyoshi has depicted it in some 
muchaye representing the campaign of Kusunoki Masashige. 

261. GOYEMON (ISHIKAWA) JL Hf PI Dft )\\l son of Ishikawa 
Akashi was a celebrated bandit of the XVth century, who, when thirty-seven 
years old, attempted to murder Taiko Sama, but failed ; he was taken to 
Kyoto and there publicly boiled to death in an oil bath in the presence 
of his wife Oritsu, his father-in-law Iwaki Hyobu, and his son Goroichi, 
who had to share his father's death. Three officials were present, named 
Iwaki Toma, Hayami Toma, and Yamakaze Heima. 

Before his execution he composed a poem which has been preserved, but 
his name and the recollection of his fate have also been transmitted through 
three centuries in the humorous, though somewhat accurate, description of 
the tub-like bath, popularly called Goyemon Euro, which is heated from the 
outside, and the bottom of which is made of iron. There are several 
versions of this story. 

101 



LEGEND IN JAPANESE ART. 

The penalty of boiling to death was called Kamaire, it had just been 
introduced from China by Takeda Nobutora, and was suppressed by the 
Testament of leyasu. According to another version he actually stole the 
incense burner (in the shape of a snipe), Chidori Koro, and wrapped it in a 
piece of Shokko no nishiki, rich brocade from the Chinese province of Shoku. 

It is also said that he wanted to steal a very valuable vessel belonging 
to Taiko Sama (Toyotomi Hideyoshi), and that he disguised himself as the 
Emperor's messenger to gain access to the palace. His plan was thwarted 
by Hashiba Hideyoshi, who, thinking he recognised the robber, immediately 
put on the dress of a servant, and after Goyemon had flown discovered him 

hiding on the second story of a temple. 
& 
A] His celebrated verse reads : 

-*C 

j^ Ishikawa ya 

-) jt Hama no Masago wa 

~y^ 

\ty Tsukuru tomo 

r 

Yo ni nusu bito no 

Tane wa tsukimaji 

"Although the sands are all gone of the Ishikawa (river) and of every 
sandy shore, yet the seed of a robber will not remain exhausted for 

j j 

ever. 

262. GREEN IN MY EYE (game). See AKAMBE; gesture; see BEKKAKO. 



263. GWAN SHIN KEI M M - YEN CHI N K'ING. Chinese sage, 
represented with a package on his shoulder, and walking with a crooked 
cane to which is attached a rolled book. He is also called GWAN HITSU, 
he was a learned man who held office in the time of TOKUSO (TE TSUNG), 
of the To dynasty, and refused to acknowledge Ngan Luh Shan, after 
the deposition of the Emperor GENSO. In 785, when he was seventy-six 
years old, he was strangled by a man named RIKIRETSU (^ ^ ^,'j Li Hi Lieh). 
Many years after a merchant of Rakuyo, passing along the mount Rafu 
(Lo fuh), saw him with another sage playing at Go under a tree ; they 
rebuked him for disturbing them, and Gwanshinkei gave him a letter to take 
to the house he dwelt in during his earthly life. It is said that once he 

102 



LEGEND IN JAPANESE ART. 

caused rain to fall during a drought by liberating some people who had 
been wrongly imprisoned. 

264. GYOGI ff ^ ^ H|, or GYOGI BOSATSU. A celebrated Buddhist 
priest who, in 736, headed the deputation sent by the Emperor SHOMU to the 
temple of Amaterasu, in Ise, to pray for the permission of the Goddess to 
erect at Nara the statue of the Daibutsu. He propagated the doctrine of 
the SHIN BUTSU KOXDO, or RYOBU SHINTO, in which the original religion of 
Japan was permeated with Buddhism, its deities being considered as the 
various incarnations of the one Buddha, and those temporary avatars received 
the popular name of Gongen. This "canny" stroke increased the popularity 
of Buddhism, and the mixed religions flourished side by side in common 
temples until the Restoration in 1868 and the "revival of pure Shinto." 

Gyogi is popularly credited with some works of art and the construction 
of several bridges, besides the invention of the potter's wheel*, the use of 
which he taught to the people of his native province of Izumi. The pottery 
turned out by this accomplished monk was called Gyogi Yaki, and some 
specimens are said to have been religiously preserved up to the nineteenth 
century. He died in 749. 

265. GYOKUSHI 3L ~f, of Nangun, had supernatural powers over all 
the elements, causing wind, rain, whirlwinds, and storms, now destroying 
trees or buildings, now petrifying grass, or building castles with the dust of 
the road or the stones of the fields. Riding upon a large horse, he covered 
thousands of Li a day, and blew coloured clouds. He is one of the Taoist 
Rishis, and perhaps identical with Giokushisho -fc -f 1 J|L. See HORSE. 

266. HACHIMAN A HI- "The eight banners," posthumous title of 
the Emperor OJIN TENNO, son of Tarashi Nakatsu Hiko and Okinaga Tarashi 
Hime (Jingo Kogo). He is credited with a life of no years, and died in 310 A.D. 
He has been deified as a War God, and was the special patron of the Minamoto 
clan, who are responsible for many of his numerous shrines. Born whilst his 
mother was engaged in the Korean war, he is often shown in the arms of 

~ Aston, Nihongi, I-i2i, says that the wheel was used before Gyogi's time. 



I0 3 



LEGEND IN JAPANESE ART. 

Takenouchi no Sukune, who stands in a boat, whilst the messenger of the 
Dragon King, Riujin, offers to the infant Emperor the jewels of the flowing and 
the ebbing tides. In his youth, he was called HONDA (Homuda), because of a 
fleshy growth on his arm, similar to the leather elbow pad (tomo), worn by archers. 
In the ninth year of his reign, whilst Takenouchi was on a tour of inspection, 
his younger brother, Umashi no Sukune, accused him of having some designs upon 
the throne. Ojin listened to this calumny ; but thanks to the devotion of 
Maneko, who, strongly resembled Takenouchi, and who killed himself in his 
stead, the old minister was enabled to come and attempt to justify himself. Ojin 
decided to leave the decision to the judgment of God, and the two brothers were 
submitted to the ordeal by boiling water, in which Takenouchi was successful. 

The Emperor is said to have once stopped his horse in the middle of a 
journey, to contemplate the falling leaves. The gentle dove is his messenger, 
but he is, nevertheless, usually pictured with a fierce face and a scowling expression 
and grasping a two-edged sword. There is in the Kojiki a story of how NIMPAN 
(or Susukori), having distilled a strong liquor, Ojin partook of it and became 
augustly drunk, but his augustness served him in good stead, for, as he went 
along the Osaka road, merrily singing, he hit a boulder with his staff . . . and 
the stone ran out of his way. . . . 

267. HACHIMANTARO A If ^C 115- See YOSHIIYE. 

268. HACHI NO KI & 7|C. Story of the Potted Trees. 

In 1253 the fifth Hojo Shikken, TOKIYORI, abdicated in favour of his son, and 
taking the title of Abbot Saimioji, went on a journey through Japan, with only 
one companion, DOUN NIKIAIDO, also disguised as a monk. Both suffered greatly 
from the hardships attending a winter trip, and one night when stopped by a 
storm of unusual violence, they took refuge in the house of a man whose refined 
ways proved that he had seen better days. On enquiry they found that he was 
the son of a magistrate of Sano, who had been despoiled of his estate through 
his confidence in an unworthy kinsman. He, however, did not bear any ill-will 
to the Kamakura clan, though his petitions to the authorities had been constantly 
ignored, and in proof of his loyalty, he showed them his suit of armour and 
rusty weapons. The ex -Regent forced this man, TSUNEYO SANO, to accept a small 

104 




GENTOKU (//.) 
HAGOROMO (M.E.) 
HAKUBAKU (.).) 



GAMA SENNIN (A.) 



HAGOROMO (itr.G.) 
H1YAKUDORI (II'.L.B.) 
HADESU (/<.) 



LEGEND IN JAPANESE ART. 

present of money, in exchange for which he received from Tsuneyo's wife a lock 
of her hair. Before they left in the morning, Tsuneyo apologized for being so 
poor that he had no incense wherewith to effect the purefication ceremonies, but 
bringing near the fire-place his dwarf trees, the flowering plum, the bamboo, and 
pine, he chopped them down and burnt them instead. A year later a rising of 
the Miura clan necessitated a general call to arms, and from all parts of the 
country warriors came to Kamakura, even long after the revolt had been quelled. 
Amongst the late comers, was Tsuneyo, in wretched attire and on a rossinante, 
whose presence excited a great deal of merriment. On giving his name he was 
at once taken to the Regent, in whom he recognized his guest of the previous 
year. Tokiyori restored to him his father's estate and office, and added to it 
three domains, the names of which bore resemblance to Pine, Plum and Bamboo. 
In the No play it is said that the trees were used to warm the guest room 
during the cold night. 

269. HACHISUKE y\ $]. Paragon of Ingratitude ; the subject of a story 
translated by Dening and B. H. Chamberlain, who gives him the name 
KYNEMON. He was a peasant of Takayama in Hida, who, overtaken in a 
ravine by a snowstorm, thought his last hour had come. He was, however, 
rescued by a female bear, who took him to a cavern where she laid him, 
insensible, between her two cubs. The man came back to consciousness and 
the bear fed him right through the winter. For a long time his story 
excited wonder, and brought him enquiries from hunters respecting the location 
of the bear. He finally succumbed to his greed when offered a sum of money 
and half the value of the flesh and skin of the bear, and he took to the 
animal's den a poisoned cake. With the price of his treason he bought a 
farm, but fate overtook him and all his enterprises failed, his family sickened 
and died, and he was gored to death by his own ox.* 

270. HADESU J^| [ (3 or HASUHI. Common name of KASHIWADE 
NO OMI, who was sent to Korea on an embassy by KIMMEI TENNO in 545. 

* Compare this Indian story : A Deer of five colours, with white horns, saved a man from drowning, and 
made him swear to be silent. The Queen having dreamt of such an animal, rewards were offered for its dis- 
covery. The man betrayed the deer, which, on being caught, told the story to the King, and the perjured man 
was beheaded. 



LEGEND IN JAPANESE ART. 

He is general!}' represented with his left hand in the mouth of a tiger. His 
story is told in the Nihongi to the effect that, after several stormy days, his 
party, having landed on the sea-shore, he found in the morning that one of his 
children had disappeared, and that a heavy fall of snow had obliterated the 
boy's traces; but in a short time, the snow having melted, he found the spoor of 
a tiger. Girding his sword, he advanced to the cliff and beseeched the Gods 
to assist him in his revenge. A large tiger presented itself, the unhappy 
father seized the brute's tongue and stabbed it with his sword, ultimately 
bringing its skin to the Emperor. In another version the child is said to 
have been a girl. 

271. HAGATA GURI NO KI. The tree of the tooth-marked chestnuts. 
See under Go DAIGO TENNO. 

272. HAGOROMO ^ ~& (Feathery robe). Subject of a No play. An 
Angel (Tennin) came once to the forest of Mio, near Okitsu, and climbed a 
mountain to behold mount Fuji and the sea of Suruga. She admired the 
view and then, after hanging her feather robe to a pine tree, started to dance 
on the sand beach. A fisherman, Hakurio, happened to pass just then, and 
thought her a beautiful woman, but presumably his looks did not betoken 
sufficient respect, for the Tennin was afraid and went straight back to Heaven, 
minus her robe, which is still preserved in a temple hard by. See Chamberlain's 
Things Japanese and Classical Poetry. 

Hagoromo is also the popular name of some sort of cake, and as an 
allusion to the fairy tale it is usual to serve this delicacy in a tray with 
.. Pine branches painted on it. The fact is stated in the poem : 
& Kwashibon no 

p 

Makie no matsu ni 
& 
J^ Kakari keri 

Hagoromo to damo 
Yoberu senbei. 

"The sweetstuff called Hagoromo is found hanging from the pine branch 
painted in gold lacquer on the tray." 

Dennys, in his Folklore of China, quotes a somewhat similar Liu-chiu 

1 06 



LEGEND IN JAPANESE ART. 

story : a farmer named Ming-Ling-Tzu saw a woman bathing whose clothes 
were hung on a pine tree, and when she came to claim her garments, which 
the farmer had gathered, a squabble ensued, which, however, terminated in 
a wedding ; but the woman went back to heaven ten years later. The same 
story is found in the Norse myth of the white swan, or sometimes seal, 
which married a fisherman and gave him three children before leaving him, 
finally, in Siberian and South African folklore; an essay on the subject can 
be found in Conway's Demonology, 1880-81. 

273. HAKUDO fjij jj|i. Chinese sage depicted in the guise of a coolie, 
with two baskets slung on a pole. 

274. HAKUGA NO SAMMI |f H H {fc. A noble of the tenth century, 
named SEMI MONO or SEMI MARU, played on the flute a tune which nobody- 
could either imitate or understand. Hakuga, after listening to his play for 
three years, overheard him once express his deep regret that, after his death, 
there would not be anybody to play it again as he knew of no one to 
whom he could transmit it. He then begged SEMI to take him as his pupil, 
and happily succeeded in his undertaking. This legend forms the subject 
of a No dance. 

275. HAKUHAKU |$ ^, or KAKUBAKU, was a learned Chinese sage, 
KWOH P'OH, who in his old days, was promoted to the title Suifu Senhaku, 
and who died in 324 A.D. He had received from his master nine books 
of Taoist magic and philosophic knowledge kept in a green bag, from 
which they are called Ts'ing nan shu. Chao Tsai $j[ j|j<; stole them from 
Hakubaku, and later they were lost in a fire. 

He is depicted travelling or crossing the sea in the company of a demon. 

276. HAKURAKU f^^|. The story of Hakuraku is also known as 
the Taoist parable of the real horse. Hakuraku had been sent all over 
the world by his master, the Emperor of China, to find the finest horse in 
existence. He came back after a lengthy journey and reported that in a 
certain place he had located a bay mare which was absolutely perfect. 
Messengers were at once sent to secure the horse, but when they got to 

107 



LEGEND IN JAPANESE ART. 

the place described they found a black stallion of ideal beauty. They were 
somewhat surprised but not disappointed, because, according to the teachings 
of Wang Yang Ming, when the expert descries hidden qualities without any 
reference to outward appearance even this is true knowledge. In allusion to 
this legend the veterinary surgeons are popularly called Hakuraku. 

277. HAKUSEKISHO U ^ (Hakusekisei). One of the Taoist 
Sennins illustrated in Hokusai Mangiva, Vol. III. He was too poor to buy 
any mystic drugs ; he therefore started to raise pigs and sheep (and is thus 
shown) until he had the sum of ten thousand gold pieces to procure the 
materials of an elixir. Once he boiled a white stone (Haku-seki) for his 
food and he retired to the Mount Hakuseki, hence his name. 

278. HANASAKASE JIJII $ Pfc ^, or HANA SAKA Jun. The Old Man 
who makes the dead trees to flower. A very popular juvenile tale, often found 
illustrated. In Nelsuke the old man is shown digging the ground, with his 
dog near him, gold coins showing amongst the freshly-tilled soil, or sitting 
under a dead tree with a box of ashes. There was once an old couple who 
had a dog named Shiro, and particularly nasty neighbours. One day the 
dog began sniffing and barking at a certain spot of the garden with such 
insistence that the old man dug the earth, and all unexpectedly his spade 
came upon a large number of coins. The neighbours, who had watched the 
performance through the palisade, tried to entice the dog to their own garden, 
but only succeeded by main force. The spot at which the dog sniffed was 
found to be filled with filth and offal. Thereupon they killed the dog 
and buried it under the root of a pine tree. The old man, much grieved, 
offered sacrifice upon the spot, and during the night was rewarded by the 
ghost of Shiro whispering to him to cut the tree down and make a rice 
mortar of its trunk. This mortar was endowed with the property of changing 
each grain of rice into a gold coin. The envious neighbours again made up 
their mind to obtain some of these riches and managed to borrow the mortar, 
but their rice turned into filth as they poured it in, and in their anger they 
broke it and burnt it. The old man was waiting in vain for the return of 
his mortar, but the ghost of his dog visited him again, and commanded 

1 08 



LEGEND IN JAPANESE ART. 

him to get the ashes from his neighbours and to scatter them over some 
dead trees. As the ashes touched them the withered twigs began to sprout 
and became covered with blossoms. The old man went over the country and 
his fame reached the Daiinio of a neighbouring province, who tested his 
powers and loaded him with presents. One of his envious neighbours tried 
to imitate him with ordinary ashes, but the impostor, on being called to a 
Prince's yashiki, was unfortunate, not only in failing to revive the trees, 
but still more so in that some of the ashes were blown by the wind into 
the Prince's eyes, with the result that his life was immediately forfeited. 

In another version, he escaped with his life after a severe beating and 
went back home. The good old man then took compassion upon him and 
his wife, and presented them with some money, after which the wicked 
neighbours repented and changed their evil ways. 

279. HANDAKA SONJA ^ j^f iM If: ^, or PANTHAKA. One of the 
Sixteen ARHATS, often represented apart from the others. Like Badhra (Hattara 
Sonja), Handaka's appearance is threatening: he is generally shown with a 
bowl from which issues a dragon or a rain cloud. He holds the bowl aloft 
with his left hand, and with the right carries the sacred gem. Sometimes 
he is shown seated on a rock, the dragon occasionally represented aside and 
crouching to reach the Tama. 

280. HANGAKU |g |||. Daughter of Jo no Sukemori. When the 
latter revolted himself against Yoriiye, in 1204, his castle of Torizaka was 
beseiged by SAINEN NIUDO (Sasaki Moritsuna, q.v.) and his daughter fought 
amongst the defenders, using large billets of wood as missiles. This strong 
woman was at last captured by Sainen. A spirited illustration of her fight 
is given in Ehon Sakigake. 

281. HANGONKO K^IW- "The Spirit returning in the Incense 
Smoke." This story forms the subject of the play, Sendai Hagi. The 
Yoshiwara belle, Miura ya Takao, was extremely famous, and her most devoted 
admirer was Date Tsunamune, Lord of Sendai, whose advances she persistently 
refused to accept. The Prince, however, hoping to succeed in his suit, bought 

109 



LEGEND IN JAPANESE ART. 

her from the Joroya for her actual weight in gold, and she was then ordered to 
follow him to his castle. Takao had to obey, but, before leaving, she called 
her lover, the Ronin Shimada Jusaburo, to whom she gave some incense sticks, 
saying: "We shall now be parted, and perhaps may never meet again. Even 
it may be that I shall soon die, but when you wish to see my face again watch 
the smoke of this incense." She was taken to Sendai, and the Prince gave 
her to choose between becoming his mistress or being killed. She chose death, 
and her ghost appeared in the fragrant smoke before the eyes of Jusaburo, 
as she had promised. See the Chinese story of Rifujin under Kan no Koso. 

282. HANKI fjs[ fi(. One of the sons of Benten. His attribute is a rice 
dish. He is also called SHITSUGETSU, and is a transformation of Sendanko 
Bosatsu, the Sanskrit Tchandanagandha. 

283. HANKWAI $$ HH". The Chinese FAN KW'AI, who died circa 200 B.C. 
He is generally represented carrying under his arm a door, in allusion to an 
episode of his life which is variously reported. He was drawn from the 
lower class of the Chinese people, having been a dog butcher, but being one 
of the early adherents of the Han dynasty he became one of the ministers 
of the Emperor HAN KAO Tsu (Kao Ti ; Japanese, KAN NO Koso), and became 
further attached to him when Kan no Koso married one of his relatives. 
One version has it that KAO Yu was plotting against the life of the Emperor, 
and Hankwai having heard that the conspirators were assembled in a room 
feasting with Kan no Koso, he forced his way to it, and bursting open the 
door entered the room with the door under his arm. The Emperor invited 
him to partake of the feast, and Hankwai helped himself to a boar's leg, 
which he carved with his own sword and washed down with ten shos (20 
litres) of wine, after which he accused Kao Yu of treason, playing the role 
of a drunken man to give Kan no Koso time to escape with Chang Liang 
(Ehon Riozai, Ehon Hokan). During the following year the aged Emperor 
raised him to the command of his troops, but on an accusation being made 
against him ordered his minister, Ch'en Ping, to have Hankwai beheaded. 
Thanks to his relationship with the Empress, he escaped after a short 
confinement in jail, being reinstated after the Emperor's demise. 

no 



LEGEND IN JAPANESE ART. 

In Mayer's version, the Emperor is said to have shut himself up in his 
palace, forbidding anyone to approach, and spending in luxurious self- 
indulgence so many days that Hankwai forcibly effected an entry and 
violently upbraided Kan no Koso, whom he found sleeping with his head 
resting upon an eunuch's body as a pillow. 

284. HANNYA $ ;. See MASKS. Female demon with horns, open 
mouth and sharp fangs. 

285. HANREI $L -Us- T' ie Chinese FAN Li, who was minister of Kow 
TSIEN (Kosen), and lived about 470 B.C. 

In a book dealing with Taoist sages he is included amongst Sennins, 
with this description : 

" HANREI served at the Court of Shu, and had Taikobo for his teacher. He 
drank water and ate cinnamon. He became minister of Yetsu (Yiieh), and 
assisted KOSEN to destroy Go (Wu). He is represented with a wine gourd 
in his belt and walking in the wind." 

He is said to have suggested to KOSEN a means of terminating his 
twenty years' warfare with Fu CH'A of Wu, which consisted in sending to the 
latter the famous beauty, Si SHE (j? $jj Japanese, SEISHI), whom he had found 
washing silk, and who, after her training at Court, was acknowledged the 
"belle" of the Chinese Empire. This stratagem was successful; Fu CH'A, 
distracted by her beauty, forgot his princely duties and was beaten, after which 
HANREI left his master to enjoy his own peace of mind in a distant province, 
where he soon became extraordinarily rich. See GOSHISHO. Upon his fidelity 
to KOSEN is based the quotation of Kojima. See Go DAIGO. 

Anderson (Catalogue, p. 379) gives another version, in which SEISHI is the 
mistress of Kow TSIEN, and HANREI is made to drown her in a lake. 

286. HARE Jfa (UsAGi). The hare is one of the familiar animals of 
Japanese folklore, and the hare in the moon or pounding rice is, of course, 
one of its most frequent presentments, perhaps because Mochi means both 

* This appears, however, to be a mistake, perhaps due to a confusion with Chow Sin (1123 B.C.) or Kieh 
(1766 B.C.), although it has been said that after the fall of Fu Ch'a she had boasted that she would also captivate 
Kow Tsien, and Hanrei, to prevent this, took her one night in a boat over the Lake Suche (Sochu), where he 
treacherously killed her. 

Ill 



LEGEND IN JAPANESE ART. 

"full moon" and "rice cake." When associated with the moon, like the 
Chinese rabbit, and in reminiscence of the hare which, according to Hindoo 
legend, leapt in the fire to become food for Sakyamuni and was thereafter 
sent to the moon to keep company to the old man and to Chan chu, it is 
represented surrounded with Equiseta plants, the familiar horse tail, or 
scouring rush, seeming to imply the existence of water on the moon, in 
opposition to astronomical ideas. 

The hare is also one of the signs of the Zodiac Jjp. He is one of the 
companions of KINTARO (q.v.) ; he recurs often in the pictures of the Xllth 
Century artist, Toba Sojo. 

It is said that the female conceives by running on the waves on the 
eighteenth day of the eighth moon, if the sky is clear, or by licking the fur 
of the male during the same period (Ehon Kojidan}. 

The hare lives to a very long age, it becomes quite white when five 
hundred years old, and even attains the millenium, as appears from the 
adventures of Chang Kien ; and, in connection with his abnormal longevity, 
it is fitting that, when pounding in a mortar, he is also described as 
preparing the elixir of life. 

A hare and a mouse had lengthy chats with the King of Izumo, sixth 
descendant of Susanoo no Mikoto. There are several popular hare stories: 
one given in the Kojiki is that of the Hare of Inaba, who twitted the 
crocodiles into forming a bridge from Old to Inaba, where he wanted to 
go. When, however, he reached land from the back of the last crocodile he 
jeered at them, and just escaped their anger with only his fur pulled. On 
the road he was rescued and healed by the fairy personage, O Kuni Mushi 
no Mikoto, who was on his way to marry the princess Yakami. 

Another story is called "The Revenge of the Hare," or also KACHI-KACHI 
YAMA: the Crackling Mountain. 

There was an old man cutting wood in the mountains, his old wife 
brought him his dinner, but a badger stole it whilst they were talking ; the 
old man caught the animal and took it home, hung it from the rafters, and told 

According to a Mexican legend quoted from Sahagun in Andrew Lang's Custom and Myth, the moon 
was originally a man, and the marks upon its disk were produced by a RABBIT being thrown across his face. 

112 




HARE IN THE MOON 

HARE IN THE MOON 



THREE EPISODES IN HANASAKA JIJI (A.) 

THE BADGER CAUGHT (H.S.T.) 
STORY OF THE HARE AND THE BADGER. 

(lY.L.B.) (C.P.P.) (H.S.T.) 

I HARE ON WAVES 



LEGEND IN JAPANESE ART. 

his wife he would soon come and kill the Tanuki and they would eat it. The 
woman started pounding rice, and the badger, thanks to its magical powers, 
assumed human voice, and asked her to untie him, saying he would help her, 
instead of which he killed her, assumed her shape and cooked her, presenting 
the stew to the old man as a dish of badger for his evening meal. After the 
woodcutter's appetite was satisfied, the animal resumed its original form and 
told the old man that he had eaten his wife, and then flew to the mountain. 
Now there was an old hare in the mountain who was very fond of the old 
woodcutter, and he went to see him and promised to avenge him. He 
begged from the man some hot grilled beans, and carried them in a bag ; 
when he met the badger the latter wanted some of the beans, and the hare 
said he would give him a handful if he consented to carry on his back to 
the top of the mountain a load of dry hay. The badger consented, and 
after he had set on the journey the hare, walking behind him, struck his 
flint and fired the hay. Tanuki, wondering at the noise, inquired what it 
was. "Oh," said the hare, "this is Click-click Mountain (Kachi-Kachi Yam a) 
or the Mount of Victory." A bit higher up the noise increased, and the 
badger got nervous. "Don't worry," said the hare, "this is Bo Bo Yam a 
(the Mount of Defeat), and they always have strange noises here." Soon 
the badger's back was sore and blistered, and he went away cursing, rolling 
all the way down the mountain trying to quench the fire and get rid of his 
burden. 

The hare then mixed some red pepper and gums, and disguised as a 
plaster-seller went to the badger's place. The badger used the plaster freely, 
needless to say with what results, and it took twenty days for his back to 
heel. He went then to the seaside, and there met the hare busy making a 
boat, in which he said he intended to go to the moon ; he even proposed to 
make a second boat for the badger, but the other said he had had enough 
of the hare's tricks, and he would make just as good a boat for himself out 
of the clay which was plentiful thereabouts. But when they launched their 
boats the clay soon got sodden, and the badger's boat dropped to pieces ; 
then the hare "finished" Tanuki with a few strokes of his oar, much to the 
delight of the woodcutter who had come along to watch the fray. 

" 3 H . 



LEGEND IN JAPANESE ART. 

287. HASUI. See HADESU. 

288. HATAKEYAMA SHIGETADA H Uj 3 J&. Son of Shigeyoshi 
and descendant of Taira no Takamochi. In the Wada feud he nearly 
captured the Tomoe Gozen at IJji Gawa, but she escaped, leaving her 
sleeve in his hands. Shigetada had left his estate of Numada, in Ise, to 
to the care of a man named Sanemasa, who, however, offended the head 
priest, Inube lyetsuna. The latter complained to the Kamakura Govern- 
ment, and Shigetada was deprived of his estate and confined to the house 
of Chiba Tanemasa, where he refused to take any food for seven days. 
Finally he was sent back home. The Hojo Shikken could not pardon 
him his loyalty to the Minamoto Shogun by the first one of whom 
(Yoritomo, then dead) he had been treated with great favour. He was a 
friend of the SOGA Brothers in the camp of their father's murderer, and 
when he heard that the hunting party would soon break up he gave the 
SOGA the hint to act at once, sending to Tora, the mistress of one of them, 
a poem reading: "The maples of the mountain have begun to turn red, 
wait till the evening to see the leaves." His son, Shigeyasu, had once a 
drunken brawl with Hiraga Tomomasa, son-in-law of H5jo Tokimasa, 
who had him executed. But the treacherous Shikken was not satisfied 
with this murder, and a few months later (Genkyu II., 1205) he sent for 
Shigetada, who was in Suruga, and when the latter entered Kamakura, 
he was set upon and shot with arrows by the Hojo soldiers. See 
YOSHITSUNE, KAGEKIYO, AKOYA. 

289. HATTARA SONJA {$ |?fc H or BHADRA. One of the Sixteen 
ARHATS, generally shown with a white tiger crouching at his feet ; he holds 
a knotted staff, and is occasionally shown seated on a rock. He is also 
shown with the ringed staff (Shakujo) or the Nioi (short wand), symbolical 
of the powers of faith. 

290. HEAVEN, Four Kings of. See SHI TENNO. 

,, River of. See AM A NO GAWA. 

,, Spinning Maiden, Cowherd and Bridge of Birds. See 

KENGIU and SHOKUDJO. TANABATA. 

114 



LEGEND IN JAPANESE ART. 
HEAVEN, Pillars of. See JOKWA. 

201. HEIKE ^ 0Sc or HEISHI. Another name of the TAIRA clan (q.v.). 
See the Heike Monogatari Zue, by Yukinaga, (1710, reprinted 1829). 

292. HEIKE GANI Ifi ^, or Heike crabs of Akamagaseki (Shimonoseki), 
are tiny crabs to which attaches a curious legend, verging on superstition : 
they are popularly credited with being the ghostly remains of the Heike 
warriors killed at the battle of Dan no Lira, in 1185, by the Minamoto 
(Genji). See Hearn. 

They are also called TAISHOGANI (Chieftain's crabs) and Tatsugashira, or 
dragon's helmet, and people see in the ridges of their shell the roughly 
delineated shape of a warrior's helmet. In representations of Renkei's fight 
with the ghosts (q.v.) it is not uncommon to see the crabs surrounding 
the boat of Yoshitsune, or the drowning warriors of the Taira army, 
specially Tomomori. According to legend the ghosts nightly bail the 
bottom of the sea with bottomless ladles. For a similar legend, see 
SHIMAMURA DANJO TAKANORI. See also HOTARU. 

293. HEITARO SONE *$> ; jf|$ ft* fl|. Masayoshi Heitaro Sone, of 
Hitachi, was a famous archer whose father, one of the court guards, had 
been murdered while Heitaro was still a boy. On a pilgrimage to Kumano, 
to pray for a clue to the murderer, his skill was used in saving a large willow 
tree from being cut down to rescue an entangled falcon, Heitaro cutting 
the string which impeded the bird by means of a single, well-directed arrow. 
On the same day he met on the road a comely maiden, with whom he fell 
in love, and their union was followed by the birth of a boy. One day the 
ex-Emperor, Shirakawa Tenno, who suffered from chronic headaches, went 
to pray for relief at Kumano, and was told by the Gods to consult an Indian 
physician, who informed him that his illness was caused by the skull which 
had once been his own, in a previous existence, when he was but a priest 
Rengebo of Kumano The skull dropped once in a river, it had later been 
caught by some drooping twig of a willow tree, and in growing the branches had 
carried it aloft. Workmen were set to fell that tree, which happened to be the 
one that Heitaro had previously saved. At every blow of the felling axe Heitaro's 

"5 



LEGEND IN JAPANESE ART. 

wife became weaker, and she died when the tree fell, after telling Heitaro that 
she was the sprite of the tree and presenting him with the skull. As the fallen 
trunk was drawn in the road, it stopped opposite the door of Heitaro's house, 
and the combined efforts of hundreds of men could not move it until Heitaro's 
little son began pulling on the rope. The august skull was enshrined in 
one of the Thousand K\vannon of San jin san gen do at Kyoto. 

294. HELL ^fl, /d^ (JIGOKU). Hades, properly speaking, was not a feature 
of the Shinto faith : its development is due to the introduction of Buddhism, 
and with it the intricate infernal paraphernalia created by Indian imagination. 
The correct working of its appalling tortures and punishments is insured by 
a host of Infernal Deities, under the sway of the Ten Regents of Hades, 
characterised by their fierce appearance and the character O Ql, King) on their 
head-dresses. YEMMA O, or EMMA DAI O, the Indian Yama Raja, the Chinese 
Yen Mo, being the chief Regent, seated near a whirling wheel on which 
are, at his right, the two witnesses KAGUHANA, who smells all odours, and 
the female MIRUMK with the all-seeing eyes. He is also assisted by another 
all-seeing personage, DOMEJIN, and an all-hearing one, DOJOJIN, besides the 
wonderful TABARI NO KAGAMI, the mirror or soul-reflecting mirror. 

The other Regents are : Tsing Kwang, Chu Chiang, Wu Kuan, Sung 
Ti, Lung Chuan, Pien Ching, Tu Shih, Tai Shan, Wu Tao. 

The Styx of classical tradition is here represented by the River of the 
Three Roads, SANZU NO KAWA, on the banks of which prowls the hag of 
Hades the Old Woman of the Three Roads, or SHODZUKA BABA, sixteen 
feet high, with big eyes, and who whiles the time away by robbing the 
dead of their garments and hanging them on the trees with the help of her 
consort, TEN DATSU BA. But the benevolent figure of Jizo hovers about to 
protect the souls of little children, and helps them in the daytime to build 
up the cairns of stones, forming their penance, in the dry bed of the SANZU j 
NO KAWA, albeit this labour is made everlasting by the old hag, who every 
night disperses the stones. The Nihongi speak of several Ugly females of 
Yomi in the legend of Izanagi's visit to the infernal regions. 

The representations of Hell and its tortures are easily recognisable, and 

116 



LEGEND IN JAPANESE ART. 

their horror bears comparison with the Chinese lucubrations, in which men 
are chopped, boiled, and ground by grinning o;n's with an extraordinary 
wealth of detail. 

The accepted name for Hell is JIGOKU ; the mild place which in Shinto 
tradition took its place was called YOMI, or NE NO KUNI (Nihongi), and 
it was visited by Izanagi no Mi koto in search of his spouse. 

There are, however, other names recognised, such as the Sanskrit cold 
hells : AH-TA-TA, where the lips are frozen ; An-BA-BA, where the tongues 
are frozen ; and the great white lotus hell, the PUNDARIKA, in which the 
bones, bared and bleached by the cold, "look like a carpet of white lotus on 
the waters." A nomenclature of the Buddhist Hells, by Mr. de Harley, will 
be found in the Toung Pao, Vols. VII. and VIII., 1st series. 

295. HENJAKU ^jf *!j (Chinese PIEN TS'AO) was an innkeeper in the 
Chao province about the sixth century B.C., to whose house came the wizard 
CHO So Kux (J|. jjji jjj Ch'ang sang Kung), who, detecting in his host 
unusual attainments, taught him the rudiments of his art. The pupil soon 
excelled the master, and legend attributes to him the discovery of the channels 
through which the vital spirits are conveyed (i.e., the blood vessels). He is 
credited with having been the first to dissect the human body. According to 
legend, however, he had a transparent abdomen, and could not only follow 
the course of his blood but also watch the action of drugs. He is usually 
depicted as a handsome man in fine raiment, whilst his teacher is almost 
nude, ugly and unkempt. 

296. HICHOBO J=^ J^. ffi (FEI CHANG FANG) was a man of Jonan who 
became a governor. An old man Ko Ko (Hu KUNG q.v.) who sold drugs 
in the city used to retire in a pot hung to his door-post. Hichobo, observing 
him from the second story of his house, went to pay him his respects, and 
he became the disciple of Ko Ko, with whom he is often confused. He is 
depicted riding on a crane in Ehon Hokan and in Sensai Yeitaku, but sometimes 

like Ko Ko partly hidden in a jar, or with his arms in it. 

297. HIDARI JINGORO ^ 3L MR (Jingoro the left-handed). 
Celebrated sculptor who lived from 1594 to 1634. Amongst his famous 

1*7 



LEGEND IN JAPANESE ART. 

productions are the sleeping cat (nemuri no neko) in the temple of leyasu at 
Nikko, and two elephants, also in the same temple. Legend has it that 
he once picked up a mirror which a girl had dropped in the street, and that, 
on beholding the fair damsel, he fell so deeply in love with her that he kept the 
mirror, and forthwith carved a figure of his love. When the statue was com- 
pleted he placed the mirror in a fold of its dress. Now, the wood took to life, 
and the carver became a happy man, but his loyalty to his lord was very great, 
and when the head of the Daimio's daughter was requested by an enemy, 
Jingoro sent instead the head of his living figure. When the man who 
had to take the head away came back, he attacked Jingoro, thinking that 
he had indeed murdered the Daimio's daughter, and severed his right hand. 
This statue was not the only one to become alive : a horse which he had 
carved for a temple, like the one painted by Kose no Kanaoka, used to 
leave the sacred precincts at night and graze in the neighbouring fields, 
much to the dismay of the owners, until it was deprived of its wandering 
properties by appropriate incantations. 



298. HIDEYOSH1 (TOYOTOMI) ^ ^ (jj| ). Toyotomi HIDEVOSHI, 
the greatest warrior in Japan, is better known perhaps under the name of 
TAIKO, title meaning retired Prime Minister, or by that of TAIKO SAMA. 
Finally, owing to his ugliness, he was nicknamed the Monkey Servant, Saru 
Kuanja. He was the son of a poor farmer named YASUKE, in the village 
of Naka, Aichi district, province of Owari, and was born in the sixth year 
of Temmon (1537). He received the name of HIYOSHI MARO (good sun), and 
lost his father when eight years of age. He then had the name Ko CHIKU 
and the nickname Saru Matsu, monkey pine. His stepfather had been a 
servant of ODA NOBUNAGA, and finding the boy clever, although full of mis- 
chief, sent him to the temple of his village to be instructed, but the boy 
was returned to his home owing to his troublesome habits. He was then 
sent to a blacksmith, who had to part with him soon after for the same reason ; 
and so on with several masters, who could never keep him for more than a 
month. Finally, when twenty years old, he became a servant of Matsushita 
Yukitsuna, one of the lieutenants of Imagawa Yoshimoto, who placed great 

118 




9 P 
2S 



- a! 

= O 



a ~i 

Q - 



LEGEND IN JAPANESE ART. 

confidence in him. One day, however, he sent Hiyoshi to Owari to buy a 
suit of armour, and the lad, being ambitious, sought service with Nobunaga, 
whose sandal keeper he became. Having been entrusted by Nobunaga to 
superintend the repairs to the ensile of Kiyosu, where the workmen were 
sluggish, he so hustled them that in a few days the castle was available, and 
Nobunaga seized the opportunity to promote him. He was then named Hashiba 
Chikusen no Kami, or TOKICHI TAKAYOSHI, and nicknamed Cotton Tokichi, 
Momen Tokichi. As the Saito family were strong enemies of Nobunaga, he 
proposed to attack them with a troop of highwaymen. He was successful, and 
received his name of KIXOSHITA HIDEYOSHI. In 1570, his conduct during the 
war against Asakura Yoshikage was rewarded with 30,000 kokn of rice. In 
1573 he attacked the castle of Odani and captured Asai Nagamasa, whose 
personal estate of 180,000 koku became his reward. He then, in 1574, built 
for himself the castle of Nagahama, took HASHIBA as his new family name 
from the names of two of his generals, NIWA (Ha) and SHIBATA, and adopted 
the Kiri crest (Pawlonia Imperialis). In 1581 he invaded Mori, and within 
five years subjugated the five Western provinces. 

In 1583 he captured the castle of Takamatsu by flooding it, and on 
that very night heard of the murder of Nobunaga by Akechi. He then 
hurried back to Amagaseki, and fought the Akechi party, killing Akechi 
himself at the battle of Mount Tennozan a few days after the murder of 
Nobunaga: hence his popular name of "Three days Shogun" (Alikadenka). 
He had then a following of over 60,000 men. He was rewarded with "Sub 
under fourth" rank and the title of Lieutenant-General, but resigned these 
honours on the spot. Hidenobu, eldest son of Nobutada, succeeded Nobunaga, 
and his uncle, Nobuo, acted as his regent, but the important affairs were actually 
left in the hands of HIDEYOSHI after the battle of Shizugatake. He killed 
Shibata Katsuiye, who, with Nobutaka, third son of Nobunaga, had plotted 
to destroy him. He then became a Privy Councillor (1583), and built the 
magnificent castle of Osaka, where he went to live ; his influence was then 
such that even Tokugawa leyasu was afraid of him. leyasu, however, sided 
with Nobuo to attack HIDEYOSHI, but was beaten and had to give his son 
as hostage. In 1584 HIDEYOSHI became Dainagon ; in 1585 he was promoted 

119 



LEGEND IN JAPANESE ART. 

to the real second rank, and became Keeper of the Seals (Naidaijin). He 
then subjugated Chosokabe in Shikoku, Sassa in Etchu, Uesugi in Echigo, 
and Tokugawa recognised him. He had entreated the last Ashikaga Shogun 
to adopt him, but met with a refusal, and he petitioned the Emperor to 
allow him to take the name of TOYOTOMI, which he originated. 

In 1586 he was appointed Prime Minister (Kwambaku), and as this title 
was reserved for the highest nobles the powerful lord of Satsuma, SHIMAZU, 
objected, but HIDEYOSHI, with 150,000 men, defeated him in the following 
year. In 1588 the Emperor honoured him with a visit. In 1590 he attacked 
Hojo Ujimasa and Date Masamune, who refused to obey his commands, and 
he defeated them. 

When he entered Kamukura it is said that he went to a temple where 
was kept a statue of Minamoto no Yoritomo, and, stroking the image, said: 
" My dear friend, you and I have grasped Japan in our hands, but you were 
born in a palace and I in a thatched hut. Now what do you think of me ; 
who will send an army to the Empire of Ming ? " 

In 1591 he resigned his premiership to his adopted son, Hidetsugu, and 
advanced to Nagoya, in Hizen, with 500,000 men. He subjugated the Coreans, 
who sent to Ming Shen Tsung for help, but the Emperor was himself afraid, 
and promised to HIDEYOSHI that if he stayed his hand the three great 
Provinces (Do) of Corea would be given him, and he would be crowned 
King. He then ordered his army to return, and in the eighth month of the 
first year of Keicho (1596) received an ambassador from the Ming Emperor. 
But as he opened the message, he found it to be rude, and (according to the 
Taiko ki} tearing the letter to pieces drove the ambassador out of the 
country*. He then assembled a new army to invade Corea and China, but 
whilst the fight proceeded he died of disease at the age of sixty-one. 

See also the anecdote under GOURDS about his standard ; see ISIIIKAWA 
GOYEMON ; KATO KIYOMASA. 

HIDEYOSHI is said to have imitated Moritsuna in his treatment of guides. 
When he led his army through Hakone, before the battle of Ishikake yama, 



s The original letter is, however, preserved to this day in the private collection of a noble whose ancestors 
served under Hideyoshi. 

I 2O 




KARHKAVA DOSHIN 

(By courtesy af Messrs. \ 'ainamika) 



LEGEND IN JAPANESE ART. 

a hunter showed him the way, and legend has it that he killed the man. 
This mountain range is also called Taiko yama. 

The Taiko had a pet monkey which was very mischievous, and had been 
taught to jump at every visitor in a threatening manner, much to the confusion 
of the stately Daimios who called upon Hideyoshi. One man, however, DATE 
MASAMUNE (who later became Daimio of Mutsu, and sent ambassadors to the 
Pope in Rome), determined not to be laughed at by the Taiko, and, bribing 
some servant, he was shown the monkey before the audience began ; he then 
hit the animal's face with his clenched fist until the monkey showed no 
more fight, and then went away. When Date Masamune was introduced in 
the audience room, the monkey hid itself behind Hideyoshi, and could not be 
induced to come forward in its usual manner. Taiko Sama was very deeply 
impressed, and, of course, knowing nothing of the anterior proceedings, he 
concluded that Date was a very strong man, rather to be feared, and with 
whom it would be policy to be friendly. 

299. HIEN YUAN TSI $f || ^. A wizard of the time of Suang 
Tsung of the Tang dynasty, circa, 845 A.D. He had the power of ubiquity, 
was followed about by wild beasts, and his magic knowledge was unequalled. 
Once, when received in audience by the Emperor, a court lady chided him, and 
he caused her to be transformed into a wrinkled hag until she beseeched his 
forgiveness, when he allowed her to resume her former state. He is identical 
with KEN EN SHYU, of whom it is written that he was an old sage who, 
after several centuries of life, had not failed in complexion and had a fine 
black beard trailing to the ground. Once the Emperor Sen So j|[ ^ (Suang 
Tsung), after summoning him to court, sent him back with a purse filled 
with coins, when the sage began throwing them to the people and the supply 
appeared to remain miraculously inexhaustible. 

300. HIKKEN ifl $i or KOSEI, also KONGOSHU Bosatsu. One of the 
sons of Benten, represented with a writing pen and ink slab ; it is a trans- 
formation of Vadjrapani. 

301. IIIKOHICHI OMORI ^ -fc ^ ^ (often given as OMORI 

121 



LEGEND IN JAPANESE ART. 

HIKOSHISHI), represented as a warrior, carrying on his back a female demon 
(Hannya or Kij'o). 

One version gives the story as follows : OMORI HIKOHICHI was a vassal 
of Ashikaga Takauji ; at the battle of Minatogawa, in 1342, he met a 
beautiful woman who persuaded him to carry her across a stream ; when 
they reached the middle of the ford, the warrior saw in the water the true 
reflection of his burden, with the face of a witch, and drawing his sword 
he slew her on the spotj. 

Another version given in Takenobu's Tales, apparently taken from a 
theatrical rendering of the legend, somewhat differs from the above. The 
followers of Yoshisada and Masahige, after being defeated by Takauji at 
Minatogawa (see Go DAIGO), flew to Yoshino, and the northern clan, having 
taken Kyoto, established a Court there. The victors had arranged for a 
religious ceremony and a No dance near Matsuyama, in lyo, and people 
were coming from afar. Amongst the crowd was a girl whose bearing was 
different from that of country folks, and a boorish warrior, Sayemon Dogo, 
noticing her, went and proposed to take her to the dance and later to his 
house. 

The girl flatly refused, and Dogo accused her of being a spy. A 
scuffle resulted, in which the girl was overpowered, and at that juncture 
HIKOHICHI appeared, who, on hearing the charge, examined the girl and, 
seeing through Dogo's statements, claimed her as a relative of his, the 
daughter of the custodian of the Sumiyoshi temple. He then took the 
girl on the road to the dance, but the rains had formed a rivulet across, 
and he offered to carry her on his back. The girl, who was no other than 
CHIHAYA, the daughter of Kusunoki Masashige, putting on her face a 
Hannya mask, drew a dagger and tried to cut HIKOHICHI'S throat, saying : 
"Remember the death of Masashige and the sacred dagger you took from 
him." She thought that he had caused her father to commit harakiri. 
HIKOHICHI, however, had recognised her at the beginning, and he told her 
so, threatening to take her to Kyoto to have her beheaded. She then had 

t It is interesting to note that in European folklore witches were credited with being unable to cross 
water without taking the appearance of devils. 

122 



LEGEND IN JAPANESE ART. 

to explain her conduct. Omori was touched by her filial piety, and told 
her how Masashige and his brother, Masatsuye, had committed seppuku 
together (see Kusunoki Masashige), and that when he had brought their 
heads to Ashikaga, the latter recognised the dagger of Masashige as a 
valuable blade, a gift to him from Go DAIGO, and told him to keep 
it till the peace was restored. He gave the girl the dagger and his 
own No kimono, with the necessary instructions to return unmolested to 
her own home. In the meantime his retainers, who had taken to 
flight when they had seen the attack of the Hannya upon their master, 
had gone to fetch Sayernon Dogo, who returned with them only to find 
HIKOMICHI shouting like a madman, and defying the spirit of Masashige. 
Finally, springing into Dogo's vacant saddle, and calling to him as 
if he were Masashige's ghost, to come and fight him if he dared, he 
departed. 

302. HIMONO. Dried fish; see FISH (dried), EMBLEMS, and CHARMS; 
see Oni Yarai. 

303. HINADORI |}ft Jjj. See KUGANOSUKE. 

304. HINAKO NAI SHINNO. Daughter of Go DAIGO. See the story 
of the tooth-marked chestnut. 

305. HIOCHO /j J^. One of the Chinese sages, shown without any 
peculiar attributes in Hokusai's Mangwa, Vol. III. 

306. HIRAI YASUMASA. See YASUMASA. 

307. HIRU KO NO MIKOTO @ | ifc, or HIRUGO, elder son of the 
creative couple, Izanagi and Izanami, sometimes said to have been the first 
fisherman, and the original Yebisu (Ebisu). 

308. HIRUNOGOZA NO TSURUGI jfc fP J$[ M The sacred sword 
substituted for the Kusanagi no Tsurugi, which was lost in the sea at the 
battle of Dan no Ura, but the latter is believed to have been only a copy 
of the herb quelling sword of Yamato Dake (q.v.), the Kusanagi no Tsurugi, 
and to have been forged during the reign of Sujin Tenno. 

123 



LEGEND IN JAPANESE ART. 

309. HITOBAN ^| JOt 51- Mythical creature with a flying head. See 
MYTHICAL FOREIGNERS. 



310. HITOMARU A. ^L (ffi >) KAKINOMOTO NO HITOMARU is one 
of the six celebrated poets, and was deified as God of Poetry, with temples 
at Akashi, in the province of Harima, and at Ichi no Moto. He lived in 
the seventh century, and was a foundling, picked up at the foot of a per- 
simmon tree (Kaki) by the warrior Abaye, who adopted him. He is usually 
shown, like most poets, seated in the Japanese manner and holding a 
makimono. One of his poems, composed as he was going to sleep under a 

tpine tree, reads : 
Ashibiki no 

^ Yamadori no wo no 

. Shidari wo no 



Naga naga shi yo wo 
5 Hitori kamo nen. 

" Undulating mountains, how long is the tail of your pheasants ! 
Longer ; oh, how much longer shall be the night for one who shall sleep 
alone. . . ! " Hiakku Nin Isshiu. 

311. HIYEIZAN Jfc ^ ill- Small mountain near Kyoto, once covered 
with temples and monasteries. See BENKEI, KIYOMORI. 

312. HOHODEMI ^ A & IE ^, or YAMA SACHI HIKO, fourth Mikoto, 
the famous hunter. He once changed his calling with his brother, UMI 
SACHI HIKO, the great fisher, whose hook he lost. UMI refused to return to 
his brother his bow until he returned him the hook. Both were angry 
because their change of sport had proved a failure in both cases, and Yama 
tried to propitiate his brother by making out of his sword five hundred 
new hooks, but it was all in vain. Umi wanted the original hook. Yama 
finally got to the palace of the Sea King, Riujin, who directed that search 
should be made amongst the fishes. The hook was found in the throat of 
the Tai, and Riujin sent Hohodemi back on a crocodile (Want) to his brother 
to return the hook in such a way that Umi would be greatly impoverished 
after three years. He also gave him the two jewels of the flowing and the 

124 



LEGEND IN JAPANESE ART. 

ebbing tides, with which he was later to subdue his elder brother Umi, 
whose contortions are mimicked in the court dances performed by his 
descendants, the Hayato. This is also called the tale of the Happy Hunter. 
See Kojiki, page 119 et seq. ; WAXI ; TOYOTAMA HIME. 

313. HOJO j|[ fljf-. The Nio who guards the South. He is more 
usually called ZOCHO (Virudhaka), his attribute is a straight spear, his statues 
are painted white, he wears a complete armour but no helmet, and he is 
called the King of Prosperity. This name is better read HOCHO. 

314. HOJO ;jb $ Celebrated family of Kamakura " Shikken," who 
from 1200 till 1333 were the real masters of Japan, during the rule of the 
"Puppet Shoguns." They were descended from Taira Sadamori. The first 
Shikken was HOJO TOKIMASA, father of MASAKO, wife of Yoritomo. When the 
latter died in 1199, Masako and her father grasped the power; through the 
forced abdication and subsequent murder of Yoshiiye they established firmly 
their influence upon the Shdguns, whom they practically superseded. They 
even tried to overthrow Sanetomo, but failed. To the third Shikken, Yasutoki, 
is due the feudal code, Teikan Shiki Mokn (see Carey Hall, Japan Society, 
1907). 

315. HOJO TOKIYORI ^b & $f fl- See NICHIREN ; see Hachi no Ki. 
Fifth shikken, who caused the Daibutsu of Kamakura to be founded, 

and signalised himself by his popular administration. He is often repre- 
sented with his minister and adviser, Awoto Fujitsuna. 

316. HOKEN. Chinese general. See SOMPIN. 

317. HOKEN ZENSHI ^ f| (also BUKAN ZENSHI) the Taoist Rishi, 
FENG KAN. Shown riding upon, or sleeping near a tiger, or in company 
with the two mad Sennins, HANZAN (Kanzan) and JITTOKU (Shi Te) (q.v. 
also " Four Sleepers "). 

318. HOKYOSHA f|$ ife ^ used to sit on a flat square stone, twenty 
feet wide, at the foot of Mount U. He found on it a stone pot and an 
evil-quelling sword. One day he was surrounded by coloured clouds, from 



LEGEND IN JAPANESE ART. 

which issued music; a sacred bird approached him, and two divinities came 
down on a dragon and on a stag to invite him into heaven. 

319. HOMMA MAGOSHIRO SHIGEU.TI ; fUJ j| 0J I|$ |T . Archer 
in the army of NITTA YOSHISADA. While the army was awaiting the attack 'of 
TAKAUJI'S fleet at Wada no Misaki (Minatogawa) he espied a sea-fowl with 
a fish in his claws. He then cried to Takauji : "You must be wearied doing 
nothing for so long, I will give you some fish," and with an arrow he 
shot the bird so that the fish fell on deck and the bird in the sea. 

There are several variants of this story. Sometimes the bird carries a 
letter, as it is also said that Magoshiro shot the bird with an arrow through 
the head, fastened to it a strip of paper bearing his name, and sent it on 
another arrow right into the boat of Ashikagn Takauji. 

320. HONMA SUKEMASA ^ $} ^ gt Son of HONMA KURO SUKESADA, 
is shown in the Ehon Kokyo (Hokusai's) leaning against a pillar of a temple, 
on which he has written: "My father has fallen in the fray; how anxious I 
am to follow him." 

321. HORAI |f| 5$r [Jj, HOKAIZANT. One of the three mountains in the 
fortunate Islands of Paradise, the home of everlasting life, where live the 
crane, the tortoise, and the stag, and where the plum tree, the pine, the 
peach, and the fungus grow in profusion, besides the jewelled tree of which 
mention is made in the story of the Moonchild and the old Bamboo Hewer. 
The HORAI SHIMA, or Elysian Isle, finds -its place in Japanese gardening 
as an isolated arrangement of six rocks, representing a tortoise. 

322. HORSE. Jg. See EMBLEMS. See also HAKURAKU, OGURI HANGWAN, 

HlDARI JlNGORO, GENTOKU, SAIWO, BoKU-O, CHOKWARO. 

HORSE OF 1000 Ris (miles) Sen Ri no Uma. This wonderful animal 
was given to Go Daigo Tenno by Takasada, of Inaba, but Fujifusa 
thought that this gift could only be a portent of calamity, as it accorded 
with the appearance for several nights on one of the roofs of the palace 
of a monstrous yellow bird, the Kecho, which emitted awful shrieks in the. 



dead of the night. See HIROARI. 



126 




HIEN YUAN TSI (ir.L.K.) 

GIONJI I'RIKST (O.C.R.) 
HO.NMA SUKEMASA (j.) 



HORSE AM) DEER ().) 
HITOMARU (.!/..) 

HAXKWAI (/<.) 
HORSE AM) GOURD. 



OMORI HIKOIIICI1I (7..V.I.) 

HANHEI (ll.y.K.) 
HORSE AND MONKEY (G.ll..\.) 



LEGEND IN JAPANESE ART. 

The HORSE is emblematic of manhood. It forms the crest of the Princes 
of Soma, the animal being attached to a couple of pegs and kicking high 
with its back legs. Its name is given to the Japanese division of time, 
between n a.m. and i p.m. ^p. One of the infernal attendants has a horse's 
head on a man's body. One meets occasionally with presentments of the 
horse and plum flower, and also of the horse and the monkey. In connection 
with this latter occurrence, it appears that in olden times a monkey was kept 
in the Imperial stables to keep the horses in good temper, and the box of the 
holy horse at the shrine of leyasu, in Nikko, is decorated with carved monkeys. 
who are said to endorse the dress of Shinto priests about Xew Year's Day, 
and render divine honours to their companion. In Ehon Kojidan (VII.) a 
monkey with the Sambasso headdress and a gohei holds the tether of a horse, 
in front of which he dances in the stable. 

In Ehon Hokan (II), under the title ^ J^ >^\ %j^ / ba shin yen, a monkey 
and a horse are tethered to a pole and to the character )ft above it. It is 
explained in the text that the horse is emblematic of a restless mind, as it 
wishes to run round the post, whilst the monkey is emblematic of selfishness. 
If restlessness of mind and selfishness are restrained by a chain of fine teachings, 
the mind will soon attain perfect contented peace (Nirvana). Groups are also 
found of horse and rat, w r hich are, however, merely representations of Zodiacal 
or horary characters, as the horse, one of the signs of the Zodiac, represented 
the first hour of day, the rat representing the first hour of night (n p.m. to 
i a.m.). Clay models are found in old burial mounds, where such figures 
were deposited to represent the horses of the dead, with whom they were 
buried. The names of a few celebrated horses have been preserved, and will 
be found in the stories to which they belong, amongst them being : 

SHOYAHAKU, belonging to the Emperor Genso, 

ONIKAGE, the horse of Oguri Hangwan, 

IKENZUKI, to Sasaki Takatsuna, 

SURUSUMI, the mount of Kagesuye, 

TAYU-GURO, the black horse of Yoshitsune, 

(see BATEISEKI, GENTOKU, KAJIWARA KAGESUYE). Horses standing with 
the head and the four feet brought together are frequently met with as 

127 



LEGEND IN JAPANESE ART. 

netsuke (see Behrens' " Traces of Evolution," Japan Society). In pictorial treat- 
ment, the fewer the number of brush strokes the more clever the work, seems 
to have been a constant motto, another feature being the crowding together 
of large numbers of horses in a small space ; the same applies, of course, to 
a great many other animals. It must also be borne in mind that the Japanese 
mounted their horses on the right, and backed them in their stables so as to 
feed them from the door, whether from a dislike for kicks or for the sake 
of convenience is not clear. A horse head or a hobby horse were used either as 
headgear in the first case, or as mounts in the other, at the festivals of 
Hachiman, and Guionji and pictures of horses were offered to the divinity 
(Aston, Shinto). 

There are several stories of pictures of horses becoming alive, like that of 
of Kanaoka, which went grazing at night, and to the picture of which peg 
and tether had to be added to keep him indoors. See also HIDARI JINGORO. 

There is a type of toy money, named Komashiki sen, upon which the 
horse is figured ; the horse is used in the game of chess, and almost corresponds 
to the knight, but can only move forward. 

A man modelling a horse is a subject for netsuke, the hand of the sculptor 
leaving marks all over the body of the animal. In Ehon Kojidan the story 
is illustrated, and the author says: " GIOKUSHISHO 3 ~f~ ^ made a horse 
of clay, over which he could ride for thousands of miles, and if he sprayed 
water with his mouth, each drop as it fell became a jewel. He is one of 
the Sennins." 

323. HOSHO ^ TR. The Chinese Sum CHENG, shown in the guise 
of a Sennin " with flaming eyes." He is identical with SHOSEI (q.v.) 

320. HOSO |j jjjfl (or g jj*) or HOSO-SENKO. Sennin shown as an old 
man reclining on the waves. He was a man of Hojo who needed only one 
breath every three days, and could sleep in the water for a day at a time, or 
lay motionless for a year, till the dust covered him an inch thick. After living 
one hundred and fifty years he seemed no more than twenty years old, and 
received the title of Daishin Shinjin. He is referred to in a joke of TOBOSAKU. 

He is identified with the Chinese TS'IEN K'ENG, later named PENG Tsu, 

128 



LEGEND IN JAPANESE ART. 

or patriarch of P'eng. He is said to have been the orphan son, or grand- 
son, of the Emperor Chwan Hii, SENKYO (see SEIUKO). He was 767 years old 
at the end of the Yin dynasty in 1123 B.C., and appears to have lived nearly 
eight hundred years, chiefly on mother-of-pearl. 

325. HOSO ~Jj ^j. Chinese general whom CHOW SIN jj^J" ^ (Show of 
Chang) sent in 1123 B.C. to resist the attacks of Si Peh (Ch'ang of Chow), 
later known as Bu\vo, at the battle of Muh ($ f Bokuya). See Buwo. 



326. HOSOKAWA YUSAI jfgH Jlj & ^. Warrior who, besieged in 
1600 by the army of Johida Mitsunari, owed his safety to the fact that the 
Emperor knew him to be versed in the mysteries of the Kokinshu poems, 
and to be the only man knowing the right interpretation of the names of 
birds and trees mentioned therein, knowledge which could be imparted to 
none but the members of a certain noble family of Kyoto. B. H. Chamberlain 
says that the meaning of these words was found by Motoori to represent 
birds and trees of ordinary character. 

327. HOTARU. Fireflies. Catching them forms an elegant pastime, 
mentioned under GAMES. The fireflies of Ujigawa are associated with 
the legends of the War of Gempei ; they are said to fight afresh the battles 
of the Taira and Minamoto under the name of HOTARU KASSEN. The 
largest species is called Genji Botaru, and its members are said to be the 
ghosts of the fallen Minamoto; the smaller flies are the Heike Botaru. 

Fireflies are also associated with the story of SHAEN and of the Ghost of 
KIYOTADA (q.v.). 

HOTARU HIME ^ jj. Story of the firefly lover. Hi O, the King of 
the fireflies, lived in the moat of the castle of Fukui, in Echizen, and his 
bright but coquettish daughter, Hotaru Hime, was courted in turn by a 
number of lovers, amongst which a golden beetle, a black bug, a scarlet 
dragon fly, and a hawk moth, to all of which she set the task of bringing 
her fire before she declared herself. All tried to get it from lamps, and were 
burnt. The hawk moth, however, had more cunning, and crawled inside 
the paper wick of a candle, but the candle was snuffed before he reached 

129 



LEGEND IN JAPANESE ART. 

the flame. Finally Hi MARO, the firefly Prince who. held sway on the other 
side of the castle, happened to hear of the trouble, came round, and success- 
fully wooed her. But even unto this day, when the priests find dead insects 
around the temple lamps, they say: "Princess Hotaru must have had many 
lovers to-night " (Griffis). 

The game of firefly-catching at Ujigawa forms part of a play, the hero 
of which is a scholar named Kumazawa Banzan. He fell in love with a 
girl, Miyuki, whilst catching fireflies, but the two lovers were separated, and 
after many years Kumazawa, wending his way through the Tokaido Road, 
found a blind musician, who was no other than Miyuki. 

See also YORIMASA, whose soul is said to have taken the shape of fireflies. 

328. HOTEI tf\ |. One of the Seven "Gods of Luck," and probably 
the most popular, judging from his numberless figures. Fat, almost beyond 
reason, and generally exhibiting a generous allowance of his bulky stomach, 
joyously laughing, whether alone or surrounded with children, carrying on 
his back the linen bag (Ho-tef), from which he derives his name, and in which 
he stows away the Precious Things, or Takaramono, or which he uses as a 
receptacle for playful children ; often placing himself in it, either to sleep or 
gaze on his surroundings, or perhaps be drawn as in a barrow by his brother 
God, the joyous Daikoku. Sometimes shown in a dilapidated carriage drawn 
by boys, and then called Kitntma So, the waggon priest, oftener seen carrying 
in one hand his bag and in the other a Chinese fan, or balancing on his 
shoulder, at either end of a coolie pole, the bag of precious things and a boy. 
In some cases carrying in his hand a clam shell, playing the role of begging 
bowl, or interchanging attributes with some of the other Shichi Fuku Jin. How- 
ever numerous are the varied appearances of this emblem of contentment, it is 
impossible to mistake the laughing face and the half-clothed mountain of 
flesh. Hotei sometimes receives the appellation, Shichi Hiaku Sai, " The Sage 
of Seven Centuries." 

He is usually identified with a Chinese priest of the Xth century, named 
CHISHI (Keishi)*, who lived at Ming Chu (the present Nimpo in Chekiang), 

* Puini (he. cit.) says, according to the Sogenjiro, his name was Keishi, monk of the Gakurun Temple of 
Fung hwa, on the Semingshan ; the Dentoroku calls him Choteishi. 

130 




IIOTEI AM) rmi.DKKN (.;.) 

IKKAKU SEXMN (ir.L.K.) 

HOTEI IN BAG (,;.) 



II'PKN SHONIX (;;./...) 

KARAKO AND HOTEl's BAi; (.;.) 

INARI (.I/.GV.) 



LEGEND IN JAPANESE ART. 

and who was popularly called Putai no San Mr. Linen Bag from the sack 
in which he carried his scanty belongings and whatever edibles were given 
him. In the course of his travels, combining the craft of a fortune-teller with 
his vocation as a begging priest, he came in 916 to the temple of the future 
Buddha Maitreya, and improvised a poem to the effect that the holy Maitreya, 
dividing his body into hundred myriads, often appeared to people who 
knew nothing of it. It seems that folks took this for a statement that he 
was Maitreya, and then began picturing him. He died about 916 (Teimei 3). 
In old books an easy way of drawing Hotei is given, the outline of the 
character >|^ Kokoro forming his arms, neck and abdomen (Ehon Hokan, 
Vol. VI.). 

329. HOTOKE ffi. Meaning a Buddha (Nure Botoke : wet god, out-of- 
doors statue) ; is also applied to a corpse, or to the soul of the dead. The 
Gaki Botoke are hungry ghosts, the souls of those who have nobody to place 
food offerings before their graves, and who seek nutrition by invading the 
bodies of the living and causing Okori, or intermittent fever (Hearn). 

Hotoke Umi is the tide of the returning ghosts. 

330. HOWO JH, Jin or Hono (in some German books, FOHO). A Bird, 
the Phoenix. It is the FENG of the Chinese, the female of which is called 
Hwang, and it is usually represented as a gorgeously coloured bird with 
long tail feathers, somewhat like a composite animal, part pheasant, part 
peacock, the idea of which may have been derived from some inaccurate 
description of either. It is one of the four supernatural creatures of Chinese 
myth; its feathers are red, azure, yellow, white and black, the five colours 
corresponding to the five principal virtues ; while the Chinese ideograms for 
uprightness, humanity, virtue, honesty and sincerity are impressed in various 
parts of its body ; its cries are symbolic, its appearance precedes the advent 
of virtuous rulers, and it has honoured with its visits the courts of several of 
the Chinese Emperors : Yao Shun in the semi-mythical period, and even as 
late as 23 B.C. during the Han dynasty. 

The Phoenix is often depicted with the Dragon in works of art, or, like 
the Crane, falling through the sky while children or Sages wait on the earth 



LEGEND IN JAPANESE ART. 

to catch it with a rope, or in association with the Kiri tree (Pawlonia), 
besides which it is the attribute of Imperial authority and the familiar 
creature of some Sages. See BAIFUKU ; RIOGIOKU. 

331. HUANG SHI KUNG. See KOSEKIKO. 

332. IBUKI YAMA $*' Pfc til- Mountain in Omi, upon the summit of 
which lived a malevolent deity, which YAMATO DAKE went alone to kill. The 
Deity changed itself into a white serpent (some say a white boar), and Yamato 
Dake, thinking this creature was only the messenger of the God, went on, 
but he was immediately surrounded by a mist which made him reel like a 
drunken man. He escaped, however, and by drinking the water of a spring 
at the foot of the mount he recovered his senses : hence the spring was named 
Wi SAME (stand sober). 

333. ICHIMOKU . Mythical foreigners, with a single eye in the 
centre of the forehead like the Cyclops, and who "live out of the North 
Sea." 

334. ICHIMOKUREN g jj|. Divinity of Tado, in Ise, specially 
prayed to in periods of drought to obtain rain. It has only one eye, hence 
its name. 

335. IDATEN J|L Ufa Jfc . Buddhist Deity of peace and contempla- 
tion, shown as a young man of martial character ; he carries a halberd, 
and his hands are apposed ; the loose parts of his garment are kept in place 
by his feet as a symbol of the subdued elements, and he is also depicted 
with both hands resting on the pommel of his sword. Like Bishamon, he 
is often shown pursuing an oni, but the latter carries away the sacred gem. 

336. IGA NO TSUBONE $** H Jjjj. A celebrated strong woman of Go 
DAIGO'S Court. After the invasion of the Imperial palace by Ko NO MORONAO, 
following the flight of the Empress, she found the river Yoshino swollen by a 
flood, and impassable, she uprooted a tree, threw it across the ravine in 
which flew the river, and carried the Empress on her back safely to the 
other side. See KIYOTADA. 

132 



LEGEND IN JAPANESE ART. 

337. IKAZUCHI ff. The eight Gods of Thunder : O-Ikazuchi, HO-NO- 
Ikazuchi, KuRO-Ikazuchi, SAKU-Ikazuchi, WAKi-Ikazuchi, TsucHi-Ikazuchi, 
NARU-Ikazuchi, and Fusni-Ikazuchi. 

338. IKIRIYO ^ fH. Ghost of a living person. See Hearn's Kotto. 

339. IKKIU fife. Celebrated poet of the XVth century, who adopted 
the hetaira JIGOKU REIGAN (q.v.), with whom he is often pictured. See 
also SAIGYO. 

In the Tei-yo-shu of the book Ten shu-shi, there is a poem of the poetess 
JIGOKU, of Takasu, as follows, the first stanza of which is said to have been 
composed by Ikkiu, and the other by the Joro : > 

Kikishi yori /> > 

Mite osoroshiki 0*9 

*>'/-, 

Jigoku kana T 

Shini kuru hito mo ' 

Ochizara me yawa. *"* 

" Jigoku (Hell) is more awful to look at than to hear of ; that is why the 
men coming should not fall down " (Gilbertson). 

Ikkiu lived from 1395 to 1481, and was a pupil of the painter, Soga 
Jasoku. 

The head priest of a temple had a very valuable porcelain Koro, 
which he had forbidden his priests to handle in his absence. Once, however, 
they broke their promise, and showed the Koro to a party of visitors, one of 
whom dropped it, and the precious incense- burner was broken. They were 
thinking how they could break the sad news to the Abbot, when one of the 
young students saved the situation. The head priest had just returned, and 
he went to him with the pieces of the incense burner in his sleeve. " Holy 
Abbot," he said, "all living things .... what?" The old man wondered, 
but replied : " Must ultimately die." Then the boy inquired : " All fragile 
things?" .... "Must be broken," said the old man, perhaps guessing 
what the bent features of the boy did not allow him to detect, and as his 
answer was uttered, the young Ikkiu presented to his gaze the remnants of the 



LEGEND IN JAPANESE ART. 

broken Koro. His presence of mind not only gained the monks their pardon, 
but helped him in his priestly career (Greey). 

340. IKKAKU SENNIN $j f[Jj X (single horn Sage) is sometimes 
said to be another immortal the Hindoo Sage, Rishjaringa, who, like Kume 
no Sennin, could not resist the temptation afforded him by the sight of women 
on the earth, and he was punished by the loss of his power of living in the 
sky, falling to earth on the spot. The correct version is, however, to the 
effect that he was the son of Vivandaka and of the fairy Urvasi, and lived in 
Mount Dankatola. He fell in love with and married Sendaramo, whom he 
carried home on his back ; he is accordingly depicted with a small horn on 
his forehead and carrying a woman on his shoulders. He is the hero of a 
No of the same name. See KIRIN. 

341. INARI ^ ^nf, or IXARI SAMA. This name signifies load of rice, 
and it is said to have been given as a posthumous honour to the legendary 
man, UGA, who first cultivated rice, and is specially honoured at Inari no 
Yashiro. Tradition has it that Kobodaishi met an old man carrying on his 
back a rice sheaf, in 711, near Toji, and recognised in him the Deity protector 
of his temple. He then called this Deity, Inari (rice bearer). It is thought that 
some misconception or some confusion, due to the name MIKITSUNE UGA NO 
MITAMA, has caused the identification of the August Spirit of Food Deity, or 
God of rice, with a Fox divinity, and its association with the Fox (Kitsune), 
sometimes described as his messenger, and generally represented seated at the 
door of the temples of Inari. 

In fact, Inari Sama is often described as the Fox God, and is usually 
shown in the guise of a bearded old man carrying a sheaf of rice, accompanied 
by, or seated upon, a white fox. KODOMO NO INARI is the children's Fox God. 
In the first horse day (Uma no I) of February, country boys make little flags 
with papers of various colours, red, yellow and blue, and write the name of 
Inari on them, and offer them to the temple. 

INARI is also worshipped on the Fuigo matsuri, or Festival of the Bellows 
(November 8th), held in honour of Hettsui no kami, Goddess of the Kitchen. 

INARI must not be confused with KAMIYA (q.v.). It is also worshipped as 

'34 



LEGEND IN JAPANESE ART. 

a healer, a giver of wealth, and even sometimes as a protective divinity of 
the Joro class. 

See Fox ; also KOKAJI and Aston Shinto. 

342. INKADA SONJA. See ARHATS ; RAKANS. 



343. INKI f3* , YiN-Hi or KOBUN [; ^]. Sennin of Tensui, usually 
shown sitting on the ground in front of " the lotus flower seat on which 
ROSHI was wont to sit." He is shown reading in Hokusai's J\Iangiva, Vol. 
III., and in Gessen's Ressen dzu san standing watching something far away. 
In the same work, another IXKI |P" ^[ is also figured, but holding a 
makimono and a gourd. 

INKI lived about B.C. 1070, but the Taoist legends credit him with 
some five hundred years of life, during part of which, in obedience to a 
revelation, he waited at the gate of Hankuh for the passage of Lao Tsze. 
When the latter was taken to the West by a black buffalo which had 
been miraculously sent him, Inki besought Lao Tsze to instruct him, and 
he received from the master manuscript of his work, the Tao Teh King. 

344. INKYO fa $fe ^C JL or INGYO, was an Emperor of Japan famous 
for his cruelty. Once he went to fish in the island of AWAJI, but could get 
no sport ; he had the matter investigated by his diviners, and was told that 
the God of the Island wanted a ball-shaped jewel which lay at the bottom 
of the sea, before he would allow the Emperor to catch any fish. All the 
fisher folks of the island were summoned, but their efforts were in vain. A 
woman named SASAJI OTOME, picked out of the crowd, was ordered to dive 
again, and the Emperor swore that if she did not succeed he would kill 
her husband. She found the jewel hidden in a large clam, and fell dead as 
she laid it at the Emperor's feet. 

345. INYAKU |J $&, or JAKO, one of the sons of Benten; transformation 
of SHAKA (Sakyamuni), and shown with the jewel and key. 

346. IPPEN j|||. Buddhist priest who founded the Ji or JISHU sect 
in 1275, and whose wandering life and varied adventures have served as 

135 



LEGEND IN JAPANESE ART. 

themes for many prints. It is said that every time he made a convert, 
he started dancing with his co-workers, repeating the while the invocation 
to the Buddha Amithaba. 

Some pictures from the story of Ippen Shonin are reproduced in the 
Kokkwa (148-158, Vol. XIV.}, amongst which his sharp fight with some of his 
relations, who, having a grudge against him, once attacked him whilst he 
was engaged in deep study. Ippen snatched a sword from one of his 
would-be murderers and killed a few of them on the spot. 

This monk had a wife and at least a mistress, and it is related (Murray's 
Guide to Japan, 2nd edition) that once while the two ladies were playing 
Go, Ippen saw them take the form of two snakes with the heads of 
witches. 

Once, when he was staying at the palace of the Daimio of Fuji, the 
wife of the Prince became instantly converted, and leaving the castle went 
to have her head shaved and became a nun. Her infuriated husband swore 
that he would kill the priest, but as he approached the room in which 
Ippen was seated (apparently teaching the nun) he was struck with awe, and 
throwing to the ground his drawn sword, he prostrated himself and was also 
converted. 

IPPEN died in 1289. 

347. IPPI ^. Mythical half men from a country beyond the 
Western Sea, who walk in pairs "like fishes or birds," one being left- 
handed the other right-handed, clasping one another's arm, the sides without 
limbs being in contact (Todo Kimmo dzue, V.), or each with his solitary arm 
round the other's waist or neck. They have only one eye each, and long 
straight hair. 

348. ISETSU Ifi '|J5. Chinese Sage who resigned his office to study 
under the Taoist CHOKOSHI on Mount Kun. One day he saw a coloured 
cloud approach the mountain, and saying : " I will go up to the sky on 
that cloud," became one of the Immortals. 

349. ISHIGAMI /j Jffi. No dance player with bells and fan ; the God 
in the Rock. 

136 




HOWO ((,.7.) 

IKKAKU (.-;.) 

HOWO AND KIRIX (,;.) 



JOFUKU 



JIXCO KOGO (../.) 

.H'ROJIX (.^.) 
JO.MYO AT UJI GAWA (G./fM.) 



LEGEND IN JAPANESE ART. 

350. ISHIKAWA GOYEMON. See GOYEMON. 

351. ISHO ^ Jl> or YOKI. Transformation of MARISHITEN, or MARISHI 
DEVA, described as one of the sons of Benten, and often figured with a 
bundle of clothing. 

352. ISHUKU ff ^f. A young male genius carrying a Tama on a 
lotus flower. He represents the seventeenth lunar constellation. 

353. IWAGENKAI ffi fP j $$. Taoist worthy who had always 
black hair and looked young. He rode, without a bridle, a yellow mare 
which would not eat grass. His saddle was a piece of blue cloth. Upon 
her back he crossed the sea, and travelled often from Seishyu to Konshyu. 

354. IWANAGA % 7% See AKOYA. 

355. IWASHI, Sardine. See FISH. 

356. IWAZARU. See MYSTIC APES. 

357. IZANAGI ffi ffi ffi (. The creative Divinity of Japan, who 
was sent by the Heavenly Deities (according to Shintoist teachings) to 
make and consolidate the drifting land, accompanied by his sister, the Deity 
IZA-NA-MI-NO-KAMI, with the help of a jewelled spear, which they used from 
the Bridge of Heaven to stir the brine thus was created the Island of 
Onogoro. After seeing to the erection of an august pillar, which is reckoned 
the centre pillar of the land, they entered into a rather indelicate courtship 
(set forth in Latin in Chamberlain's translation of the Kojiki), and finally 
gave birth to a large number of Islands and later to an equally large 
number of Deities. After giving birth to the Fire Divinity, Kagutsuchi, 
Izanami died, and Izanagi killed one of his children, from whose body and 
blood were created eight more deities. He then set forth to YOMI, the 
yellow stream (Hades), to see IZANAMI, and call her back, but he was too 
late. He took no heed of her warning not to look in as she had eaten of 
the food of Hades, and lighting the end tooth of his head comb, proceeded, 
when he saw her surrounded by maggots, and the eight thunder divinities 
were born of her body (see IKAZUCHI). She sent the ugly female, Yomo Tsu 



LEGEND IN JAPANESE ART. 

Shiko Me to pursue him. He however escaped after casting off his garments 
and belongings, which formed eatables for the ugly female, and he blocked 
the door of Hades with a rock which a thousand men could barely move; 
IZANAMI f^' ffi $ft H thereafter becomes one of the infernal deities. 

358. IZORA. Kami of the Sea Shore. See JINGO. 






359. IZENSHUN 2p! ^ f^. Sennin (riding a black clog.) He was 
once followed by a big black dog, which he could not shake off and had 
to feed. One day the dog became a black dragon, and took him to 
Heaven. 

360. JAKO H ^. One of the sons of Benten. See INJAKU. 

361. JEWEL (sacred). See TAMA. Attribute of several Deities, and also 
of some Arhats. Three are often shown on a rock carried by the Minogame, 
or Tortoise of 1000 years ; they represent Horai San. See also, EMBLEMS, 
BISHAMON, DAIKOKU, JINGO, RIUJIN, HOHODEMI (jewels of the flowing and of 
the ebbing tide), HACHIMAN ; see MAGATAMA. 

362. JIDO ^ jjj|. Other name of KIKUJIDO (q.v.). The Sennin, KEUH 
TSZE TUNG, shown as a boy throwing chrysanthemum in a stream ; in 
netsuke, with chrysanthemums and a writing brush in his hands. 

363. JIGEN DAISHI H& ^C gift. Posthumous title of TENKAI who, 
like Ryogen (Jiye Daishi), was a celebrated priest of the Tendai Sect, and 
for some time head priest of NIKKO. 

364. JIGOKU iflj fjfc. The Buddhist Hades. See HELL. 

365. JIGOKU REIGAN Jflj gfc >fc ^C- Famous Hetaira of the XVth 
century, who was adopted by the poet IKKIU (q.v.) She is also called 
Jigoku Dayu, and is depicted with scenes from Hell painted on her dress. 

366. JIJIN jfa Jffl. The Chinese Earth Gods, or divinities, protective 
of the soil. See under KAMI. 



367. JIKAKU ^ ^ (DAISHI j ftp). Buddhist priest who, coming 
back from China during a terrific storm had to throw in the sea, to appease 

138 



LEGEND IN JAPANESE ART. 

the waters, the image of the God of Wisdom, YAKUSHI NYORAI, which he 
had carved to obtain the cure of his own eye disease. 

The figure was brought back to land by an octopus near the temple 
of Taku Yakushi, in HIRADO, and its presence was revealed to the priests in 
a dream (during the IXth century), as a result of Jikaku's earnest prayers. 
Jikaku Daishi is said to have struck the rock at An yo In (Meguro) with 
his Yajra, and from the stone sprung the spring Tokko no taki, which never 
dries up. 

368. JIKOKU TEN $f |cj Ji. One of the SHI TENXO, or Four Kings 
of Heaven, guardian of the East. It is the transformation of the Indian 
DHRITARACHTRA. 

JIKOKU supports the heavenly mountain of Buddhist fiction, Mount 
Meru. He is represented as an armed warrior, sometimes with the sword 
or the Vajra, trampling under foot a devil. 

369. JIMMU TENNO f$ ^ ^ Jl. First Emperor of Japan, usually 
depicted in the dress of a warrior, with abundant hair and beard. 

370. JINGORO. Left handed sculptor, better known as HIDARI JINGORO. 
See that name. 

371. JINGO KOGO f$ $] Jl jg 1 . OKINAGA TARASU HIME, or also 
KASHI IDAI MIOJIN, Empress of Japan. Always shown in the garb of a 
warrior, and usually with a wide band around her forehead*, often in the 
company of her son, OJIN TENNO, and of her minister, TAKENOUCHI NO 
SUKUNE. See HACHIMAN. 

The Deities twice ordered her husband, the Emperor CHIUAI, to conquer 
Korea, but the monarch took no heed. The Deities then inspired JINGO (or 
rather Okinaga Tarashi, as her name then was), and she transmitted the 
request to the Emperor, who said: "There is no land to the west, these 
dreams are inspired by lying Deities," and suddenly fell dead. The Empress 
was then enceinte, but decided to start herself on the conquest. She stopped 
to fish at Matsura Gawa, with three grains of rice as bait, the catch of fish 



5 The statue in the Yakushiji differs, and has no band on the forehead. See Kokkwa, 161. 



LEGEND IN JAPANESE ART. 

being a lucky omen. She prayed also that if she was to succeed her hair 
would part as she was bathing, and it parted. All the Kami are said to 
have come to her aid, with the exception of the Kami of the sea-shore, 
Izora, who later came clad in mud, and whom she sent to Riujin to 
"borrow the tide-ruling jewels." The Korean fleet came to her and sub- 
missively offered her their country, after which she planted her lance upon 
the door of the chieftain of Shiragi, and came back to Japan, when OJIN, 
whose birth she had delayed by attaching a heavy stone to her waist, 
was born, in the province since called Umi. She then had a meal with one 
of the Gods, since named Aguchi (open mouth), at Sakai. She is often 
shown writing with her bow the words Koku (ruler of state) upon a rock. 
See Jingo Kogo Sankan Taiji (1840, illustrated by Hokusai). 



372. JIRAIYA j& f| ili [H -Jj ,g|] or OGATA SHUME, son of the 
Lord of Ogata, in his youth was called Young Thunder. At the death of 
his father in the destruction of his castle, Jiraiya flew to Echigo, which was 
then infested with robbers. Jiraiya's retainer was killed, and the boy joined 
the robbers, soon to become their chief. Hearing of the existence of a very 
rich old man in Shinano, he started alone to rob him, but he was overtaken 
by a snowstorm, and had to take refuge in a hut inhabited by an old 
woman. In the night he attempted to murder her, but his sword was 
broken to pieces, and the woman appeared transformed into a man, SENSO 
DOJIN, who revealed himself as being the Toad Spirit, and finally taught 
him all the toad magic, which gave him power to control the frogs, but 
which had no effect upon snakes. Later, he met a girl whom a Sennin had 
advised to marry him, and to whom the sage gave the secret of the magic 
of the Snail, to enable Jiraiya to kill OROCHIMARU (Dragon Coil Robber), 
the son of the serpent, who lived at the bottom of the lake TAKURA, and was 
helping the INUKAGA clan in their war against the TSUKIKAGE. One day 
while they were resting in a temple, the snake crawled upon the ceiling of 
the room, and poured its venom upon the head of Jiraiya, carrying away 
with him his own affianced bride, the Princess TAGOTO, who had fled from 
him with Jiraiya. The Abbot of the temple was, however, equal to the 

140 



LEGEND IN JAPANESE ART. 

occasion, and sent to India, on a Tengu, the retainer RIKIMATSU, to fetch the 
only available elixir. The man returned in time for Jiraiya to be saved and 
made Daimio of IDZU. He is often represented slaying the serpent, or busy 
with magical preparations with the toad spirit (see Griffis). This story 
forms the theme of a popular play of the same name. 

373. JISSHUDO "df $, ?|n), drawn in a fisherman's net amongst fishes. 
JISSHUDO went about the world to sell an elixir vitre for 120,000 cash; a 
governor wished him to bring some to his palace, but Jisshudo then refused 
to sell it for less than 1,200,000 cash, saying that a rich man could afford to 
pay that much. The governor, in reply, had him put into a basket and 
thrown into the bay. The sea currents lifted the basket from the bottom 
and carried it to Hairyo, where two fisherman caught it in their net. When 
they discovered Jisshudo inside, they thought that he was some uncommon 
individual who had been voluntarily buried alive, and struck a copper vessel 
to try and wake him. He awoke and said : " How far is this place from 
Doryo ? " After this miracle he ranked amongst the Taoist worthies. 

374. JITTOKU ^ ffi. The Chinese Sennin, Sinn TE, represented as a 
boyish figure, upon whose face are deeply marked the furrows of old age ; 
he holds a besom, and is shown either singly or with his brother Rishi, 
KANZAN (q.v.), or with the latter and the other Taoist Rishi, BUKEN ZENSMI, 
and his tiger. He had been found in the mountains by Buken Zenshi, who 
had received a divine message to the effect that his foundling was an incarna- 
tion of the Buddha. The story, however, varies. See BUKEN ZEXSHI, KANZAN, 
SLEEPERS (the Four). A Chinese sage is also depicted with a besom, 
sweeping the ground, HIANG YEN, of Ch'ing Chou, a priest, after lengthy 
studies decided to find out what Ling Yii thought of his knowledge. After 
a weary journey, he bowed before the philosopher, who, instead of asking 
questions bearing upon Hiang Yen's studies, simply said : " What were your 
duties before your birth ? " and, on receiving no satisfactory answer but a 
request for his own opinion, replied : " My opinion is but my own ; what 
good would it do you to hear it?" The crestfallen inquirer trudged back to 
his temple and continued his studies, but after a few years, comparing the 

141 



LEGEND IN JAPANESE ART. 

reading of books to the painting of rice cakes an occupation which never 
allayed hunger he burnt his books and hied himself to the woods, to a place 
where Su chung once had lived. One day, sweeping the ground, he sent a 
stone flying against a big bamboo, the trunk of which gave a ringing sound. 
This reminded him of Ling Yii's reply, the depth of which he now 
understood, and " he saw truth " (Ehon Hokmi). 

375. JIUGO DOJI -f- 3JL H Ip. "The Fifteen Youths," sons of Benten 

(q.v.)- 

376. JIU XI O -f* H 5E, or Jiu NI TEN ~h H 5. The Twelve Deva 
Kings, Buddhistic adaptations of Brahmanic divinities, amongst which the 
Shi Tenno, or Four Guardians of Heaven, are the best known. 

The BUTSU DZO DZUI (Vol. Ill, p. 20} illustrates them as follows : 

JITEX illi 3^.- The Earth Deva PrWivi (Sanskrit), a woman holding in 
her right hand a basket of peonies, the right hand held in a miidra. 

GWATEX /) Jfc. The Moon Deva, Tchandra or Soma, a woman holding 
in her right hand a disc emblematic of the moon. Mr. L. Gonse, in L'Art 
Japonais, illustrates a somewhat different Gwaten, from a painting in the 
Kounoji temple, in which a male figure stands on a lotus, on clouds, both 
hands holding a figure of the moon, with the crescent and moon hare shown. 
The head is surrounded by a flaming halo. In other pictures, the moon hare 
is depicted in the dress of the Deva. 

BISIIAMON J|, ^!? P^ ^C (q- v -)> Vais'ramana, Vaisvavana, the Hindoo God 
of Riches; Kuvera, one of the Shi Tenno, and as such Guardian of the North. 
Eitel says that he was canonized as God of Riches by Hiuen Tsung in 753, 
and that he plays an important part in exorcism. He was re-born as King 
of the Yakchas, and his name is derived from the fact that Shaka converted 
him and raised him to the priesthood (Eitel, C.B. 193). He also receives the 
name DANADA, as God of Riches, and is one of the Shichi Fuku Jin under 
the name Bishamon. He is depicted with a blue face, clad in armour and 
carrying a pagoda in the left hand, a sceptre in the right one (as King of 
the Rakshasas and Yakshas), or a lance, or three-pointed halberd, when as one 
of the Shi Tenno he often receives the name TAMONTEN ^ |"J ^, meaning 

142 



LEGEND IN JAPANESE ART. 

"universal hearing" (Eitel). Sometimes he is accompanied by ZEXNISHI DOJI, 
or by KICHIJO TEN. 

An interesting figure in the South Kensington Museum shows him standing 
on a tortoise, around the body of which is coiled a snake. 

FUTEN Jill ^i (q-v.), Vasu, the Deva of the Winds, also called Vasava (Fuxo 
SHIN). An old man bareheaded, with flowing beard and garments, walking, 
holding in his left hand a banner blown by the wind. A picture presenting 
these characters was in the Hayashi collection, in which the nether garments 
were depicted as made of leopard skin, a character associated also with om. 
The more modern form, as an om carrying a wind bag, is described in the 
article FUTEN. 

SUITEX 7jC ^C (q- v -)' The Water Deva Varuna, also Guardian of the West, 
as one of the Eight Gods of Heaven in the Brahmanic Pantheon, in which, as 
God of the Waters, he had the names Jalapiti, Yadapati and Amburaja, and 
he was represented as an old man sitting upon the makara, a mythical animal 
whose body and tail were that of a fish, while it had an antelope's head 
and legs. In the Butsn dzo dztii, the figure is that of a young man holding 
in his right hand a sword, in his left hand a snake, coiled like a query mark, 
and with five snakes issuing from his hair, erect as if ready to strike. 

RASETSU TEX fj| ^Ij ^. Bearded, with upright hair, a sword in the right 
hand, the left raised in a miidra. He is the King of the Rakshasis. 

BONTEX ^ Jfc 3E- Brahma, depicted as a figure standing on a lotus leaf; 
three heads of equal size, and with three eyes each, are surmounted by a 
smaller one with two ^eyes only. One hand holds a lotus, another a trident, 
a third one a water vessel ; the fourth and last one is directed downwards, 
with open palm and fingers extended in the mudra of charity (J^ara mudra). 

NITTEN f] ^. The Sun Deva, Surya. A female figure holding a lotus, 
on the calix of which reposes a sphere, emblematic of the Sun. Anderson 
mentions a picture in which the sphere is replaced by a red disc bearing 
the three-legged crow (q.v.) described by Hwai Nan Tsze in the $j| ^ ?'] 
(Mayers' C.R.M., 235). 

ISHANA TEN ^" ^ ffi ^. Mahesevara or Siva, depicted as a fierce figure, 
with the usual three eyes, holding in the right hand a trident and in the 

H3 



LEGEND IN JAPANESE ART. 

left a shallow vessel containing clotted blood. The third eye, open vertically 
in the forehead, and which is often called the eye of wisdom, originated 
according to the Mahabharata when Siva was seated in the mountains 
meditating. His wife Uma, coming behind him, playfully clapped her hands 
on his eyes, when the world was suddenly cast in gloom, but, as suddenly, 
in an outburst of flame issuing from Siva's forehead, a third eye appeared, 
the radiance of which scorched everything within sight until Uma repented. 
Siva's favourite mount, a white bull, is not shown in the Japanese figure, 
nor are the eight arms usually depicted. The Butsii dzo dzui, in its short 
description, identifies ISHANA TEN with IZANAGI NO MIKOTO (q.v.), which is 
written fjP* - ^ t& [-4 "f ^ ] > J|t instead of the usual form. The fact 
is of interest, as an attempt by Buddhists to form links with the original 
Shinto belief by modifying or adapting divinities, such as happened in the 
case of the Gongen. 

TAISHAKU TEN *j^ fa| 3^- Sakra, the mighty Lord fnelra, ruler of the 
Devas, to whom no particular attribution appears to be given. He is depicted 
as a woman with the three eyes, holding in the right hand a vajra with one 
point at each end, called Dokko $jj $, and in the left a cup. 

KWATEN ^C ^C.. The Fire Deva, Agni, depicted as a bearded old man 
with four arms, holding respectively a bamboo twig with a few leaves 
attached, a water vessel, the flaming triangle emblematic of fire in Brahmanic 
symbolism, and a rosary. He stands in front of a large flame. In the Hindoo 
figure he was depicted as a red man with two heads, like a Janus bifrons, 
seven arms and three legs, riding on a ram, wearing the Brahmanical 
thread, a garland of fruit, etc., and with flames issuing from his mouth. 
He may be dressed in flowing robes or clad in tiger's skin, as in the wood- 
cut by Riokin illustrated in Anderson's Japanese Wood Engraving. 

YEMMA TEN jfc JH ^. The Deva of Hades, Yama, or more properly 
speaking the King and Chief of Ten Regents of Hell. 

The Butsu dzo dzui depicts him as a youth with three eyes, carrying in 
his right hand a sceptre terminating in a small Boddhisattva head. The 
various appearances of Yemma are dealt with in a separate article. Eitel 
says that Yama Raja was in Brahmanic mythology a Guardian of the South 

144 



LEGEND IN JAPANESE ART. 

and Judge of the Dead. In Buddhist lore he is a King of Vais'ali, who, 
having during his earthly life wished to be master of Hell, had his wish 
granted in a later avatar, and is accompanied by his eighteen generals and 
eighty thousand men as judges and executioners. His sister, Yami, deals 
with the female inhabitants of his domain. The King and his associates 
are fed every eight hours with molten copper. 

The Deva Kings are all represented standing and with a halo surrounding 
the head. There are variations in the way in which they are depicted, but 
the main attributes and characteristics are rarely departed from. Besides the 
actual carvings displayed in the Musee Guimet, fine illustrations of a number 
of the Jiu ni ten have been published in the Kokkwct,, TAJIMA'S Relics, the 
catalogues of the Hayashi, Gillot and Bing collections, etc. 

377. JITRI 5J^ ^Ij. Mythical half men, with one leg and one arm 
only ; their head is normal, but their body is soft and they have no bones 
(Todo Kimmo dzue). See illustration in Hokusai's Mangwa, Vol. Ill ; see 
FOREIGNERS. 

378. JIZO Jjjj. ^, or Jix.o BOSATSU (Chinese, Ti TSANG). The Indian 
deity, KSHITEGARBHA, sometimes thought to be a form of Kwannon. It is 
the Buddhist Saviour, par excellence, and rejoices in a number of names, 
such as the Never Slumbering, the Dragon Praiser, Diamond of Piety, 
Embracing the whole earthly nature, Countless bodied, Shining King, etc. 

He is represented as a shaven priest, holding in one hand the jewel (Mani 
or Tamo) and in the other the Shakujo, or ringed staff, the rings of which, 
knocking against one another, warn insects of the approach of mendicant 
monks. The sleeves of his dress are particularly large ; sometimes he wears 
a lotus leaf in the guise of a hat, and plays the flute. He spends most of his 
time in the Sat no Kaivara, the river of souls, with the children, helping them 
to pile stones as prayers (see HELL). He manifests himself under six different 
forms, called Roku Jizo (the Six Jizo), to the six classes of creation. As 
patron of pregnant women he receives the name KOYASU Jizo. He is also 
the patron of travellers, and as such his figure is often met on the roads, 

K 



LEGEND IN JAPANESE ART. 

often with a broken nose (HANAKAKE Jizo), whilst AGONASHI Jizo (q.v.), the 
jawless, is prayed to against toothache. 

He is one of the Nure Dotoke (Wet Gods), because of his numerous 
out-of-door figures, and though representative of the utmost benevolence his 
patience appears to have limits, according to the proverb: "Jizo no Kao mo 
san do naderaba hara no tatsu." "If one passes three times before Jizo, 
he ... straightens his belly . . . " ; or less literally: "Abuse of 
people's patience puts their back up." 

According to the Taijo-Hoshi-mingyo-nembiitsu-den, quoted by Hearn, Jizo 
was a human being who lived ten thousand Kos before the Christian era, 
and who, being filled with the desire to convert all living beings of the six 
worlds and the four births, was enabled to multiply his body so as to be at 
the same time amongst them all in the six states of transient existence, or 
Roku Sho, namely, Jigoku, Gaki, Chikusho, Shura, Ningen, Tenjo, whose 
dwellers were thereby converted. Once a monk was taken by Ono no 
Takamura to visit Yemma, and in the lowest circle of Hades found Jizo 
who expressed his disgust at the lack of worshippers on earth, and when the 
monk came back to his temple he started upon a statue of Jizo which was 
miraculously finished by a supernatural being. It is now in the temple of 
Yata no Jizo, near Nara. A small image of Jizo tied in the hair of a 
murderer named Saito is said to have blunted the executioner's sword when 
Saito was sent to undergo the death penalty ; he was pardoned, and a temple 
erected in honour of the God. 

In a very curious fuchi-kachira (Alexander Collection) Jizo is shown 
arm in arm with Yemma O fishing; two oni, one "horse-headed, carry the 
picnic basket slung on the Shakujo of Jizo as a coolie pole ! 

A full article upon Jizo will be found in Hearn's Unfamiliar Japan, 
Vol. /., and also in the same author's Ghostly Japan. See also the Kan 
Toku Den ^ ffl. ffi of Hayashi Tanji. 

As a transformation of Jizo, one of the sons of Benten is called Keisho 
or Akujo. 

379. JO AND UBA U and jj [^ $> U #]. The Spirits hunting the 

146 




JIRAIYA (r./..) 

jo (M.E.) 



JUROJIN (IV.L.S.'J 




JIRAIYA (a.ir.) 
JIZO (J/.CC.) 



LEGEND IN JAPANESE ART. 

pine trees in Takasago, in Banshu, and of Sumiyoshi, in Settsu (Tsu no 
Kuni). They are shown as an old, wrinkled couple, Jo with a rake, Uba 
with a besom and a fan, gathering pine needles. 

There is a No dance due to a priest of Asonomiya, named TOMONARI, 
and commemorating the story of KINO TSURAGUKI, who met the old couple 
(XVth century). 

The two old people are usually accompanied by the attributes of 
longevity, the crane and the tortoise. 

According to some the spirits are those of the two admirals SUMIYOSHI 
Daimiojin and SUWA Daimiojin, who were in command of Jingo's fleet of a 
thousand barges, but the more popular tradition follows the text of the 
Takasago no Utai, referred to above, as follows : At Takasago there is a very 
old pine tree, the trunk of which is bifurcated; in it dwells the spirit of 
the Maiden of Takasago, who was seen once by the son of Izanagi, who fell 
in love and wedded her. Both lived to a very great age, dying at the same 
hour on the same day, and since then their spirits abide in the tree, but on 
moonlight nights they return to human shape to revisit the scene of their 
earthly felicity and pursue their work of gathering pine needles. See KODAMA 
KURA NO Jo. 

On weddings the Takasago no Utai is recited, and figures of JOTOMBA, 
called Shimadai, are placed in the wedding room. 

380. JOFUKU f$; j|. The Chinese wizard and physician, Su SHE of 
Tsi (also called Sii Fuh), who was sent by the T'sin Emperor, SHE WANG Ti 
(CHENG), to seek the elixir of everlasting life, and having persuaded him 
that it was to be found in the Mount Horai (Horaizan, PENG LAI SHAN) the 
wily wizard took with him three hundred Chinese couples and some of the 
most important Chinese books, sailing away never to return. These books are 
sometimes credited with being the only ones to have escaped the general 
destruction which was ordered by SHE WANG Ti, but there seems to be an 
anachronism, as the travels of Su SHE (or Su FUH) are said to. date from 219 
B.C. and the general burning of the books took place in 212. This is 
regarded as the story of a Chinese attempt to colonise Japan: Mayers says 

F47 



LEGEND IN JAPANESE ART. 

that although the fleet was steered within sight of the magic islands, the 
boats were driven back by contrary winds. 

JOFUKU is sometimes represented on a crane. 

381. JOGA. See MOON. 

382. JOGEN FUJIN J: % ^c A- The Chinese SHANG HUEN FUJEN, 
female Sennin, shown riding upon a Kirin. According to the Tapist books 
JOGEN FUJIN came down from Heaven with Seiobo, in the period of Gempo, 
in the first year, the seventh month, and descended before the palace of the 
Emperor Wu Ti, of the Han dynasty. She rode a unicorn, and wore a blue 
coat. Her hair was partly made up into three plaits and partly loose, reaching 
to her waist. 

383. JOKWA "$ i^. The mythical Chinese Empress, Nu KWA, sister 
and successor of FUH Hi. Her legendary story is variously told. When KOKAI 
(KuNG KUNG), the rebel, aided by the devil of the waters, flooded the earth 
with the help of the two erstwhile rivals, the generals HAKO and EIDO, and 
the assistance of the genius of fire, SHIKUYU (CHUH YUNG), who dwells at the 
North Pole, she defeated him. But the gigantic Kokai, who was twenty-six 
feet high, knocked with his head one of the pillars of Heaven, and brought 
down the "Imperfect Mountain." JOKWA repaired Heaven with stones of 
five colours, white, yellow, black, azure, and red; trimmed the corners of the 
earth with the feet of the sacred tortoise; stopped the flood by means of 
burnt reeds; created the Jade; designed the course of the River of Heaven, 
and created the dragons the yellow one to guard the Sun, the blue one to 
guard the East. 

384. JORAN CHO ^ |H J^, Sennin, found a man dressed in white 
passing through the gate of his house, and reproved him, but the stranger 
there and then transformed himself into a tortoise, entirely white. 

385. JOMYO ffi ^ (Tsu Tsui), was a priest in the Taira army. When 
the floor of the bridge of Kyoto was pulled to pieces by the Minamoto, 
during the revolt of Yorimasa, to prevent the Taira from crossing the Ujigawa, 
the cross beams were left in place. Jomyo sprung then from beam to beam to 

148 







NIUXRIII KOSONSHO 

(KHON SUIKHDKN) 
(Shozo Kato collection) 



LEGEND IN JAPANESE ART. 

challenge the Minamoto. A soldier named ICHIRAI HOSHI accepted his 
challenge, and both fought upon the beams for several hours without any 
result. 

386. JOSAKEI ^ ^ HP, Sennin (shown with an arrow), lived in Shoku 
in the Tempo period of the To dynasty. He was wont to assume the form 
of a crane, and once when he had flown over a mountain he was shot by 
the Emperor Genso (q.v.), who was hunting in the western gardens. The 
Sage came back carrying the arrow, and narrated the incident to his 
disciples saying that he had been hurt by a stray arrow, and, hanging it 
on the wall, ordered that if the owner called for it the arrow should be 
returned to him. 

387. JUROJIN Sp ^ A.. One of the Seven Gods of Luck, depicted 
as a tall old man in the dress of a scholar, with the attributes of longevity, 
more especially the deer and the crane. He wears a peculiar headdress, 
upon which is often pictured the circle of the sun. He carries a roll, or 
makimono, either in his hand or attached to his staff; he is generally of 
solemn mien, not so often playing with children as Fukurokujiu (q.v.), 
though the latter exchanges attributes with Juro. It is thought that Jurojin 
is only a variant of the ever-smiling divinity with the elongated brain pan, 
Fukurokujiu, but if so the grave and the gay must have parted company 
at an early date. Jurojin does not appear amongst the Seven Gods in 
Ehon Kojidan, (Vol. //) ; his place is filled by Kishijoten, who plays with 
Benten. 

388. JURO SUKENARI + !ft f& $ See SOGA BROTHERS. 

389. JUSHA -$ ^, or SEMUI, or Ruui BOSATSU. One of the sons 
of BENTEN, whose attributes are the three sacred gems. 

390. KACHI KACHI YAMA fr t> fr t> \\\. See under HARE, 
page in. 

391. KAFURI UMIN t$ jg. Flying men. See under FOREIGNERS 
(mythical). They live between Kaito (East sea) and Nangai (north cliff). 

149 



LEGEND IN JAPANESE ART. 

392. KAGEKIYO jp; ffi [^ -fc & Hf] (AKUSHICHIBIOYE), son of Fujiwara 
Tadakiyo and brother of Tadamitsu. He is celebrated for his strength, one 
of his noted feats being that in the Yashima battle, in single combat, he 
tore off the neck-covering (Shikoro) of the armour of Minamoto MIYO NO 
YASHIRO KUNITOSHI. This episode is called the Shikoro biki, and Kagekiyo 
is often shown hanging the shikoro on his spear. He owed his name of 
Akushibioye (miscreant Shibioye) to his murder of his uncle, the priest 
Dainichibo, in whose temple he had sought refuge, but whom he believed to 
be a creature of Yoritomo. His father and his brother were killed by order 
of the latter, and the popular legend has it that his attempt to murder 
Yoritomo in the Daibutsu temple of Nara (Todaiji) had been thwarted by 
Hatakeyama Shigetada. Afterwards, he blinded himself rather than see the 
triumph of his enemy ; since then he has been the patron of the blind. 

See also AKOYA. He is often depicted escaping from a wooden prison, 
though it is said that he was confined in a cavern at Nara and died of 
thirst. 

In 1689 Kagekiyo's adventures were partly embodied in a play, the 
Kagekiyo Sanddi Osaka Jum-ei, and there is another play called Mekura 
(Blind) Kagekiyo. 

393. KAGESUYE jjf; 2p. KAJIWARA GENDA KAGESUYE was a follower 
of YOSHITSUNE (q.v.), whom he accompanied, in 1184, in his expedition to 
quell the revolt of Kiso YOSHINAKA against YORITOMO. Guessing that his 
enemy would be beyond the Uji River, then in flood, Yoshitsune directed 
his men to a ford pointed out by SASAKI NO SHIRO TAKATSUNA, who knew 
that part of the country. He gave to Kagesuye his own horse, SURUSUMI, 
born of a prayer to Kwannon, and Kagesuye was the first to plunge in the 
water, but Sasaki Takatsuna, who had one of Yoritomo's horses, IKEZUKI, 
plunging after Kagesuye, called to him to tighten the girdle of Suruzumi, 
which was getting loose, and as the soldier stopped Takatsuna got first on 
the opposite bank. This is a favourite scene for artistic treatment, and is 
easily recognizable. The mon (crest) of Kagesuye is the Takanoha formed 
of the pennate end of two arrows side by side (two hawk's feathers) ; that 



LEGEND IN JAPANESE ART. 

of Takatsuna is called the Yotsume, and consists of two groups of four 
hollow squares, as per illustration. 

The incident is often described under the name of the battle of LJji 
GAWA. 

KaGESUYE, at the battle of the forest of Ikuta, placed in his quiver a 
large branch of plum tree covered with blossoms, which made him an easy 
mark for the arrows of the Taira. Twice he dashed into the enemy's forces, 
finally losing his helmet and narrowly missing death. He was pulled out of 
the fray by his father, HEIZO KAGETOKI. His helmet, with the plum branch, 
form a terse representation of this episode. 

394. KAGUHANA AND MIRUME. The two witnesses. See HELL. 

395. KAI AWASE. The shell Game. See GAMES. 

396. KAIRISHI. Puppet showman, often shown with the Handa no 
Inari board, with movable top. 

397. KAI RYU O $| f| 3E- Another name for RIUGIN. 

398. KAISHO ^ J|t, of KAIKEI. Chinese sage who lived on Mount 
Gaichiku and always held in hand a branch of white peach. He kept ever 
young in appearance. 

399. KAJIWARA KAGETOKI Iffe J& jjt $f. Bosom friend and adviser 
of YORITOMO (q.v.), and principal enemy of YOSHITSUNE. He is generally 
represented with Yoritomo, or poking his bow into the hollow of an old 
tree, from which escape two doves, a manoeuvre by which he saved Yoritomo 
from his pursuers when he had to llee from Ishi Bashi Yama, in 1181, 
and, hard pressed, hid himself in the decaying trunk of a tree. His full 
name was Kajiwara Heizo Taira no Kagetoki. He was the father of 
Kagekiyo. 

400. KAKO fnj -^f. Sage (shown with a spade, and walking between 
a river and a rice field) who lived in the time of the Emperor GYO (YAO), in 
the fastness of Mount Sogo with three hundred of his relatives. In the 
time of the Emperor U (Yu) of the Ka (HSIA) dynasty, the five divine 



LEGEND IN JAPANESE ART. 

Emperors gave him an elixir in a pot, and told him to put a drop of it in 
his wine. This he did, and the three hundred folks drunk of it without 
draining the whole. Whatever remained he poured on the roof of his house, 
which rose to the sky with all its occupiers. The Ressen dzu san shows him 
squatting and laughing. 

401. KAKU BAKU. Chinese philosopher, depicted with a demon 
following him as an attendant ; identical with Hakuhaku. 

402. KAKUDAITSU f$ ^ }, or TENNENSHI. The Taoist rishi, Ho TANG| 
TUNG, depicted as an old man seated on a rock amongst a host of children, 
who have piled a pyramid of stones on his head, because, according to legend, 
being once sitting in meditation near a bridge, he ordered some boys to 
pile tiles upon his head in the shape of a tower to amuse theniselves, and 
when the tower was finished he ordered them never to touch it or damage it. 
He remained motionless for six years, even when the river overflowed. 

403. KAKKEI f$ Jf| (with an abacus) was a peculiar man who travelled 
about with a cane and an abacus in his pocket. When he stopped in a 
house he begged for fuel for the night, by the flame of which he read books. 
Placing the abacus on his knees, he divined what was going on wherever he 
stayed. 

404. KAKKIO i||5 M> r KWAKKIO. The Chinese paragon of filial 
virtue, KWOH K'u, usually represented in a garden with his wife, who carries 
their son in her arms. Kakkio digs a grave for the baby, as, being too poor 
to sustain his old mother and his own family, he would have buried his son 
to have more for his mother. But the all-seeing Deities willed it otherwise, 
and rewarded his piety : he found in the soil a pot full of gold, upon which 
was inscribed, "Heaven's gift to Kwakkio; let no one take it from him." 
Sometimes Kwannon is associated with this story. 

405. KAKURE ZATO g ft 4* g|. The blind old man entrusted with 
the conveyance of bad people to Hades. 

406. KAKWOKO 3[ ^ Q. Old man, shown with three others, in 



LEGEND IN JAPANESE ART. 

Chinese guise, and with a peculiar headgear, playing Go on Mount Shang, 
where they had retreated under She Wang Ti. As the calculating regent, 
KAU Tsui, intended to banish the Crown Prince of China in the third 
century, under the Empress LEU, of the Han dynasty, these four sages were 
appointed on the recommendation of CHORYO to defeat his ends. They were: 
KA-KWO-KO, LOK-LI-SEN-SAI, KI-LI-KI, and TOYEN-KO. See illustrations in 
Kokkiva, Vol. XII., and Tajima's Relics. 

407. KAMAKURA GONGORO KAGEMASA H It HI IB :S ifc was 

a follower of YOSHIIYE in the war of Dewa. He was but sixteen years old 
at the battle of Oshu, in 1060, when he was wounded by an arrow in the 
left eye, but without even drawing the weapon from his eye, he shot dead 
his opponent, TOURINOUMI YASABURO. 

408. KAMA ITACHI H ||. The weasel with the sickle, who flies 
about and cuts, scratches or tears people's skin without reason. Upon this 
mythical creature is usually fastened the blame for any scratch or cut, the 
cause or origin of which cannot be stated or needs to be kept secret. The 
usual formula in such a case is: Kama itachi ni kirare ta "cut by the weasel 
with the sickle." This is often used when sandal straps break (Griffis). 

409. KAMATARI $& & (NAKATOMI NO 4 1 l J53L). also called TAISHO- 
KUKWAN ^ J|f| xl, is the founder of the FUJIWARA clan. He became 
minister of the Emperor KOTOKU after exposing the disloyal ways of the 
ministers Sogo no Iruka and Sogo no Emishi. At the death of Kotoku he 
passed into the service of the Empress Seimei. His title, Fujiwara, was 
granted him and his family by the Emperor Tenchi. He died, fifty-five years 
old, in 669, leaving several sons. 

Several episodes in Karnatari's life have been seized upon by dramatists. 
In a popular play he is made to attempt the murder of the minister, Soga 
no Iruka, in 644, when he was only a retainer of Naganoe.* In this play 
his name is given as Motome. It is stated that TACHIBANA HIME, the 
daughter of Iruka, was his mistress, and she led him through the devious 

* Iruka was murdered two years later. 
153 



LEGEND IN JAPANESE ART. 

passages of her father's palace by means of a thread. But Motome had 
reckoned without his affianced bride, Omiwa, who, having her own suspicions, 
had followed him by means of another thread, which she had deftly attached 
to his kimono. She thus thwarted his efforts at the cost of her own life, 
as she was caught by the retainers of Iruka, but, fortunately for Motome, 
the thread which she held snapped in the scuffle, and she proved loyal 
enough to keep his secret. 

But the legend with which Kamatari's name is most often associated is 
that of the MUGE HOJIU NO TAMA, illustrations of which are of frequent 
occurrence in art. It is said that the daughter of Kamatari had become 
the wife of the Chinese Emperor, Tai Tsung (627-650 A.D.), and that, after 
living several years in China, she desired to cause a temple to be constructed 
in Japan. To achieve this purpose she collected a number of very 
valuable objects, amongst which was a jewel the fame of which spread over 
the three Empires of India, China and Japan. She entrusted the treasures to 
a retainer, named Manko, to be carried to her native land, but the Dragon 
King of the Sea, Riujin, who had decided to get possession of the precious 
jewel, sent a host of devils to encounter Manko's ship near Chigura ga Oki. 
Manko defeated them, and proceeded as far as Shikoku, where he found a 
huge tree trunk floating on the sea, upon which he saw a beautiful woman 
standing, who suddenly disappeared. He stopped his boat and caused the 
tree to be hauled on board, when the woman was found to be hidden inside 
the trunk. Manko, after a while, felt passionately drawn towards the 
stranger, and, failing to see that she was an emissary of Riujin, obtained 
her favours by consenting to show her the treasures with which he had been 
entrusted. Soon after the siren disappeared from the ship, and the gem 
was missed. It had been carried away by Manko's charmer. 

The bereaved mariner managed to reach Japan, and after apprising 
Kamatari of his misfortune, committed suicide. Kamatari, distracted by the 
loss of the jewel, shaved his head and retired in the fastness of the Fukuzan 
(Fukusaki), where he led a hermit's life. 

He met on the shore a beautiful fisher-girl, who ministered to his wants, 
and whom he finally married. She noticed that her husband was of a 



LEGEND IN JAPANESE ART. 

higher station than herself, but refrained from any enquiry until, after 
several years of bliss, she bore him a son, when Kamatari informed her of 
his past history. She exhorted him to return to his previous life, and, 
knowing herself unworthy to be the wife of such a high lord (as the custom 
of the period forbade a noble to marry so far below his rank), she decided 
to commit suicide, despite all entreaties. 

She wished, however, before dying, to attempt to wrest from Riujin 
the precious gem and return it to Kamatari. To this end, she swam away 
from the land for many thousands of ri, so fast that Kamatari and his 
followers could not head her in a boat. She carried with her a dagger, 
and finally reached the gates of Riujin's palace, the guardians of which 
were taken unawares and slain.* 

Several times she attacked the Dragon King, and at length she appeared 
floating to the surface near Kamatari's boat. She was picked up dying 
from the poisonous wounds made by the dragon's claws, and Kamatari 
noticed a sharp cut in her breast, evidently self-inflicted, from which issued 
a dazzling light. In it was concealed the precious gem which the courageous 
woman had succeeded in wresting from the dragon. 

It was put as an attribute in the hand of the statue of Buddha in the 
Kifukuji temple. 

The episode is sometimes depicted with Kamatari standing in a boat 
on a stormy sea, beholding the jewel which has just been rescued ; but 
more often with the woman holding the jewel and fighting the dragon. 

410. KAMI jji$. Generic name of the numberless legions of Shinto 
deities, for extensive lists of which the Kojiki and Nihongi should be con- 
sulted.! The soul of every man becomes Kami after death. 

KAMI SAMA shoots once a year an arrow into the thatch of a house to 
give notice that he wishes to eat a girl, failing which he will destroy the 
crops and cattle. 

e In Anderson's version, the woman fails at the first attempt, and Kamatari resorts to the use of 
musicians in a boat to draw from Riujin's palace its faithful attendants. The diver then attacks the dragon 
whilst his retainers are away. In most cases, however, the boat filled with musicians is not represented. 

t See also Aston's Shinto and Hearn's works. 
155 



LEGEND IN JAPANESE ART. 

Several of the Kami are protective deities of the soil : 

UGA NO MITAMA NO MIKOTO is the spirit of food. 

SUKUNA IIIKONA NO KAMI, the scarecrow god. 

SUIJIN SAMA is the god of the wells. 

KOJIX, of the kitchen fire, assisted by the deities of the cauldron, O 
KITSU HIKO (Kudo no Kami), and of the saucepan, O Krrsu HIME (Kobe no 
Kami), and the god of the rice pots, O KAMA SAMA; while the ponds chief 
deity is IKE NO NUSHI NO KAMI, the god of trees, KUKUNOCHI NO KAMI. The 
goddess of grasses is KAYANU HIME NO KAMI; another god of trees is AMANOKO. 
The moon has her deity, JOKWA; the divinity of fever is KARU, depicted 
astride a fish with a yellow toad on her head. 

Some of the Kami are black; they have ghostly faces with pointed 
mouths. They come from the starving circle of Hell, and are the gods 
of hunger, of penuriousness, of poverty (Bimbogami), of hindrances and 
obstacles, of small pox (Hoso no Kami), of colds (Kaze no Kami), of 
pestilence (Yakubiogami). 

Lightning was forged by ISHI NO KORE, TAJIKARA is the god of the 
dragons, and SARASVATI is the goddess of language, borrowed from the 
Indian pantheon. Each god has three spirits: the rough Aramitama, the 
gentle Nigi mitama, and the bestowing Saki mitama. See Hearn's works 
and Satow's Revival of Pure Shinto. 

Kami ovoshi is a sort of ecstatic trance, perhaps of an auto-hypnotic 
character, which is considered to be a union with the divinity. 

411. KAMI GASHI HIME jji$ Jlf ?f| JJ was a woman of the time of 
KEIKO Tenno who killed a huge spider in Sumo. It is generally agreed 
that she killed many, but that these spiders, seven feet long, were robbers 
in ordinary human shape, whose natures had been altered to suit the general 
love of legend. 

412. KANAME ISHI 3g ~fi. See EARTHQUAKE FISH; see MITO KOMON 

MlTSUKUNI. 

413. KANAYE KABURI $& fr & ty . See SUKUMAMO. 

156 




EBIRA KAGESUYE (s M ) 
KATO KIYOMASA 

KINTARO (If.L.B.) 



KAN NO KOSO (r./..) 
KENSU (O.C.K.) 



KANF-KO (./.) 

KAKUDA1TSU (ir.l..K.) 

KANSHIN (7K/..S.) 



LEGEND IN JAPANESE ART. 

414. KANEKO ^ -f 1 (KUGUTSUNE). A strong woman, often depicted 
in one or other of the following incidents : Once she stopped a runaway 
horse by treading on the tether which he dragged on the road (see Hokusai's 
Mangwa and Ehon Hokan). 

On another occasion a man attempted to strike her as she was carrying 
a basin of milk on her head, but she held him captive by grasping his 
arm under her own without spilling a drop of the liquid, despite her 
assaulter's wrigglings. 

415. KANJIA ^ ^. One of the comic personages in the Suye-hiro- 
gari (Kiogen) interlude in A T o dancing. Kanjia is the new servant from the 
country, raw and frolicsome, whose dialect his master does not understand ; 
nor does Kanjia understand the niceties of the latter's polished speech. 
When asked for one thing he brings another, dancing about with the wrong 
implement until he induces his master to join him in a comic pas de deux. 

416. KANKO. Drum of the palace. See COCK. 

417. KAN NO BUTI g| ^ ^. Wu Ti (HAN), fourth Emperor of the 
Han dynasty, and one of the most famous of the Chinese rulers. He died 
in 87 B.C. after a reign of fifty-four years. His armies were engaged in 
victorious wars in the surrounding provinces, in central Asia, in Yunnan, 
whilst Wu Ti indulged in superstitious celebrations and in extensive travels to 
the shrines of numberless mountain deities. At first a diligent adept of the 
Confucian doctrines, he leant later towards Buddhism and the black arts of 
the Taoist sect. Finding it impossible to get any priests for his Buddhist 
temples, he liberated a number of felons on the condition that they should 
embrace the priesthood. He is said to have had a tower over a hundred 
feet in height erected in the palace gardens to support a bronze figure, in 
the hands of which was a precious vase, intended to receive the dew from 
the stars, which he drank in the belief that it would keep him ever young. 

Wu Ti's sensual passions were beyond control. He was told once by 
his eunuch and musician, Ri in Nen ^ $ ^, that in the north of China 
was a beautiful woman, but one glance of her eyes was enough to destroy 



LEGEND IN JAPANESE ART. 

a castle, and if she looked twice she could ruin a kingdom. Although 
greatly elated by the description of the lady, Kan no Buti's enthusiasm was 
chilled by the unpleasant prospect of losing his kingdom if he secured her 
favours, and he had to be content with a substitute introduced by Eiyokoshu, 
the sister of Ri in Nen, who, although she was not capable to wreck cities 
and kingdoms, yet became the favourite of the monarch, who called her 
RIFUJIN ^ ^ A.- She was, however, but mortal, and died young; the 
Emperor could not master his grief at her loss, and he had her portrait 
placed in one of his palaces. One day, however, the wizard, Ri SHO Ko 
??S ^b ;|j (or Li SHAO KUN), who was instructing the monarch in the magic 
arts, placed in front of a screen some candles and an incense burner, in 
which he threw some magic incense (Hangonkd). As the smoke arose it 
assumed the form of a woman, and slowly the radiant figure of the favourite 
appeared smiling to Wu Ti. This performance was afterwards often repeated 
by the wizard (Ehon Kojidan, VII.}. Rifugin's brother fell into disgrace 
after her death and was beheaded; another lady, CHAD (Kow Yin Fu Jin), 
became the Emperor's favourite, and after causing by treachery the execution 
of the heir-apparent, she herself was unmasked and condemned to death. 

Wu Ti was then deeply engaged in astrological and magic studies, 
watching the stars in his high tower, where he died after a complete fast 
of seven days' duration. It is said that tears were seen flowing from the 
eyes of the bronze figure when later, at the fall of the Han dynasty, the 
tower was thrown down by the usurper. 

Kan no Buti's journeys to the palace of Si Wang Mu (SEIOBO, q.v.) and 
her visit in return, coupled with the story of TOBOSAKU (q.v.), are well- 
known legendary traditions, often illustrated, and derived from the Taoist 
inclinations of the Emperor. 

418. KAN NO KOSO ^ igj |R, or KAO Tsu; also called Liu PANG. 
Founder of the HAN dynasty of China, though from very low birth. He 
was supported by CH'EN PING (Chimpei), CHANG LIANG (Chorio), FANKWAI 
(Hankwai), and HAN SIN (Kanshin), and after seven years of small wars he 
rose from his self-assumed title of Duke of Pei to the Imperial throne, 

158 



LEGEND IN JAPANESE ART. 

which at his death passed to the ill-famed Empress, Lii, his consort. See 
KAKWOKO. 

After some years of wise government he gave way to licence, and is 
credited with having spent long periods of time in his palace amongst his 
women and eunuchs, much to the disgust of Hankwai (q.v.), who upbraided 
him and was condemned to death. 

KAN NO Koso is sometimes depicted killing a dragon. 

419. KANSHIN ^ j|j. The celebrated Chinese, HAN SIN. The most 
popular representation of Kanshin shows him crawling between the legs 
of a coolie. In netsnke the carver's fancy sometimes leads him to increase 
the number to two coolies, or warriors, or to show five or more boys 
standing in single file "playing at Kanshin," dressed like Chinese, and one 
of them crawling between the legs of the others. KANSHIN was the son 
of a prince of Han, and after being dispossessed by SHE WANG Ti (Shin 
no Shiko), of Tsin, was reduced to fishing in the moat of his father's castle, 
until some poor woman took pity upon him. A braggart once challenged 
him to creep between his legs, in a public place, and Kanshin consented to 
this humiliating performance rather than create a disturbance or fight a 
man of low birth ; but later, when he became a general and Prince of Tsi, 
he caused the man to be found and attached him to his person. He also 
caused the old woman who had supported him in his youth to be presented 
with a large sum of money. He was twice accused of treason by Kan 
no Koso, and later by the Empress Lii, who, forgetting the services he had 
rendered to her late consort, had him beheaded. The Chinese classify 
Kanshin amongst the three Heroes of Han, with Ch'eng Ping and Chang 
Liang. It is sometimes said that the old woman was a dyer by trade, 
and that it was she who compelled Kanshin to pass between her legs 
before he could leave her service to become a soldier. 

420. KANSHOSHI $f $H -f . The Chinese immortal, HAN SIANG TSZE, 
usually shown playing the flute or floating on a hollow tree trunk. He 
was a pupil of RIOTOSHIN (Lu YEN, or LU-TUNG-PING), and having been 
carried to the top of the magic peach tree growing near the palace of 



LEGEND IN JAPANESE ART. 

Seiobo, he dropped from it through the breaking of a bough, entering 
immortality as he fell. He is reported as having during his life magically 
filled with wine an empty tub, and in the same way caused flowers to 
grow out of an empty pot, with golden poems written on their leaves. 

421. KANSHUSAI If 5| ^ was the son of MICHIZANE. After his 
father's downfall in 890, he was sent to one of his retainers, Genzo 
Takebe, who, with his wife Tonami, kept a school near Kyoto. The chief 
of the Fujiwara clan, Shihei, heard of it, and sent two of his men, Gemba 
and Matsue, to kill the boy. Matsue alone knew Kanshusai, and he was 
therefore relied upon to identify the head which Genzo had been commanded 
to give him. Genzo was in a sore plight, but as it happened that a new 
boy had just been brought in whose features were almost identical with those 
of Kanshusai, he determined to kill this boy and even, if need be, the boy's 
mother to save his late master's son. After he had handed the head to 
the retainers of Shihei, the boy's mother came in with a box, and with it 
she managed to parry the blow with which Genzo tried to fell her. A 
shroud falling from the open box, Genzo saw that there was something 
amiss, and, according to the legend, his fears were allayed by the return 
of Matsue, who, having been one of Michizane's retainers, had sent his 
own son to the school, trusting to Genzo's loyalty to kill him and thus 
save Kanshusai. This forms the subject of a play called Sugawara denjiu 
tenarj kagami, which was partly translated in English some fifteen years 
ago. 

422. KANZAN ^ ll|. The Taoist rishi HANZAN, shown in company 
with JITTOKU (q.v.), to whom he apparently expounds the contents of a 
scroll. Both lived in the kitchen of the monastery of Kuo Ching Ssu like 
madmen, and speaking a language unknown to everyone else, resenting 
visitors, to whose greetings they replied with insults, and making friends 
only with Bukan Zenshi and his tiger. The four, shown together in a 
cavern, form the group known as the Four Sleepers (q.v.). 

423. KAO TSU. See KAN NO Koso. 

1 60 




SENNIN WITH SI11S11I 
KATSUYU 



KAWA/.U THROW 
KARASHISHI 

Walter I.. Rehreui Collection 



KAKKIO 
MAN FROM SENHA 



LEGEND IN JAPANESE ART. 

424. KAPPA vfij" jjf', or KAWAKO. Child of the river: mythical 
amphibious goblin living in the rivers of the Island of Kiushiu. It has 
the body of a tortoise, the limbs of a frog, and the head of a monkey, with 
a hollow at the top of the skull, in which is contained a fluid which gives 
the animal its strength. This goblin attacks and devours human beings, 
but there is an easy way to thwart its attack: be very polite and bow 
to him; the creature is very civil though ferocious, and will bow to you 
in return as deeply and as often; in so doing it spills its life fluid and 
loses its strength. 

The Todo Kimmo Dzite gives it the name KAWATARO (compare the 
Osaka form, Gataro), and describes it under the name Snik~> (water tiger): 
"It is like a child of three or four years, with scales all over its back. It 
lies on the sand, looking like a tiger; it has long claws which it hides in 
the water, and it will bite little children if they touch it." 

In the river of Kawachi Mura a Kappa was caught by the belly-band 
of a horse, and after being rendered harmless, as above described, was made 
to sign a bond not to attack thereafter any man, woman, child or beast. 
As netsiike, sometimes the whole creature, but more often its head, with 
lanky straight hair, are met with; some carvers even disdain the traditional 
features, and simply depict a child with gnarled limbs and a saucer-shaped 
hollow on the top of its head amongst rough hanging hair. It is often 
shown with a cucumber under the name Kappa ni Kittri. 

See also the story of ROKI'SUKE. 

425. KARASHISHI J|f $jp -fv ;: or simply Siiisin. Buddhist stone lions, 
of Chinese origin, freely scattered about the gardens or placed at the gates 
of temples, like the Koma Inn. They are characterised by their fierce 
expression, large eyes and curly mane, their bushy tail and curly locks of 
hair on the legs. They show traces of the influence upon their first designer 
of the curly dogs which are the pride of the Chinese Imperial family. 
Karashishis are an ever-recurring subject in art treatment, with the regal 
peonies, or with the sacred jewel, which often takes the shape of an 

* Literally Chinese (Kara) Shishi. 

161 



LEGEND IN JAPANESE ART. 

intricately pierced ball, perhaps because emblematic of the Buddha ; some- 
times with a small ball in the mouth, or leaping a waterfall, or several shishi 
playing or fighting, are but a few of the presentments of this Sinico-Korean 
import. They are usually associated with rocks, waterfalls and peonies. 
On such a lion rides Monju Bosatsu, whilst the same creature crouches at 
the feet of the "Sennin with the Shishi." Legend has it that the shishis 
tested the vitality of their progeny by throwing the young ones from the 
top of a cliff (shishi no saka otoshi). Should the animal survive it was 
certain to live long. This is often illustrated. 

Shishi masks are worn in the dance named Kappore, Dai Kagura lion 
dance, and also by new year dancers, under the name of Shishi mai. Such 
performers are often met carved as uetsuke, with the lower jaw of the 
mask movable, disclosing the laughing face of a boy, finished with an 
exquisite perfection of detail. There are shishis with one or even two 
horns, partaking of the appearance of the Kirin (q.v.), or carrying the 
Tama on the head. 

426. KARIYOBIXGA $to %g $ff Ufl. See GARIO. 

427. KARU. The goddess of fevers, with a yellow toad on her 
shoulder and mounted astride a fish. 

428. KARUKAYA DOSHIX )flj ^ }j| g. It was popularly believed in 
olden times that jealous women appeared with hair like snakes, and Ippen 
Shonin, as seen above, sometimes suffered from such delusions. Another well- 
known personage, Kato Sayemon Shigeuji, Daimio in Kyushu (Tsukushi), 
who was also a much-married man, fled from his house one day because 
the hair of his wife and mistresses took the shape of writhing serpents. 
He took refuge in the mountains, where he lived an hermit's life under the 
new name Karukaya Doshin. 

There is a story relating how he met wandering in Koyasan a young 
man named Ishidomaru ; struck with the adolescent's face, he asked him 
various questions, and found that Ishido was looking for his father. 
Karukaya then became aware of the fact that the boy was his own son, 

162 



LEGEND IN JAPANESE ART. 

but worldly matters were for ever forgotten by the hermit, and telling the 
boy to return home he passed on his way. 

429. KARU NO DAIJIN $g ^ g. The popular legend has it that 
he was sent as ambassador to the Emperor of China, who caused him to 
be tortured, to be made a mute, to be painted and exposed naked in 
the Imperial gardens, carrying a candle on his head. He was then called 
the Demon Candlestick. In 656 his son, HITSU NO SAISHO HARUHIRA, came 
from Kawachi on an embassy. As he passed through the Imperial gardens 
his father recognised him, bit his finger, and with his blood wrote a poem 
on his skin, thus causing his son to recognise him. Hitsu then petitioned 
the Emperor to allow his father to return to Japan, offering to take his 
place if needed, and the Emperor granted him his request (compare Abe no 
Nakamaro). 

The foundation of this legend appears to be the story of FUJIWARA 
HARUHIRA, who, in 656 (Saimyo, 2), brought back his sick father to Japan. 
The old man died, on his way home, in the island of Iwo in Satsuma, and 
was buried in another island called KIKAIGASHIMA. 

Haruhira is one of the twenty-four Japanese paragons of filial virtue 
(Shaho Bukuro). 

430. KASENKO [ft] fll] 1$. The female rishi, Ho SIEX Ku, shown as a 
young woman clothed in mugwort, holding a lotus stem and flower and 
talking to a phoenix, or is depicted carrying in a basket loquat fruits, 
which she gathered for her sick mother. 

She was a woman of the time of Wu, of the To dynasty, who, having 
been promised immortality in a dream, fed on mother-of-pearl, and there- 
after moved as swiftly as a bird. She may be confused with KOSENKO, 
%$z 1Hj I& w h learnt Taoism in the mountains of Ko, and after she had been 
there eighty years she had no friends left. One day a phoenix with blue 
wings came to her from the fairy NANGAKU JIFUJIN, and said that he had 
come to fetch her to be married to him at the altar of the fairy near by 
her residence. In the period of Keiryu, whilst journeying to the Court of 

163 



LEGEND IN JAPANESE ART. 

the Empress, Wu How, she ascended to Heaven in broad daylight, and 
occasionally came back, hovering in the clouds above her native place. 

431. KASENYO H fti] j|j. The wizard Ho SIEN WENG, who could 
take a mouthful of rice and change it into live bees, which, when called 
back, entered again his mouth and became rice grains again. Compare 
Hokusai's Mangwa, Vol. X., page 6. 

432. KASHIMA DAIMIOJIN $ % ^ HJ f$. See EARTHQUAKE FISH. 

433. KASHO $N Iff. One of the disciples of Buddha (KASYAPPA), 
whose body became as brilliant as burnished gold after he had swallowed 
both the sun and the moon. 

434. KASUGA DAIMIOJIN ^ B j< ^ ft- Posthumous title of the 
first of the FUJIWARA clan, Nakatomi no Muraji, or Ama no Kayane, with 
temple in Nara. 

435. KATSUGEN H ], or KATSIT-SEXKO. The Rishi KWOII YUEN, 
shown born on the waters by a sword. He went to sea with the lord of 
Go, but their ships were wrecked in a storm, and no one knew what had 
happened to him, but he was seen the following day walking on the 
waves like a drunken man. 

436. KATSUYU H &. The Rishi HOII Yiu, depicted as a wild- 
looking man riding on a goat. 

KATSUYU lived in the time of SEI, of Shyu, and sold carved images of 
sheep. One day, when he was coming back riding on a sheep from a 
voyage to Shokuchu, some people followed him, and those who went with 
him to the top of the Mount Tai never came back because he taught them 
magic. 

437. KAWAI MATAGORO M 'P* X 3l. |H- Kawai's father was a 
friend of Watanabe Kinemon, to whom he had promised that, after his 
death, his own precious katana would be given him by his son. Kawai 
did not fulfil his father's wish until Watanabe's death, when his son, 
YUKIE, claimed the sword. Kawai then gave it, but with some reluctance, 

164 









KAPPA M KIURI (ir.L.B.) 
KAPPA IN SHELL (./.) 
KATO IN KOREA (.-/.) 



KATO'S BANNER (.l/.t.) 



KATO KILLS A TIGER (./.) 

KAl'I'A (M.i;.) 
KATO IN KOREA (M.I;.) 



LEGEND IN JAPANESE ART. 

which incensed Yukie, whose son, KAZUMA, advised him to return it, saying 
that a blade given in such a way was dull, and not creditable to the giver. 
Yukie, following this advice, returned the sword, with which Kawai killed 
him on the spot. But Kazuma avenged his father after a few years. This 
is the theme of the play Igagoye dochn sugoroku. 

438. KAWAKO. See KAPPA. 

439. KAWAZU NO SABURO SUKEYASU ypj ^ H M l& ^- Cele- 
brated wrestler, usually shown lifted by his loin cloth by his opponent 
and neighbour, MATAXOGORO Kuxi HISA (Kawazu throw). 

440. KAZE NO KAMI. Divinity of Matsue; also called Kamiya san 
no I nar i san. He is the god of coughs and "bad colds" (Hearn). See 

YUKI OXXA. 

441. KEHAYA ^ Hpjt jjg| }|| (TALMA xo), who took his name from 
Kern (kick) and Haya (fast), ran all over the country giving himself out 
as the strongest man in Japan, challenging others to light, and disposing 
of them by smart kicks. The Emperor Suixix TKXXO heard of the trouble, 
on the seventh day of the seventh month of the seventh year of his 
reign (23 B.C.), when Kehaya was in Taima sending challenges to all and 
sundry; therefore, on the advice of Nagaochi, he sent to Idzumo for the 
strong NOMI xo SUKUXE, who kicked Kehaya so smartly across the ribs 
and loins that the champion dropped dead to the ground. Another version 
says that he caught Kehaya by the belt and threw him so hard upon the 
ground as to make his ghost depart from him on the spot, and the place 
was called Koshi ore da, "the village of the broken loins." 

442. KEN EN SHYU ijtf |J| JH, throwing small coins to poor people 
whilst on his travels. Kenenshyu was an old sage who did not fail in 
complexion, and had a long beard and hair trailing to the ground ; he 
was said to have lived several centuries. He was summoned to the court of 
the Emperor SEXSO, of the To dynasty, and when he returned to the 
mountains he took coins from his cloth bag and gave them to people. He 

'65 



LEGEND IN JAPANESE ART. 

distributed many thousands before reaching Koryo, but his supply was 
inexhaustible. (See 299). 

443. KENGIU SfB *%, or KINGEN. The herdsman who was chosen by 
the sun to wed his daughter SHOKUJO. On the wedding day the bride 
gave herself up to so much frivolous enjoyment that her father repented 
and exiled Kengiu to the other side of the milky way, while Shokujo 
became the weaving Princess (Chih Nu). They may only meet once a 
year, on the 7th day of the seventh month, when the milky way is spanned, 
according to the Chinese HWAI NAN TSZE, by a bridge of magpies (according 
to some by maple leaves, called Ushaku Koyo no Hashi). The Chinese 
name of the herdsman is K'IEX Niu, and there are several different versions 
of this legend, two of which are given in Things Japanese. According to 
one, the two lovers were wedded when respectively fifteen and twelve years 
of age, and they lived to 103 and 99 years of age, after which their spirits 
reached the heavenly river; but the Supreme Deity bathed daily therein, 
and only on the seventh day of the seventh month were these human 
spirits allowed to pollute its waters, while the supreme divinity went to 
listen to Buddhist chants. Another version has it that the spinner was 
entrusted with the making of garments for the son of the Emperor of 
Heaven, and pined for a lover, one may suppose, for the heavenly Emperor 
gave her as husband the herdsman who lived on the other side of the 
river. She then paid scant attention to the proper performance of her 
duties, and the Deity, getting angry, forbade her husband to cross more 
than once a year. 

These yearly meetings are celebrated in Japan with due accompaniment 
of poems attached to trees, in a festival called the TANABATA (q.v.). The 
story is frequently illustrated, either by both personages having their usual 
attributes and being separated by the milky way, perhaps spanned as 
indicated above, or by the mere cryptic presentment of three stars and 
weaving implements suggesting the whole story. 

One emblematic representation of the Tanabata festival was a familiar 
theme of tsuba decoration used by the Umetada: upon an inkstone lies 

1 66 



LEGEND IN JAPANESE ART. 

a leaf, and perhaps a brush ; on the reverse a poem and sometimes a 
shuttle are also wrought in the metal. This composition alludes to an 
old Chinese ceremonial which was copied and enlarged upon by the 
Japanese Court : on the seventh day of the seventh month, at the hour of 
the tiger (4 a.m.), a court lady, sheltered under an umbrella, took to the 
palace the compulsory presents of the courtiers seven inkstones, an equal 
number of Kuzu leaves (see the story of Kuzunoha : the plant is the 
Puevaria Thunbevgiana) and of paper slips, besides some vermicelli : with 
each stone were presented two brushes and a bunch of Yam leaves 
(Dioscorea balaias). 

The inkstones, carefully washed, were placed on Kuzu leaves, and the 
bunches of Yam leaves placed on them to gather the morning dew, which 
was poetically called the drops from the heavenly river. Near the stones 
were placed upon trays suitable offerings, under a rope taut between two 
stems of bamboo, and to which were attached coloured slips of paper, 
generally of the five mystic colours attributed to the Tanabata stars; 
and as the day came everybody wrote poems with the ink freshly prepared 
upon the new stones with the drops of the Ama no gawa. 

To the Tanabata Festival and the poems recorded in the Alanyoshiu 
which it inspired in olden times, the late Professor Lafcadio Hearn has 
devoted a charming essay, under the title The Romance of the Milky 
Way (Constable, 1905). Therein the reader will find the various aspects 
of the legend, and a description of the Izumo custom called Nemu nagashi, 
followed by young people, to throw into a stream leaves of the mimosa 
(nemion] and of the bean (mame), the latter expected to remain as emblem 
of vigour, the others to drift away with the current, as should all laziness. 

See also the story of CHANG KIEX. KENGIU is also called HIKOBOSHI. 

444. KEN-RO-JI-JIN. One of the Earth Gods, usually depicted with 
a vessel in one hand and a spear in the other. 

445. KENSHI '/^ ^. Taoist Sennin shown hooking a fish whilst 
angling from a boat. 

167 



LEGEND IN JAPANESE ART. 

He lived three hundred years cultivating his spirit; he wrote forty- 
eight volumes of the book Tenchi jinkyo (the philosophy of Heaven, Earth 
and Man, constituting the three powers of Nature) while living in Sai. 
He took to angling, and one day caught a carp with a charm in her belly. 

There is also easy confusion with Taikobo, who fished with a straight 
pin and no bait from the shore. 

KENSU was a priest of Keichofu, whose other name, Kensu Osho, the 
prawn priest, was descriptive of his tastes: legend has it that his staple 
and daily diet consisted of prawns only. He is sometimes identified with 
KENSIII, but holds a prawn on his shoulder, his name is written j!|J| -p. 

446. KESA Q Jg was the wife of Watanabe Watura, who, rather 
than wrong her husband and cause his death, laid her own life under the 
sword of his would-be murderer, ENDO MUSHADOKORO MORITO (q.v.). 

Her proper name was AZUMA ; her nickname, Kesa, means priest robe, 
and was given her after the name of her mother, KOROMO GAWA. Her 
story forms the subject of a drama, and of Sir Edwin Arnold's romance, 
Azuma. 

447. KEZORI KUYEMON ^ $lj jl ffi ffi. Great pirate who lived 
at Akata, in Tsukuchi (Chikuzen). He spent an adventurous life in China 
and Cochin-China, whence he brought home considerable riches. He is 
depicted in prints with a dress of Chinese brocade, and he is the hero of 
a play, the strange music of which is said to symbolise the various episodes 
of his daring career. 

448. KIBIDAIJIN ijj Df ^C [5. Posthumous title of SHIMOMICHI NO 
MABI, credited with the invention of the Kata-kana syllabary. He went to 
China to seek the secrets of the Chinese calendar, and came back to Japan 
in 754 without having achieved his purpose, but with the art of embroidery, 
the game of Go, the musical instrument called Biwa, and his syllabary. 
Whilst in China he was submitted to numerous trials, such as piecing 
together the jumbled letters of a classical inscription purposely mixed up 
to puzzle him. He was then assisted by a friendly and learned spider, 

1 68 




KENGIU AND SIIOKUDJO (II'.L.K.) 

KAKASH1SHI EGG (.tl.E.) 

KIKUJ1DO (.!/.<;.) 



KENGIU (A.) 



KIBIDAIJI.N (M.G.) 

KARASH1SHI (.l/.i'.J 

KIO\U (j.) 



LEGEND IN JAPANESE ART. 

which went from character to character in the proper sequence of the 
inscription. A more trying ordeal was yet in store for him, the Emperor 
inviting him to play a game of Go, of the rules of which he was ignorant, 
the stakes being the secrets of the calendar against his own head. His 
partner, GENTO, one of the ministers, was helped by a clever wife, but 
legend (though it commits an anachronism), makes the ghost of Abe no 
Nakamaro stand by Kibidaijin's side and guide his hand till the game 
ended with one piece on KIBI'S side. His partner's wife swallowed this 
piece, making the game appear a draw, but on counting the stones it was 
found that one was missing, and witli the aid of the magic mirror (Ts'in 
King) it was shown in the woman's body.* The Emperor ordered her 
execution, but on KIBI'S entreaties he consented to let her live. However, 
a plot was being hatched to kill Kibidaijin, and he would have been 
murdered but for this woman, who showed her gratitude by warning him 
and helping him to escape. He became minister of the Empress SHOTOKU 
(KOKEN), and died in 775, at the age of 83. 
He is also called KIBI NO MABI. 

449. KICHIBEI ^ & ftf. There was once a rich but miserly 
merchant of Tokyo, named Kizosaburo, who to save money used to go and 
sit outside the shop of his neighbour, the eel-broiler, Kichibei, eating his 
rice to the smell of the cooking fish. But the latter, finding out Kizaburo's 
game, one day tendered him a bill for the smell of his eels, which the miser 
took with many thanks, to discharge the day after by jingling near his 
neighbour's ears (but presumably at a safe distance from his hands) a bag 
full of gold Kobans. It is interesting to compare this tale with the French 
fable of the sweep and the rotisseur, already old at the time of Rabelais. 

450. KICHIZA. See OSHICHI. 

451. KIDOMARU Jfe. jjr ^L. One of the followers of the SHUTENDOJI, 
who tried to kill Yorimitsu, but failed, and was done to death by the 
companions of Raiko. See Usui SADAMITSU. 

* In Ehon Kojidan a picture is given of the Magic Mirror ot the Tan dynasty, which enabled one to 
behold the inside of a man's body. The drawing shows the heart, lungs, and part of the abdomen reflected in 
the mirror. 

169 



LEGEND IN JAPANESE ART. 

452. KIGA 2f: 1p|, also railed CHOKITSU. Chinese worthy who died 
at the early age of 27, but when he was seven years old his fingers were 
a foot long and he was acquainted with literature. When he was about 
to die, a genius dressed in crimson and riding upon a crimson dragon, 
alighted before him from above with a book, and said, "Our Emperor 
has summoned you!'' He bowed, and replied, "I have an old mother, 
and do not like to leave her." The angel laughed, and said, "Heaven 
is all pleasure, and pain is unknown there." Riga's eyes were filled with 
tears, which wetted his collar, and he soon expired. 

453. KIICHI HOGEN ^ $ 0$ (YOSHIOKA ^ p6)) was a strategist, 
and the inventor of the Kyoryu, or Horikawaryu, style of fencing. It is 
said that Yoshitsune, when a boy educated at the temple Kurama, ardently 
wished to see Kiichi, and to borrow from him a work on the arts of war, 
the Tora-no-maki, which was handed from father to son in the Kiichi 
family. Legend has it, and a play has been written on this story, that 
Yoshitsune went on foot to try and reach Kiichi's house, but was set upon 
by some evil-minded people and rescued by Kiichi himself, who took him 
to his home, after which he showed him the book ... on the request 
of his daughter, Minazuru Hime, with whom the young Minamoto had 
fallen in love. Kiichi is often seen in prints, talking of the olden times 
with the young man. 

454. KIKAZARU ^ #* Ht One of the three mystic apes who hears 
no evil, covering its ears with its hands. 

455. KIKU ~$$. The chrysanthemum. The sixteen petal variety forms 
the Imperial badge. It is thought that Hideyoshi used this crest. A 
chrysanthemum flower partly hidden by waves was the crest of Kusunoki, 
and is called Ktkusui. 

See also under Fox and KIKUJIDO. 

456. KIKUCHI JAKWA passed once on horseback before the temple 
Kushida; his horse shied without apparent reason, and Kikuchi, who was 
a very daring soldier, shot an arrow straight at the temple. A dragon 

170 



LEGEND IN JAPANESE ART. 

thirty feet long was killed by his arrow, and fell on the steps of the 
temple, a terrific earthquake duly following. 

457. KIKUJIDO ^J % H (see also JIDO). The Chinese KEUH TSZE 
TUNG, sometimes shown as a boy throwing chrysanthemums in a stream, or 
reclining with a chrysanthemum twig clasped to his breast. He was an 
attendant and favourite of the Emperor Men WANG (BOKU O), and once 
passing near the monarch's couch he touched inadvertently a cushion with 
his foot. Some rival reported the fact to the Emperor, and obtained the 
exile of Keuh Tsze, but Muh Wang, before sending him away, taught 
him a sentence of Buddha (sic, in 940 B.C. ! !), ensuring safety and longevity. 
Keuh Tsze went away to a valley where chrysanthemums grew in profusion, 
and from morning till night painted on their petals the sacred characters 
for fear of forgetting them. The dew washing them away became the 
elixir of everlasting youth : Furo Fushi no Kusuri. 

Kikujido is usually shown painting on the chrysanthemum the magic 
words, and is included amongst the Sennins. 

458. KIKWAHAKU ftl] fO *H (with a dwarf) lived in the Mounts 
Shyunan, where many disciples sought his tuition. One day he warned 
one of his disciples to have dinner ready for a stranger who would arrive 
on a subsequent day, and forbade him to observe them through cracks in 
the walls. The stranger came; he was five feet high, of which the head 
occupied half; he was three feet wide at the waist; he wore a red robe 
and stroked his long beard, bursting the while with great laughter. He 
had a sceptre, and when his lips opened his mouth seemed to reach his 
ears. He was jocular, but his language was not human. See FUKUROKUJIU. 

459. KILILI $jjf J| *p (see also KA-Kwo Ko). One of the four "recluse 
grey heads," who retired to the fastness of the Shang mountains under She 
Wang Ti, but were taken as councillors by the Empress Lu, widow and 
successor of Kan no Koso. 

51 This article is a literal translation from a manuscript work on Chinese Sages and Sennins in Mr. P. M. 
Saltarel's colleceion. The same subject appears in Elwn Shalio Bukuro (ix., 20), where the name is given as 
31^ !U 7 HI* YAWABOKU in the drawing, and J^V < l> ^> < KIKWABOKU in the text. The Dwarf is called 
_K TO SHOTEI and the disciple 4fe 8|f SAISHO. 

171 



LEGEND IN JAPANESE ART. 

460. KILIN. The Chinese unicorn. See KIRIN. 

461. KIMOX ^ f"j, or DEMON GATE. A gate placed in gardens on 
the north side, and through which the spirits of evil are supposed to pass. 
A Shinto shrine is erected in front of that gate. Compare this custom with 
its Chinese prototype: the wall erected in front of houses to keep the evil 
spirits from coming in. 

462. KINKO ^ i^5 (KINKAO). Sennin shown on a fish, or even several 
fishes. His usual presentment is in the shape of a smiling old man, bearded, 
and with a small Chinese cap, mounted astride a large winged carp (Koi); 
sometimes ascending a waterfall. 

KINKO was a Chinese recluse of Clio, said to be skilled on the lute, 
and who strolled about in Takugun practising the incantation of the sage, 
KENHYO. He lived near a stream called Takusui, and spent the best part 
of his long span of life (two centuries) in painting fishes. One day as he 
bathed, the King of the fishes came to him and said that he would like 
to lead him through the river world for a short period; he agreed, and 
informed his disciples that he would be away for a few days under the 
water and then return. After a month he came back for a little while, 
on the back of a carp, the event being witnessed by more than 10,000 
people and by his disciples, who had awaited him on the banks, spending 
the time in purifications. After enjoining his disciples never to kill any 
fishes, he dived in the river and disappeared for ever. 

463. KINRYO ^j f|. "Golden Dragon." Chinese name given to the 
reflection of the moonlight on the waters when it presents a wavy appear- 
ance of motion. 

464. KINTARO & -fc J$- The golden boy; also named SAKATA 
SHUME ^ H J|, GORO 3t IB, No KINTOKI & 1$. The child of the 
forest, found, according to some, by the wife of Sakata no Tokiyuki in a 
dismal corner of the Ashigara Mountains, while another version has it that 
the boy, son of the ronin Kurando, was lost in the mountains by his mother, 
Yaegiri, and picked up by the mountain nurse, the YAMA UBA, who adopted 

172 



LEGEND IN JAPANESE ART. 

him and named him KAIDOMARU U ]|f ^L. This latter version is generally 
adopted. Kintaro grew to an enormous strength, wrestling in the mountain 
with all the beasts and goblins, including the monkey, the stag, the bear, 
and the Tengu, and he is frequently represented fighting one or other of 
the last two. His usual companions are the deer, the hare, and the 
mischievous "red back," the monkey. His weapon is an enormous axe, and 
on children's kites he is often depicted carrying it. 

One of his celebrated feats was the uprooting of a huge tree, with 
which he made a bridge over a foaming torrent for himself, his three 
followers, and the female bear once when they had been surprised by a 
storm on their way home. One day, when YORIMITSU (Raiko) was in 
need of a squire, he noticed a curious cloud over a mountain, and sent his 
retainer, Watanabe no Tsuna, (some versions say Sadamitsu), to investigate 
and report. The warrior found in a hut the Yama Uba with Kintaro, 
who, the witch said, was longing to become a warrior. The strong boy 
was brought to Raiko, who attached him to his person, and thereafter let 
him share his exploits against the goblins, ogres, etc., which appear to have 
been very numerous around Kyoto in the eleventh century. See RAIKO; see 
the Quest of the SIIUTENDOJI. 

In some cases the young Kintaro could be easily confused with another 
strong child, Momotaro (q.v.), the little peachling. 

Under the name Kimbei, he is the hero of the drama Kimbei Kashima 
Maeri. 

465. KIOSHI ^ g^f. The Chinese paragon of filial virtue, KIANG SHE, 
who with his wife, CHOSHI (CHANG SE), supported his old mother. The old 
lady was rather fond of the water of a certain lake and also of raw fish, 
and for many years the couple used to go a long distance to procure her 
the water and the food of her choice, praying that they might long have the 
strength to do so. One day the Gods took pity upon them, and as a reward 
for their piety caused a spring to suddenly burst in their garden, and 
every day two carps came to the surface to be captured. 

466. KIOSHIGA ^ ^ 3f, or TAIKOBO (% !g). The Chinese sage, 



LEGEND IN JAPANESE ART. 

KIANG TSZE YA, also called KIANG Lu SHANG, who, according to legend, 
lived in the Xllth century, and with whom storytellers have been very 
busy. He is reputed to have been one of the advisers of the Emperor, Si 
PEH, who once was told by a wizard, as he set out for a hunt, that ' he 
would bring back neither boar nor deer but a virtuous councillor. He met 
Kioshiga seated on the bank of a river, fishing with a straight pin and no 
bait, and understood from him that he was awaiting to catch a big fish, 
that many fishes had already fastened themselves to his implement, though 
he was not anxious to catch them but to be alone, thinking of scientific 
matters far from his wife, who thought him a fool and abominably reviled 
him. The Emperor took him away with him, and after he had. served some 
twenty years at court the sage returned loaded with honours to his native 
province. On his way home he met two outcasts, who prostrated them- 
selves before him and begged for his forgiveness. On inquiry he found 
that they were his wife and her husband, as the woman, after deserting 
him whilst he was fishing, had married a scavenger and fallen to the 
deepest depravation. He called for a cup full of water, and throwing it to 
the ground, said: "It is no more possible for man and wife to be reunited 
after such a separation than for the water spilt on this road to be replaced 
in this broken cup." Then he departed on his way, and died a few years 
later at the age of ninety, in 1120. His past wife and her mate hanged 
themselves to a tree by the roadside (compare Shubaishin). 

The story varies somewhat ; lie is also said to have been a subject of 
CHU O (CHOW WANG), and to have emigrated to Hankei, in the dominions 
of BUN-O (WEN WANG), to escape the tyranny of his previous King. BuN-5 
gave him his name of Tai Rung Mang (Taikobo), meaning grandfather's 
expectation, and made him governor of Sei. 

He is usually shown with a fan, leaning on a writing-table or upon 
a jar, but more often fishing with his straight pin. Compare KEISHI 
SAJI, KENSHI. 

467. KIOYU f\ : fjj, or KIYOYU. The legendary Chinese sage, Hi) YEO, 
adviser of the Emperor YAO in the semi-mythological ages of China, circa 

174 



LEGEND IN JAPANESE ART. 

2360 B.C. When his master suggested abdicating in his favour he ran to 
the nearest waterfall to wash his ears from the defilement they had incurred 
by listening to such a temptation. His companion, SOFU (CH'AO Fu), on 
hearing the reason of Kioyu's hurried ablutions, felt compelled to go one 
better, and washed his ears and eyes of the taint of ambition which was 
spreading upon him; further, noticing his ox drinking from the brook below 
the waterfall, he rushed to lead the animal away from the contaminated 
water. This story of extreme virtue is often illustrated. 

Another story of Kioyo is to the effect that some charitable person saw 
him drink water from the palm of his hand, and gave him a shell, but the 
recluse simply strung it up to a neighbouring tree, until he noticed that the 
wind caused the shell to vibrate in a pleasant way, when he broke it, as 
even that rude music reminded him of the outside world (Shaho Bukuro). 

468. KIRI ^jjjj $, or KIRIMON. Imperial badge formed of three leaves 
and racemes of flowers of the Pawlonia Impen'alis, the central one having 
seven buds and the two outers five; but the court "mon" differs from the 
Emperor's own crest by having five and three flowers respectively on the 
upright racemes. It was used by Hideyoshi. 

469. KIRIN $$t $$JL The mythical Chinese monster, K'ILIN, combining 
the male animal, K'l, and the female, LIN, into a compound name. Its 
body is that of a deer, its legs and hoofs like those of a horse, its head 
like a horse or a dragon, its tail like an ox or a lion. It has one horn on 
its head, the end of which is fleshy; its colour is yellow. The Li Ki book 
makes the monster twelve Chinese feet high, and of five colours. Some 
representations endow it with scales, but it is more usually hairy; in fact, it 
is the chief of the three hundred and sixty hairy creatures. This mythical 
monster is a paragon of virtue, filial and otherwise, treading so lightly as 
to produce no sound, nor hurting anything living, so just that it was 
appealed to in difficult cases by the Emperor Kao Yu, living alone, and 
appearing only under wise rulers as a lucky omen. It appeared to the 
mother of Confucius and to Confucius himself. 

The Kirin is fairly often met with in Japanese art. In its squatting 

175 



LEGEND IN JAPANESE ART. 

position it has served as a model for netsuke, with the horn resting on the 
back and the body shown with scales, or with protuberances, perhaps 
intended to make it appear like a piebald horse, and often surrounded 
with flames. Its horn and flames are sometimes added to the Karashishis. 

It is interesting to note that the writer Picard, of the Xlllth century, 
describes a race of men with a horn on the forehead, who live in the deserts 
of India and fight Sagittarii. This tradition may be based upon the lost 
Maha prajna paramita saslra, the Chinese translation of which (Ta chi tu 
Inn) says that a creature with a human face and body, but with the feet 
of a stag and a horn on the forehead, was born from the intercourse of a 
hermit and a doe, but received from its father remarkable magic powers. 
One wet day the creature slipped and broke a water jar; in its anger it 
commanded the Gods to stop all rain for ever, and the land suffered greatly 
from the drought. But the King of Benares promised half his kingdom to 
whoever would cause the unicorn to lose its magic power over the elements. 
A courtesan attempted the task, and succeeded in tempting the creature, 
who succumbed to her charms, and the rain fell. The courtesan then 
mounted upon the back of the unicorn and went back to Benares. This 
story is also said to be the origin of the legend of Ikkaku Sennin (q.v.), 
upon which is based a No performance, translated into German by Muller. 

The fall of Ikkaku Sennin is in accordance with the usual Aryan myth 
of the unicorn, which in the classical and mediaeval mythology is emblematic 
of chastity. In fact, the symbolical meaning has been taken by Robert 
Brown in The Unicorn (iSSi) as a proof that the unicorn is an emblem of 
the moon. 

Several varieties of Kilins without horn, or with one or more horns, 
are met with in Chinese art, and as the Japanese artists have freely 
drawn from such sources, it may be well to summarise the characters of a 
few from Mr. Deshayes' lecture, delivered at the Musee Guimet in April, 
1902. 

The LUNG MA (dragon horse), Riu ma, resembles a horse and is hornless; 
round spots in regular sequence are found on its back. 

The HIAI-CHI is the Japanese Kaitshi. It is figured with a head akin 

176 




Kakutan Sui sei 

KUDAN (TAKUJIU) WJ..K. CONFUCIUS ON KIRIN (IY.L.B.) 

SUISEI (/;'./..) KIRIN STANDING (sl.B.) 

HAKUTAKU (1I'.I..K.) SINIU (u'.I-.K.) 

UNICORNS OF VARIOUS TYPES (FROM HOOKS) 



Si- niit 

HAKUTAKU (^.) 
KIRIN (li:/..B.) 



LEGEND IN JAPANESE ART. 

to that of a dragon, a single horn, a bushy tail, even with the curly mane, 
tail, and locks of a Shishi. 

The KIOTOAN (Japanese, Kaktitan) is figured in the Hsai Tst'ng Ku Kien, 
chapter 38, p. 34. It is more akin to the tiger in shape, although Morrisson 
describes it as a creature with the shape of a pig and a single horn. 

The TIEX LUH (Tenroku] has the head of a goat, with one or two horns; 
the Pin TSIEH (Hakutakii) has an elongated Shishi head, sometimes with 
two horns, bushy tail, strong forepaws with claws, and flames surrounding 
its body. This creature could talk, and appeared to Huang Ti. It is also 
called Kaichi (one horn Shishi) and Shinyo (God's goat) in the Kumozui, 
Taisei, which says that it devours all that is evil. 

The PIH SIE is described by Hirth in the T'oung Pao (1895), and its 
pictures vary somewhat, the head taking intermediate shapes between the 
goat and the shishi. 

The Liu, or Liu mi horned ass, is illustrated with a tiger's head in the 
Kuyutoupu, and in the usual way in Gould's Mythical Monsters. 

The POH, is a horned horse credited with enough strength to kill and 
devour tigers ; the HOANSU affects practically the same shape. 

The TOUNGTOUNG is a unicorn goat ; the KUTIAO, a horned leopard ; 
the Si appears to be a cow with single horn ; the Si NIU is long necked, 
but hardly enough to be a giraffe : it has only one horn and is surrounded 
with flames. The SZE is the Indian or Malay rhinoceros. The CHUI si 
(Japanese, Suisai) is the rhinoceros "living in rivers"; it has often two 
horns, and sometimes three ; it is embellished by some artists with a 
carapace like a tortoise. The LUH appears to be a deer pure and simple. 
Gould gives also the TOOJOUSHEN, from stone figures of the Ming tombs. 

470. KISEGAWA KAMEGIKU # $& )\\ H If. The Joro who led the 
Soga brothers to the tent of their father's murderer, Kudo Saemom. See 
SOGA. 

471. KISHIDJO TENNO ^ jjj 5t (probably an adaptation of LAKSHMI 
or SRI DEVI). She is depicted with a very beautiful face, erect, with one 
red arm and a white one, holding in her left hand the sacred gem or 

177 - 



LEGEND IN JAPANESE ART. 

scattering gems about. She is the Goddess of Luck, and in the Japanese 
Pantheon the sister of BISHAMON. 

KISHIJOTEN in some works take the place of Fukurokujiu amongst 
the Seven Gods. She is also called Kudoku Niyo, or Tai Kudoku ten. Sri 
Devi is one of the titles of Mahesvara (Siva), said by the Sogenjigo to be 
a son of Takchaka (King of the Naga) and of Haritei (Kwei tzu mu, 
or Kishimojin). 

472. KISHIMOJIN Jl, =^ -HJ: 1$, or KARITEI Bo. Sanskrit, HARITI or 
DAITJA MATRI ; Chinese, KUEI TSZE Mu CHIN. She is represented as a 
comely woman holding a naked baby on her left arm, the right hand 
grasping a pomegranate, a peach, or a lotus blossom, the first " fruit of 
happiness" (jakuro, or Sanskrit, Siphrala] being the most usually depicted, 
and, according to legend, because Buddha, to stop her cannibalism, gave 
her pomegranates to eat, their flavour being reputed similar to that of 
young human flesh. KISHIMOJIN was a cannibal woman, mother of a 
thousand children, the youngest of which, BINGARA, was converted by 
Buddha, who afterwards converted the mother. She became a Rakchasi in 
Hades, and was condemned to give birth to five hundred children in 
extenuation of her bad deeds, and she is accordingly often called the Mother 
of the Demons. According to another version she was sent to Hades and 
re-born in the shape of a ghoul to give birth to five hundred devils, of 
which she was to eat one a day, because she had once sworn to devour all 
the children living in the town of Rajagriha. She was converted during 
her second existence. In Japan she is the deity of women in childbirth, 
prayed to for offsprings, but she is also honoured as protector of the 
Buddhist world and of children in particular. She is also called Kishimojin 
the Maternal in the Nichiren's Sect. 

473. KITSUNE &. See Fox. 

474. KITZUKI JJ?f ffS. Temple (OHOYASHIRO) of Daikoku, which was 
rebuilt in the third year of Tennin (mi.) from a tree trunk two hundred and 
fifty feet long, found stranded on the coast of Minayoshita, and in which 

178 



LEGEND IN JAPANESE ART. 

was a god in the form of a dragon. See Hearn's Unfamiliar Japan, Vol. 1, 
p. 193-5. 

475. KIYOHIME :Jff $ was the daughter of an innkeeper at Masago, 
at whose house the holy monk ANCHIX, of the monastery of DOJOJI }| $ ^p, 
used to stay when on the pilgrimage of Kumano. The monk was wont 
to pet the child, and gave her a rosary and some charms, never thinking 
that her childish affection would one day develop into fiery love. But the 
maiden's immodest advances soon became the bane of his life, getting more 
and more pressing till the monk's refusals changed this girl's passion into 
the deepest wrath. She begged the help of the infernal deities against him; 
she performed the Ushi Toki mairi, or envoutement at the hour of the ox, all 
to no avail. The Namii Amida Biitsu of the priest preserved him from evil, 
but not from the importune visit of the incensed woman, who pursued 
him right into the temple, when to try and escape her Anchin hid himself 
under the great bell, ten feet high and in weight more than a hundred men 
could move. Kiyohime, as she approached the bell, lashed herself into a 
fury, and as she nearly touched it the superstructure of the bell suddenly 
gave way, and the bell fell with a dull sound over the monk, imprisoning 
him. At the same moment the figure of Kiyohime began to change, her 
face grew like the witch mask of Hannya, her body became covered with 
scales, her legs joined and grew into a dragon's tail, and she wrapped 
herself around the bell, striking it with the T-shaped stick, and emitting 
flames from all parts of her body. Her blows rained upon the bell till it 
got red hot and finally melted, Kiyohime falling in the molten mass, from 
which was heard in a whisper the last Namu Amida Biitsu of Anchin, 
whilst the horrified monks unremittingly prayed around the scene. From 
the debris only a handful of white ash could be found, remains of the 
body of the monk. Of Kiyohime there was no trace. She is also said to 
have changed herself into a dragon on crossing the Hitakari gawa before 
reaching the temple. 

This legend has given rise to the No play or dance called Do-jo-ji. A 
versified account of the story can be found in Hearn's Kotto. 

179 



LEGEND IN JAPANESE ART. 

As a subject for netsuke and okimono, the story of Anchin affords the 
carver a theme for skilled treatment which is fairly often met with, Kiyohime 
coiled on the ball, or partly so, sometimes in the same material as the bell 
itself, but often in a different one, taking the most fantastic and weird 
shapes. The Kiyohime of the No dance is pretty before the event ; netsuke 
masks are met with in which the graceful face on one side and the horned 
Hannya on the other. A curious Kiyohime is even found, in the shape of 
an octopus, dressed in a kimono and holding a bell in its tentacles, or as 
an imp on a bell-shaped inverted lotus leaf. 

476. KIYOKU SUI NO EN g] ?K > ^ The picnic on the winding 
stream. This is a Chinese recreation for literati, who take seats on the 
banks of a very winding river and make poems. From the higher part of 
the river wine cups are set floating upon the waters, and picked up by the 
players with the exception of those who could not compose a poem. These 
could not take any cup until one stopped at their feet naturally. This 
curious proceeding took place regularly every year in the gardens of the 
Chinese court on the third day of the third month. See GAMES. 

477. KIYOMASA iff JH (KATO #n j&). One of the celebrated generals 
of the sixteenth century, usually shown bearded and on horseback. Under 
the rule of Hideyoshi he directed the Korean war (1592-8) with such 
impetuosity as to earn for himself the surname of devil warrior (KJsho 
Kwaii) from the enemy. He became one of IEYASU'S chief adherents at the 
death of Hideyoshi, at which time he was master of the whole province of 
HIGO; but the shogun had no liking for ambitious captains, and he is 
credited with having encompassed the death of Kiyomasa, in 1614, by 
causing one of his retainers to poison him at a tea ceremony least he might 
join hands with his rival, Hideyori. There is a fine equestrian statue of 
Kato Kiyomasa in the South Kensington Museum. 

Kato Kiyomasa is said to have had a helmet three feet high. He 
carried on his back a banner with the invocation, Namu mio ho renge kyo, 
of the Nichiren sect, who have honoured him with the name SEI SHOKO, 
and have dedicated two temples in Kumamoto to his memory. 

1 80 




K1VO.MORI (a.^/.) 
KOAN (O.C.K.) 

SUZV ARAI KOMACHI (H.S.T 
SOTOBA KOMACHI (j.) 



KOKO (x.M.) 
KUMASAKA (../.) 



KIYOMOKI (A'..l/) 

DOJOJI (./.) KOAX (II'./.K.) 

KUDAN (ir.L.S.) 

KUDAN (M.K.) 



\ 

b 



LEGEND IN JAPANESE ART. 

His crest (man) is a large circle with the centre cut out, and easily 
recognisable. 

Kato Kiyomasa is sometimes shown killing a tiger with a spear 
(Kiyomasa no Toragari). Kato Kiyomasa had a small monkey, and one 
day he was greatly amused, on entering a room, to find it with a book in 
its hand, apparently imitating its master. 

478. KIYOMI HARA NO TENNO ^ JjL Jjg Jfc J| played the harp 
in Yoshino with such skill that the angels came down from Heaven to listen 
to him, and danced in the courtyard of his palace five times, turning up 
and down their sleeves. 

From this legend are derived the dances of the fifth of May. 

479. KIYOMORI :jpf - (TAIRA ^) was, according to popular tradition, 
the son of a concubine of the Emperor Shirakawa Tenno, who gave her 
to Taira TADAMORI. He became governor of IGA, under the name Iga no 
Kami, supported the Shirakawa in the Hogen war, and being victorious 
became all-powerful at court. He fought and defeated the Minamoto, 
sent YORITOMO to exile, took as a mistress YOSHITOMO'S wife, the TOKIWA 
GOZEN, whose three sons, Imawaka, Otowaka, and Ushiwaka, he sent 
to a monastery, his clemency being requested by his stepmother, Ike- 
no-Zenni. 

Elevated to the dignity of Dajo Daijin in 1167, he distributed the 
important places in the government to his relatives, and became the real 
master of Japan. According to legend, he desired a certain temple to be 
completed on a certain day, but although the number of artisans engaged 
on the task was immense the sun began to set on the horizon before the 
last touch was put to the work. The imperious minister climbed to the 
top of the roof, and with his fan kept beckoning back the sun until the 
work was completed. To this rash enterprise is ascribed the terrible burning 
fever (Hi no Yamai) which seized him in 1168 (and of which he died in 
1181). He then took the robe of a monk, shaved his head, and adopted 
the name JOKAI, but without altering his dissolute life. To go more easily 
to the shrine of Itsukushima, he caused a canal to be made in Kure, but 

181 



LEGEND IN JAPANESE ART. 

neither his devotions nor the exertions of troops of servants continuously 
filling his bath with the iced water from Mount Hiyeizan, or fanning his 
half-naked body, could allay the tortures which the fever inflicted on his 
wasted frame. Having married his own daughter, TOKOKU, to the then 
Emperor, TAKAKURA TENNO, he obtained from the latter his abdication in 
1180, in favour of the offspring of this union, the child Antoku. 

During the same year the Yamabushis of Mount Hiyeizan became 
boisterous, and, relying on the help of Yoritomo, entered into open revolt. 
Kiyomori decided to reduce them, and sent a force against them, which 
found the Yamabushis' skill as warriors greatly above their piety as monks. 
One of the monks defended the Ujigaxva bridge alone, against three hundred 
horsemen of the general KIYOTADA, and returned to his monastery after 
receiving no less than seventy- two wounds. 

The famous Benkei was amongst the Yamabushis. But all this resistance 
was of little avail ; the Hiyeizan was stormed and its temples burnt. After 
his retreat to the palace of Fukuhara, in Settsu, in 1181, Kiyomori was 
beset by the idea that the ghosts of the Genji haunted the place. Once he 
saw his garden filled by numberless skulls, jumping about like grasshoppers, 
which suddenly coalesced into a hillock a hundred and fifty feet in height, 
with a ghostly warrior, dressed like Yoshitomo, standing on the top of it 
(Zoho Ehon Issaoshi gusa, Vol. V., and also Hokusai's print). 

KIYOMORI died in 1180, his last request being that the head of the 
exile, YORITOMO, should be laid upon his grave. But Yoritomo was not 
caught, and, indeed, he was to take a full revenge in 1185, when the whole 
Taira family was destroyed at the battle of Dan no Ura, the widow of 
KIYOMORI, the Nn NO AMA, jumping into the sea with her grandson, ANTOKU, 
rather than fall into the hands of the victorious Minamoto, Yoritomo and 
Yoshitsune. 

KIYOMORI is usually shown corpulent, with hard-set face, small bristling 
moustache, shaven head, thin lips and high forehead, and clad in the robes 
of a monk. Mr. Bertin, in Les grandes guerres civiles du Japan, gives a fine 
reproduction of the painting in the Bibliotheque Nationale of Paris, showing 
the servants of Kiyomori fanning him during his illness. 




ABE NO NAKAMARO 
(By courtesy of Messrs. Yauinnaka) 



LEGEND IN JAPANESE ART. 

480. KIYOTAKA fjf jlrj. A presumptuous courtier of Go DAIGO TENNO, 
who, knowing the Emperor's secret opposition to the advice given him in 
1336 by Kusunoki Masashige to abandon Kyoto for the Hiyei/an, strongly 
opposed Kusunoki's proposal. Masashige accused him and the "curtain 
government " of being the worst enemies of the Emperor, and subsequent 
events fully justified his opinion. After the disaster of Minato gawa, when 
Go Daigo and his court flew to Yoshino, Kiyotaka was ordered to commit 
seppuku. His ghost haunted the palace gardens, heaping curses on the 
imperial family and its advisers, until the princess, IGA-NO-TSUBONE, carrying 
a lantern filled with fireflies, went to argue with the yurei; she convinced 
him of his wrong and obliged him to cease his nocturnal visits. 

481. KIZABURO. See KICHIBEI. 

482. KO-AN j|; T. The Chinese rishi, HWAN NGAN, usually represented 
naked or semi-naked and riding on a horned tortoise. He is identical with 
Lu NGAO or ROKO, of Hokusai's Mangwa. The Taoist books say: "KoAN 
was ten thousand years old, but childish in his appearance. His body 
was covered with red hair, and he rarely wore any clothes. He used to 
ride upon a sacred tortoise three feet long." 

483. KO AWASE ff ^ . The perfume game. 

484. KOBITO /J^ A.. Pigmies figured in Hokusai's Mangwa, Vol. 3, 
p. 67. They lived in Yezo before the Ainu, who call them Koropokguru. 

485. KOBODAISHI j& &- ^C 8P- Title conferred in 921 by DAIGO 
TENNO upon the Buddhist priest, KUKAI (774-834), wizard and caligraphist, 
to whom is attributed the invention of the Hira-gana alphabet of forty- 
seven sounds and the disposition of these syllables into the Iroha poetry. 
Born at Biyobu-ga Ura, near Kompira, in 774, he became a monk when only 
nineteen years old. He went to China in 804, and came back to preach 
Buddhism, founding the Shingan sect and various temples. Many stories 
are told of his caligraphic talent. Having once painted some characters on 
the name board (Gaku) of a palace gate, he noticed on coming down that 
he had forgotten one dot, but, throwing up his brush, he finished the 

183 



LEGEND IN JAPANESE ART. 

character accurately without climbing up again. On another occasion he 
painted with five brushes, one in each hand and foot and one in his mouth, 
according to caricatures, and this performance brought him the nickname of 
Go hitsu Osho (the priest with the five brushes). Once, in 806, in a 
discussion with the Emperor Saga, he propounded the theory that one can 
attain Buddhahood while in the flesh, and on the Emperor dissenting from 
him, he at once gave him visual proof thereof by transforming himself into 
the appearance of the Buddha Maha Vairocana. (For his praying-for-rain 
sword, see AMAKURIKARA-KEN.) He once made the pilgrimage of the eighty- 
eight places in Shikoku, or Hachi ju hakka sho Mairi, wearing straw sandals 
(warajt), and to these days the pilgrims who undertake this lengthy journey 
carry small waraji suspended to their neck in memory of Kobodaishi. 

Kukai is also credited with a sculptor's ability, which only his magic 
powers could have insured. He is said to have carved unaided, and in one 
single night, twenty-two out of the twenty-five Bosatsu in the hard rock 
near Ashinoyu (though Murray's Guide dates it 1293), near the tomb of the 
Soga brothers, and, further along the same road, also in one night, a huge 
Jizo Bosatsu. An image of himself which he had carved while in China, 
and thrown into the sea with a prayer that it might be cast on some shore 
the inhabitants of which were in need of Buddhist teachings, was found in 
the twelfth century by a pious Buddhist of Kawasaki, and enshrined in the 
Yaku joke Daishi do. 

Kobodaishi is also said to have thrown his brush at a black rock in 
the pool of Kammanga fuchi, near Nikko, and the brush wrote the sacred 
characters, HAMMAN. His specimens of caligraphy and drawing were 
considered highly valuable relics, and, like the relics of Western saints, 
number so many as to cause wonderment at the phenomenal activity of their 
author. Many stories are told of Kukai in Hearn's works and in the Guides 
to Japan. 

486. KOBU. See Moso. 

487. KODAMA KURA NO JO fa 3s. ft jfc & was a leader of the 
seamen of Mori. After the battle of Ishiyama with Nobunaga, he camped 

184 



LEGEND IN JAPANESE ART. 

on the beach of Takasago, and ordered his men to cut down a certain tree. 
They resisted, and he compelled them to obey his order, but at the first 
stroke of the axe against the tree trunk smoke issued from the cut. Kodama 
then desisted. This esprit fort was a good soldier, but irreverent when 
dealing with the Buddhist faith. One day, in the lake of AWA, when 
returning from Ishiyama, his ship was heeling over frightfully amongst the 
whirlpools, and he feared death. He then remembered a Buddhist charm 
given him by a friend, and offered to it a hurried prayer; the hurricane 
abated and he returned to land, thereafter to become very religious. Before 
he died he had a dream in which the whole of the Buddhist Pantheon 
appeared to him. 

488. KODOKWA m jf| =lp. On top of a pine, looking at a crane, is 
one of the Taoist worthies. It is written of him : " Kodokwa used to 
climb in dangerous places and stand on steep rocks as if he were on 
level ground, fearlessly, like a lunatic. Later in his life he got a 
mysterious medicine named Tan, and climbed upon the top of a pine, 
whence he soared in the sky with a crane. This verily took place in the 
fifth year of Taichyu, in the reign of Senso, of To." 

489. KOGEN JL 7C was an old Chinese sage, 170 years of age. One 
day he was invited to drink wine, and did so like a dog, head foremost, 
and supporting his body with his cane. He is sometimes confused with 
Koko. 

490. KOGO NO TSUBONE /h ^ JBJ. Inimitable musician, favourite 
of the Emperor Go SHIRAKAWA (Xllth century), but hated by the Empress 
Hatsu, who, by her intrigues, succeeded in compelling her to fly from the 
palace. For three years the Emperor caused her to be sought for all over 
Japan without being able to discover her retreat. At last a courtier, the 
poet NAKAKIMI, also celebrated as a musician, who had boasted that he 
could recognise her playing amongst ten thousand hidden performers, was 
sent to find her. He located the favourite in the village of Saga, near 
Kyoto, where he heard her playing the Koto in a closed house. See 
NAKAKIMI (Shako Bukuro). 

185 



LEGEND IN JAPANESE ART. 

491. KOHAKU t J|L. The Chinese paragon, KIANG KEH, scholar 
and official of the fifth century, whose claim to celebrity consists in having 
once rescued his mother from a band of brigands by carrying her for a 
long distance on his back. 

KOHAKU SENNIN $ H ftlj A, was wont to visit Mount Bui, 
accompanied by a crane, and there to read fairy books. He is usually 
shown with a book and a yellow crane. His Chinese name is HWANG PEH. 

492. KOJIMA TAKANORI Jf ^ jt$ ffj. Noble of the fourteenth 
century, whose popular title is BINGO NO SABURO ("Off ^ 3l J}|$). He is as 
a rule depicted standing near a cherry tree, on the trunk of which he writes 
the following verses, allusion to an episode of Chinese history : 

" Ten Kosen wo munashiu sum nakare 

Toki ni Hanrei naki ni shimo arazu." 
"O Heaven, do not destroy KOSEN whilst HANREI lives." 

When Go Daigo was exiled Kojima attempted to rescue him, but in 
vain. He then rode in advance of the deposed Emperor, by a different road, 
and stopped at an inn where Go Daigo was expected to stay, tore the bark 
off a cherry tree, wrote in Chinese characters upon the trunk the verses 
quoted above to assure the late monarch of his lasting fealty. This story 
was originally mentioned in the Taiheki only, and modern historians 
discredit it altogether. He entered into a plot against TAKAUJI, was 
discovered, and had to take refuge in the Shinano, where he died 
(circa 1350). 

493. KOJIN 5nL !$ Shinto God of the Kitchen. 

494. KOKEI ^ )y. Mythical human being with crooked legs. See 
FOREIGNERS. 

49j. KOKEN ) Hfc. Sennin ; is shown with a divination book. 

496. KOKO j|f Q. Sennin; the Chinese Hu KUNG, the old man in the 
pot. Wizard and leach, who, according to legend, lived in China about 
the third century A.D., and who at night used to retire into a gourd-shaped 
pot, much to the bewilderment of his neighbours, who could not discover 

1 86 







KOJIMA (.!/.(;.) 

KicHijori;x (7..v. 




KOJIMA 



KOMEI (..;.) 
KOKEMOCHI (j/.t;.) 



LEGEND IN JAPANESE ART. 

his whereabouts after sunset. One FEI CHANG FANG (HICHOBO) discovered 
the gourd hanging from a rafter and the old man in it, shrunk to a suitable 
size. He became the disciple of KOKO and adopted his practice, hence the 
confusion which often arises between the two and with Mei So Gen (q.v.). 

497. KOKO ]H; ^, or BUNKIO. Celebrated Chinese paragon of filial 
virtue who, being left motherless when only seven years old, ministered to 
the wants of his father, fanning him during the summer nights and warming 
his father's couch with his own body in winter, before his parent retired. 

498. KOKUSENYA @(] *J4 stfT Famous pirate of the seventeenth 
century. Son of a Chinese father, CHENG CHE LUNG, and a Japanese mother, 
and called by the Jesuits Coxinga. He seized upon the island of Formosa, 
and his daring acts, set forth in Chikamatsu's play, Kokusenya Kassen 
(1715), have raised him to the popularity of a gallows hero. A humorous 
presentment of him shows him as a small man leading away a tiger or a 
large elephant, or carrying it away. See synopsis of the Kokusenya Kassen 
in Aston's Japanese Literature. 

499. KOMACHI /J> PJf (Oxo NO /]> iff). Often spelt KOMATI by French 
writers. One of the Six POETS (Rokkasen). She lived in the ninth century, 
and her name is almost synonymous with beauty, followed by disappointed 
love and the most appalling decrepitude. Nothing accurate is known as to 
her history, but legend has it that she was the daughter of DEWA NO KAMI 
YOSHIZANE, and that she was remarkably beautiful, given to great luxury 
and unduly proud whilst in the spring of life and the height of her glory. 
In 866, when the land was parched, the magic of her verses brought forth 
the rain which prayers had failed to obtain. On the occasion of a poetical 
competition at the Imperial palace her rival, OTO.MONO KURONOSHI, accused 
her of having taken from the Manny o Shiu a poem which she recited as 
her own composition, and in support of her allegation brought forth a copy 
of the book with the poem in it. Komachi called for some water, and, 
washing the book, the fresh ink disappeared, leaving the rest of the texts 
uninjured. Kuronoshi had listened to Komachi reciting the poem to herself, 
and had written it in the old book thinking to encompass the downfall of 

187 



LEGEND IN JAPANESE ART. 

his rival. This is a scene of Komachi's life which is often depicted, and 
forms the theme of a No dance, the Soshiarai. The poem reads: 



Makanaku ni 



Nani wo tanetote 
: (< Ukikusa no 

t J Nami no une une 

*>4f 

i Oi shigeruran. 

" You who have never been sown, from which seed did you grow Ukikusa 
(Alguae), tossed by the waves; how did you germinate and live?" 

She is sometimes represented as a court lady with a female attendant, 
and writing verses, but the fancy of the artists seem to have more specially 
run upon the later stages of her life, when toothless, her face furrowed with 
the deep lines and decrepitude of old age and poverty, clad in rags, her 
hair short, unkempt and matted, she was reduced to beg and starve by the 
roadside. An iron okimono in the British Museum and hosts of netsukes, 
depicting her squatting with her large dilapidated hat and a stick, vie with 
each other in the presentment of the aged poetess as a destitute hag. Old 
age and misery had overtaken her swiftly if one judges by her own poem : 

p ;r Hana no iro wa 

v; 

*> utsun ni kenna, 

- * 

T , *> Itazura ni 

Wagami yo ni furu 
Naga me seshimani. 

" The flowers have faded without my knowing it, while a long storm kept 
me indoors." 

The various presentments of Komachi have been set into a numerical 
category, under the name Nana Komachi, the seven Komachi. 
These seven forms are as follows : 
Soshi arai Komachi, washing the book (see above). 
Seki dera Komachi, entering a temple. 

Kiyomidzu Komachi, from the Kiyomidzu dera temple in Kyoto. 
Kaiyo Komachi, visiting, with an attendant whilst still young. 
Ama koi Komachi, praying for rain. 

1 88 



T , > 
> 7 ,A 



LEGEND IN JAPANESE ART. 

Omu Komachi, or Parrot Komachi, because once, when old, she received 
from the courtier Yukiuye a poem sent her by the Emperor Yosei, and she 
sent it back to the monarch with only one character altered. 

Sotoba Komachi, so called because she is depicted seated on a sotoba 
(wooden post set at the head of a grave, with the name of the dead written 
on it, pending the erection of a suitable monument). This last phase of 
her existence, when old, is said by some (amongst whom M. Bertin) to have 
been a self-inflicted penance, as the impossible tasks which she imposed on 
her lover, Fukakusa no Shosho, caused his death, and, seized with remorse 
she became a mendicant. 

Komachi's remains are said to be buried in the Fudarakuji temple, at 
Ichihara, near Kyoto, but many other temples also claim that distinction. 

500. KOMAN '] Ji?J was, according to a romance, the widowed 
daughter of the peasant Kurosuke, living near lake Biwa, and to whom 
the Genji leader, TATEWAKI YOSHI KATA had entrusted his wife, Aoi NO 
MAYE, and the white banner of his clan after his defeat. The two separated 
to escape the pursuit of the Heike, but Koman was surrounded, and the 
only resource left to her was to jump in the lake with her burden. She 
caught sight of some barges and swam to them to try and get across the 
lake, but found too late that they were owned by Munemori, the son of 
the Shogun KIYOMORI, leader of the Heike. The warriors, knowing that 
she was carrying the Genji banner, attacked her fiercely, but her arm was 
cut, and it dropped to the bottom of the lake with the silk ensign, to be 
soon after joined by her dead body. Four days later her own little son, 
Tarokichi, fishing in the lake, brought back her arm with the hand tightly 
clenched on the banner, and took it to his grandfather, in whose hut the 
lady, Aoi NO MAYE was awaiting confinement. 

Kiyomori had heard of the escape of the lady, and sent two men, 
Kaneuji Seno and Sanemori Saito, to inquire into the sex of the child at 
the very moment of his birth : if a boy, he was to be killed, if a girl, she 
would escape with her life. Saito had been a Genji man, and his learning 
and ingenuity, coupled with the unexpected interference of Tarokichi, saved 

18.9 



LEGEND IN JAPANESE ART. 

the Genji heir. The boy entered the room with the arm of his mother 
wrapped in a cloth, and handed it to Saito, saying: "This has just been 
born to the lady." Saito thereupon wondered upon the ways of the Deity, 
and quoted the classics, to the surprise and anger of Seno, who accused 
him of being party to a plot to deceive Kiyomori. Nothing daunted, Saito 
said: "It is written that in the days of old the consort of a King of Chu 
gave birth to a mass of iron, presumably because she was wont to use a 
rod of that metal to keep down the temperature of her bed in summer; 
and from that mass of iron the learned astrologers ordered the sword of 
KAN TSIANG Mu YE (Kanshoba Kuya) to be made. Strange and unknown 
to men are the ways of the Gods; why, therefore, should not this woman 
give birth to an arm?" He was ready to back his learning with his sword, 
and succeeded in taking away Seno. The young boy who was thus saved 
lived to avenge his clan and drive the Taira from Kyoto, under the name of 
Kiso YOSHINAKA (q.v.). See Takenobu's Tales. 

501. KOMEI JL Pf. The celebrated Chinese sage and general, Cnu-Ko 
LIANG j^f Jj|J ^, said to have been eight feet high. He was so famous for 
his wisdom that the Emperor Gentoku (Liu Pei) went himself in the middle 
of winter to find him in the fastnesses of the mountains to ask him to 
become his councillor. When he arrived he found the hermit in a hut of 
reeds, deeply engrossed in reading, and he waited six hours without saying 
a word for fear of disturbing him. Even then Komei could but with 
difficulty be persuaded to accept the Emperor's offer. He became, however, 
a clever generalissimo of the troops of Gentoku and of his son. He went as 
far as the Yunnan to subdue the rebel tribes of the south, and later 
attempted to conquer Wei. He was then opposed by SzE-MA-I, who steadily 
refused to engage in battle till Komei, who was then old, sent him the 
headdress of a court lady with the intimation that such a headgear befitted 
such a cautious warrior. 

Komei is usually shown with the Three Heroes of Han. 

Amongst other stories it is related that he stopped the sacrifices made 
of forty-nine human victims to dissipate the fogs of the river Lu Shui, in 

190 



LEGEND IN JAPANESE ART. 

Pegu, and instituted instead the use of clay figures. He is credited with the 
invention of mechanically propelled figures, the attack in eight lines in 
battle, the stratagem of the empty city when the walls were deserted and 
the gates left open, a man sweeping outside the walls and Chu Ko Hang 
playing the guitar within the gate, to mislead the army of the enemy, Tsao 
Tsao, as to his whereabouts.* It is also said that during the war between 
Wu and Wei he used magic to alter the wind on the twenty-first day of the 
eleventh month from N.W. to S.E., which suited his plans better, and since 
then the wind is always south-east on that day. 

In A.D. 234, seeing his star declining, he resorted to magic to try and 
delay his impending death by lighting forty-nine candles to burn for seven 
days on a heap of rice. But Wei Yen came to inform him of the defeat 
of the enemy, and in his eagerness to meet him Komei kicked the candles, 
fell, and died, at the age of fifty-three. Before expiring lie ordered that 
seven grains of rice should be put in his mouth so that his body might keep 
unchanged for ever, and to sew in his sleeves two live pigeons, then to lay 
his corpse on the battlefield. The enemy were afraid when they saw his 
sleeves moving, and they flew, giving his successor time to retreat to a more 
favourable position. 

He had no confidence in Wei because he had high cheek-bones, and 
he instructed his lieutenant Matei to kill Wei so as to prevent him from 
turning rebel. 

502. KOMPIRA ^ jfc HL The Indian divinity, Kumpira, one thousand 
feet long, with a thousand heads and as many arms, personified in India 
by the crocodile, and having for attribute in the Japanese Pantheon the 
tortoise. It is also identified with the Shinto God KOTOHIRA, or even with 
Susano-o-no Mikoto, or with Kanayama Hiko. Its name has been given to 
one of the twenty-eight constellations or followers of Kwannon. 

Kompira is also the name of a temple in Shikoku, celebrated by its 
pilgrimages, to which as many as nine hundred thousand worshippers muster 
every year. 

9 This stratagem is sometimes attributed to CHOHI (q.v.j. 
191 



LEGEND IN JAPANESE ART. 

Kompira, reduced in height to nine feet two inches, and with a terribly 
red face, plays the principal role as a demon-queller in the play, Kompira 
Eon, of Oka Seibei and Yonomiya Yajiro (Aston's Japanese Literature). 

503. KONGARA DOJI & $H $1 H ^ One of the attendants of the 
god of the cascades, FUDO Mio O (q.v.), shown as a weird male individual 
with an iron club. His companion is SEITAKA DOJI. 

504. KONOHA TENGU ^v CD ^ ^ $J. A Tengu dressed in leaves; 
he has a very long nose, and shows himself amongst people in the guise of 
a Yamabushi priest, with narrow clothes and the small characteristic cap. 

505. KONSAI ^ $, or SHOJO. One of the sons of Benten, shown with 
a balance for weighing money. Adaptation of BAICHADJYAGURU and trans- 
formation of YAKUSHI NYORAI. 

506. KOREIDJIN g ft \. The Taoist Sennin, Ku LING JIN, whose 

attendant is a white tiger (Shaho Bukuro VII). 

507. KOREMOCHI ^P $f j3| (TAIRA NO, 883-953), also called Yogo no 
Shogun, went one day to Taka-o-san (Toka Kushi Yama), in Shinano, to 
see the maple trees. He met there a party of young girls, and, as they were 
picnicing, not only did he accept their invitation to join them but he soon 
became intoxicated. He was awakened from his drunken slumber by a 
strange noise, and saw above him a huge oni coming to devour him, but 
he killed it with his sword. The No play of Momijigari (maple picnic) is 
based upon this legend (Ehon Kojidan). 

508. KOREMORI $| $& (TAIRA NO) was defeated by Yoritomo at the 
battle of the Fujikawa . because he was frightened by the noise made 
overhead by a thousand ducks and geese, and in his fright forgot his 
knowledge of strategy. 

509. KOSEI ^ fre- O ne f tne sons f Benten. See HIKKEN. 

510. KOSEISHI J|f $ ~7* was a sa S e ld man living in the time of 
the divine Emperor KEN-EN in a cave of Mount Koto. The Emperor Ko 
heard of him nineteen years after his accession to the throne, and went to 

192 




KOREIJIN (A.) 
KONGARA DOJI (jlf.ct.) 



KOHAKU (n.tf) 



KOSEKIKO (y.N.C.) 
KVVANNON (/I/.GV. 1 



LEGEND IN JAPANESE ART. 

consult him. He did so again three years later, when he found that the 
old man had turned round with his face to the south, he therefore advanced 
in front of him, bowing low and repeatedly, and asked his advice upon 
important points of dogma. 

511. KOSEKIKO ^ ft . The legendary Chinese, HWANG SHE KUNG, 
whose shoe was reluctantly picked up by CHANG LIANG. See CHORIO. 

The episode of Kosekiko on his mule, with the roll in his hand, whilst 
Chorio picks up the shoe under the bridge and tenders it to the old man, 
is treated by artists in a great variety of ways, Kosekiko is even jocularly 
shown riding on a huge fish and Chorio wading in the water (modern!!). 

512. KOSE ]=? *. Family name of a series of celebrated painters. 
Amongst them, KOSE xo KANAOKA ^j [5j, who lived in the nintli century, is 
said to have painted a horse for the temple of Ninnaji, near Kyoto, which 
left its canvas to browse in the neighbouring fields, until one of the monks 
added a tether and a peg to the picture. Another of his horses was guilty 
of the same practice until its eyes were blurred in the kakemono. KOSE xo 
KANAOKA is sometimes shown under a tree, throwing away his brush in 
despair of doing justice to the landscape before him, on the slope of Fuji- 
shiro-saka, near Yuasa, in Kishiu. This has passed into a proverbial 
sentence meaning that something is so beautiful that even Kanaoka could 
not have painted it. His fourth descendant, KOSE xo HIROTAKA, had a 
presentiment of his coming death as he began a picture of the Buddhist 
hell. He died as he was putting the last stroke to his signature on the 
kakemono. 

513. KOSENSEI. See GAMA SEXNIN. 

514. KOSH1 JL ~P> or MoNSEX-O. The Chinese philosopher, K'UNG 
Kiu, called in Europe CONFUCIUS, from the Latinised sound of his title, 
K'UNG FU-TSZE, of the fourth rank of nobility, which he had received in 
his lifetime. See CONFUCIUS. 

A humorous presentment of KOSHI is fairly common in the group of 
the Three Sake Tasters, when he is shown in company with SHAKA and 

193 



LEGEND IN JAPANESE ART. 

ROSHI (Lao tsze) drinking sake from a jar, the varied expression of the three 
faces conveying the meaning that the same doctrine can be appreciated 
in various ways. 

Some of his works have become highly popular in Japan, where 
Confucianism, and especially the modified doctrines of Wang Yang Ming 
(Oyomei) were followed by the Samurai class. Amongst some of these 
works which were published with numerous illustrations and a running 
commentary giving examples drawn from history or legend, may be 
mentioned Ehon u'a Kongo (Lun-yu) ; Daigakit (Ta-hio). The Ehon Chukio 
and Ehon Kokio (Hiao King) both illustrated by Hokusai deals with filial 
piety and loyalty of retainers respectively. 

5I4A. KOSHI ^ jj^ was a Taoist hermit of Mount Ko, and he used to 
go about upon a blue cow, and with a small basket in his hand. 

515. KOSHI-DOSHI 3 fob all it, Sennin, had a shuttlecock in the 
shape of a chanticleer. He used to keep it in his pillow so as to be 
awakened by the crowing of the magic bird. He also had a monkey no 
bigger than a bull frog, which was attached to a silk string and was 
allowed on the table to clear away the crumbs. He also possessed a small 
tortoise the size of a cash, which he kept in a small box. 

516. KOSHIX Hi |2 ^ (|f| ^). God of the roads, to whom is sacred 
the Enoki tree. He is also called Saruta Hiko no Mikoto, and his attendants 
are the Three Mystic APES (q.v.), Sambiki Saru. KOSHIN* is sometimes 
represented with many arms; dolls are offered to his shrines in memento 
of departed folks. Lafcadio Hearn, in Unfamiliar Japan (/., p. 100), describes 
an old statue of Koshin showing signs of Hindoo inspiration, in which the 
God is shown with three eyes opening vertically in the middle of the 
forehead, six arms holding respectively a monkey, a serpent, a wheel, a 
sword, a rosary and a sceptre; serpents are coiled around his wrists and 
ankles. At his feet is the head of the demon Amangako (Utatesa, sadness); 
three apes are carved on the pedestal, and one on the high tiara, in the 
shape of a mitre, placed on the God's head. 

194 



LEGEND IN JAPANESE ART. 

The name Koshin is applied to the " day of the monkey," the Kano e 
Saru, recurring every two months at the coincidence of the Ka-no-e term 
(seventh) of the decimal cycle with the ninth term, Saru, of the duodenary 
cycle, when festivities in honour af Saruta Hiko regularly take place; and 
offerings are set before the rough stone images of the three monkeys or of 
the God himself along the roads. 

517. KOSHIN. Chinese female sage who lived in To, shown riding 
the back on of a huge bull frog, upon which she crossed the sea. 

518. KOSHOHEI ^ |fl ^p. One of the Eight Sennins, the Chinese 
HWAXG Cn'u-P'ixc, sometimes described as an incarnation of the rain priest, 
CH'IH SUXG TSZE ifc ^ ^, who lived in the Kwenlun mountains at the 
court of the Fairy Queen Seiobo, after leaving the Chinese Emperor 
Shennung (SniNxo), whose daughter followed him later and became one of 
the Genii (Mayers' C.R.M.). 

KOSHOHEI, when fifteen years old, led his herd of goats to the Kin H\va 
mountains, and, having found a grotto, stayed there for forty years in 
meditation. His brother, Shoki, was a priest, and he vowed to find the 
missing shepherd. Once he walked near the mountain and he was told of 
the recluse by a sage named Zenju, and set out to find him. He recognised 
his brother, but expressed his astonishment at the absence of sheep or goats. 
Koshohei thereupon touched with his staff the white stones with which the 
ground was strewn, and as he touched them they became alive in the shape 
of goats. 

This story is frequently illustrated, but Koshohei is usually shown 
alone, without his brother. 

519. KOTAIRO Jl ^ ^ and her daughter lived on "yellow spirit," 
and could produce the rain and wind at will. They were beloved of the 
people of Shin, and travelled often on a cloud. 

520. KOTEIKEN ^ |i ig, or SANKOKU Uj Q. The Chinese HWANG 
T'IEN KIEN, celebrated as a poet and official, lived from 1045 to 1105, and 

195 



LEGEND IN JAPANESE ART. 

although he attained a high official rank was so devoted to his mother 
that he washed her chamber vessels. 

Hokusai pictures him emptying an urn over a balcony. 

521. KOTEI ^ fff. The Yellow Emperor HWANG Ti, also called 
ijff H| HIEN Yi'AN. He was the third of the five legendary rulers of China 
circa 2697 B.C., and is credited with over a century of life. See SHINANSHA. 

522. KOTORO-KOTORO =f- flfc /> = ^ ^ . " Catching the child." 
A game of Chinese origin, in which a child agrees to act as father of the 
party, whilst another one becomes the oni. The "father" and his party 
form a single file, grasping one another's obi, and he swings the file so as 
avoid the oni touching the last boy of the line. When this occurs he 
changes place with the oni, who then goes to the tail of the file. 

523. KUBI-KUBI Hf k (KuBi HIKI), or KUBIZURI. A game or trial of 
strength by neck pulling. The two players squat opposite one another, with 
an endless rope joining their necks, and pull in opposite directions. See 
the trial of strength between ASAHINA SABURO and the ONI. 

524. KUDAN. Fabulous animal who always tells the truth. It is 
shown with the head of a man and the body of a bull, generally with 
three eyes on its flanks and horns on the back.'* 

525. KUDARA KAWANARI ^ ffi ffif fa later called KUDARA NO 
ASOMI, was a Corean painter who attained the rank of Harima no sake at 
the courts of Nimmio and Montoku. Once one of his servants was lost, and 
he painted from memory a portrait which enabled the missing boy to be 
found. He wrangled with the architect, HIDA NO TAKOAMI, about the 
respective worth of their arts, and the architect invited him to decorate the 
walls of a pavilion which he had just built. Kudara accepted, but he -could 

* It is interesting to compare with the Kudan the three-legged ass with six eyes, nine mouths, one horn, 
and a white body, which, according to the Bundahis, stands in the middle of the sea (E. W. West, Palhlavi texts, 
Bundahis XIX,). Its eyes are distributed equally in the usual position, on the top of the head and on the hump ; 
its mouths are three in the head, three in the flank, and three on the hump. This animal is righteous, and eats 
spiritual food ; it cleanses the ocean of all corruption. It is associated with a divinity named Tistar, who had 
three forms : that of a man, a bull, and a horse. Can this curious type of unicorn have affected the appearance of 
the Kudan ? 

196 



LEGEND IN JAPANESE ART. 

not get inside as the walls were so contrived as to swing round like doors 
and put him out every time he touched them. As a revenge, he asked the 
architect to his house, and when at last Hida came he almost flew back at the 
unexpected sight of a putrid corpse stretched across the room. It was, however, 
merely as an exhibition of his host's skill painted on the sliding panels. 

526. KUFUJIN -H ^C A was the wife of the paragon of filial virtue, 
OcENSEN 7 , ^ JC f[Jj> who was a very poor man. She weaved cloth to 
support him, his mother and herself for ten years, after which she ascended 
to heaven in the form of a blue cloud. She is represented weaving. 
Compare TOYEI. 

527. KUGANOSUKE ^ |f 2. &J AND HINADARI $| J|. The 
heroes of a dramatic story which took place in the seventh century. 
Kuganosuke was the only son of the governor of Kii, Daihanji Kiyozumi, 
and the ex-page of the consort of the deposed Emperor Kogyoku. The 
minister, Iruka no Omi, who was practically master of Japan at the 
beginning of Kotoku's reign, suspected the father and his son of being 
secretly allied with Nakatomi no Kamatari, the founder of the Fujiwara 
family, and his own enemy. The same suspicion attached to another 
family, then in possession of the province of Yamato, the head of which 
was Sadataka, the mother of Hinadari. The t\vo provinces are only separated 
by a small river, but there was an ancient feud between the two families. 
Iruka commanded the youth to come to court, thinking to wrest from him 
the knowledge of the hiding-place of the deposed Empress, and he sought 
to get also Hinadari sent to Kyoto to marry her. The two offsprings of 
the rival families, sooner than break their tryst, both committed suicide, 
the father acting as Kaishakunin (second) to his son. The two hillocks 
on either side of the river, where the two youths lived, are still called 
Imoyama and Seyama. The boy and girl were buried as manand wife. See 
Takenobu's Tales. The play based on this story is called Imoseyama. 

528. KUKOKU ffi] Hcj. Mythical creatures with a dog's head on a 
man's body. They live in the dogs' country, Inu no Kuni. See FOREIGNERS. 

197 



LEGEND IN JAPANESE ART. 

529. KUMAGAI NAOZANE ffi Q y| ^. Minamoto general who lived 
in the twelfth century. He is frequently depicted in the episode of the 
battle ICHI NO TANI (1184), where he killed Taira no ATSUMORI (q.v.). He is 
usually on horseback, with a fierce appearance, a quiver full of arrows, a 
black beard, a two-horned helmet, and a war fan in his hand. 

The story of the episode is given in Griffis' Mikado s Empire, page 145 
and seq., and another version under ATSUMORI. Bertin's theatrical version 
(Guerres civiles du Japori) is to the effect that Kumagai, when an officer at 
the court of Kyoto, had seduced one of the palace maids, Sagami, and that 
the FUJI NO TSUBONE secured the escape of both. His son, Kojiro, was born 
on the same day as Atsumori, the son of the Fuji no Tsubone. At Ichi no 
Tani he was separated from his son, and seeing a warrior who had a 
similar appearance wading in the water on horseback, he rushed after him, 
found that the man was an enemy, but very much like Kojiro. He began 
to inquire into the youth's story, and, recognising the son of the Fuji no 
Tsubone, would have let him go but for the taunt of his companion who 
had then come up to them. Atsumori gave him his flute. Filled with 
sorrow, Kumagai gave up his calling, shaved his head, and became a monk, 
under the name Renshobo, in the temple Kurodani at Kyoto, where he died 
in 1208. 

Amongst miracles attributed to him, it is related that once he borrowed 
some money on the security of ten Namu Amida Butsu. On repaying the 
loan he demanded the return of his deposit, and as his friend repeated the 
prayer he was stopped short by his wife, who explained that, when the 
monk borrowed the money, ten lotus flowers appeared in their garden, but 
that they were fading away as her husband returned the "security." The 
couple transformed their house into a monastery. 

530. KUMASAKA CHOHAN gR Jt. IB- Famous robber who was 
killed by Yoshitsune. He is usually depicted in a peculiar dress, hiding in 
a pine tree and scanning the neighbourhood. As a weapon he carries a 
huge halbert. He is often seen as a No character, in the play of the same 
name, in painted Nara netsuke. 

198 



LEGEND IN JAPANESE ART. 

See the story, Tsukt no Kumasaka (1790), illustrated by Hokusai (signed 
Tokitaro). 

531. KUME NO MAI ^. %. 0) |!|. Dances which commemorate the 
treacherous slaughter of the Aino chief YASUTAKERU, of Yoshino. During 
his wars Jimmu Tenno found it impossible to subjugate him; he therefore 
had him invited with his suite to some festivities, and when the Ainos got 
intoxicated his men killed the whole party on a pre-arranged signal, a song 
of Jimmu. 

532. KUME NO SENNIN #. % 0) fll] A- Rishi shown falling from 
the clouds whilst looking at the reflection of a girl in the stream. He is 
the only Japanese Sennin ; the Kume family was the oldest warrior clan. 

533. KURUMA $. Vehicle. See HOTEI (KARUMA SAN). 

A common enough design, especially on metal work, consists in a 
peculiarly shaped barrow filled with flowers, peonies and chrysanthemums; 
it is called Hana Kuruma the lucky flower cart. Sometimes a dilapidated 
waggon, like a house on wheels, is also met with, representing the chariots 
used in war by Chinese Emperors or Generals. Another vehicle called 
j^ If! Kiu Sha or dove carriage consists of a pigeon on two wheels, 
often with a smaller bird standing on the first one, it is described as a 
toy in Wakan sansai zuye and as an implement of war in Todo Kunimo Zue. 
A common object called Buri Buri, consisting of an octogonal piece of 
wood mounted on two wheels, is a very ancient toy which was pulled 
at the end of a string. Kioden says that it was derived from the Roku 
Doku fl|l m, a sort of corrugated roller used by Chinese peasants. A 
figure standing on the front part of a vehicle, with the left arm extended, 
pointing forward is the Shinansha (q.v.). 

A broken wheel amongst weeds, or a wheel and a praying mantis are 
a common subject, the wheel of the law is often meant in such repre- 
sentations, and the wheel of drums of the Thunder God is of frequent 
occurrence. 

534. KURUMA ^C C7) ^ (Hi NO). Flaming wheel propelled by three 

199 



LEGEND IN JAPANESE ART. 

devils, one red, one green, and one black, which rolls amongst flames and 
fetches bad people to Hell. Sometimes a hideous head figures in the centre 
amongst the flames. "To roll the Hi no Kuruma" proverb "To be penniless." 

535. KUSUDAMA ~jj^ 3L Hanging bouquet made of paper or cloth 
of five colours, in the shape of artificial flowers, and hung in houses on the 
fifth of the fifth month (Tango no Sekku, or boys' festival). See also CHARMS. 

536. KUSUNOKI MASASHIGE 7|$f IE J$. Often called the "Bayard 
of Japan," this warrior remains in history as the type of loyalty and unselfish 
devotion coupled with a deep knowledge of military science. Born in 1294, 
son of Kusunoki Masazume, he was given the name TAMONMARO, and was 
educated until fifteen years old at the monastery of Hinozan, in Yamato. 
He became very proficient in the military knowledge of his time, and 
obtained the loan of the thirty volumes on strategy which had been bought 
from the Chinese Emperor by Oye no Koretoki in 697, tradition says, at the 
huge cost of thirty thousand gold taels. He devoured these books, and his 
learning became so great that his superior attempted to have him murdered 
at night in the woods of Kagada. In 1331, Go Daigo Tenno was badly in 
need of a general, and his adviser recommended Masashige; the etiquette 
of the court was however respected, by the Emperor declaring that he had 
had a dream in which the Gods ordered him to take shelter beneath a tree, 
the branches of which stretched to the south. This agreed with the 
description of a camphor tree (Kusu-no-ki), and was interpreted by Fujifusa 
in accordance with his own desire. 

The ability of Masashige was soon put to practical use. TAKATOKI 
deposed and exiled Go Daigo, sending his general, OSARAGI SADANAO, with 
twenty-eight thousand horsemen against Masashige, who was entrenched in 
a hastily constructed fort at Akasaka. After several successful sorties the 
latter got blockaded, and, lacking provisions, he had to resort to stratagem. 
A wood pile was built and covered with corpses of dead enemies. Masashige 
and his troops then escaped one night, leaving only a few men in the fort 
to fire the pyre and spread the false news of his suicide. 

SADANAO was deceived by this ruse, and after capturing the fort went 

2QO 





< D 

i 




o 

IP 




LEGEND IN JAPANESE ART. 

away, leaving only a handful of men to guard it. Later, Masashige sent 
one of his retainers, ONCHI SAKON, disguised as a monkey showman, to 
inquire into the affairs of the enemy. Onchi found that a convoy was 
expected; Masashige intercepted it, and hiding men and weapons in the 
waggons, effected an entrance to the fort, the garrison of which took service 
with him. 

Later, he fortified himself in Chihaya, and having inserted a spurious 
roll in the temple of Tennoji, amongst the prophetic writings of Shotoku 
Daishi, Masashige went with his army to consult the oracle. The spurious 
roll was, of course, opened, and in it he was cryptically compared to a big 
bird which would overcome the huge fish whose presence would cause the 
country to be Hooded during the reign of the ninety-sixth Emperor, whilst 
the sun would not be seen for seventy days. The oracle once interpreted, he 
led his army to battle against the besieging forces of Takatoki, whom he 
defeated (1333). His next exploit was the siege and capture of Kioto during 
the Ashikaga revolt (see SUGIMOTO), when he used another ruse against 
Takauji. But the revolt of the Akamatsu then taking place and the 
re-organisation of the defeated Ashikaga forces being rapidly effected did 
not leave any chance of peace. Masashige advised Go Daigo to leave 
Kioto for the Hieizan, which could easily be fortified, whilst Nitta 
YOSHISADA and himself would protect the surrounding country. His advice 
was set at nought by the intrigues of the courtier KIYOTAKA (q.v.) and the 
obstinacy of the Emperor (1336). 

Masashige then left Kioto, and sent all of his retainers back to his own 
family, keeping with him only his brother Masatsuye, and his son Masatsura. 
At the posting station of Sakurai', where they stopped, he refused to allow 
his son to follow him any further, and presented him with a book on 
strategy. He also gave him some loyal advice, and exhorted him to defend 
at all costs their own castle of Kongozan. The boy was to prove himself 
worthy of his father, and although the episode above related is not credited 
by modern critical historians it is still kept in the elementary Japanese 
readers. 

Masashige gathered together some seven hundred men and set out for 

201 



LEGEND IN JAPANESE ART. 

the Hiogo coast, where the Emperor, hearing of his decision, sent him an 
order to come back to Kioto; but it was raining, his men were tired, 
and Masashige decided to delay till the morrow. The army of Yoshisada 
was near by to defend the coast near Minatogawa, and he would have 
returned, but in the morning mist the fleet of Ashikaga Takauji was sighted 
near the land and the army of Tadayoshi closing behind at the same time. 
Yoshisada faced the lleet, leaving Tadayoshi to Masashige, who inflicted 
upon his opponent a slight defeat. On the second day his followers were 
reduced to four hundred; on the third there remained only seventy- three, 
and Masashige had been wounded eleven times. Surrounded by the army 
of Tadayoshi and that of Takauji, under Ko no Moronao, they retreated 
into some houses, and Takauji, moved by their valour, sent a messenger to 
Masashige offering to let him pass through his lines unharmed. The hero 
replied that if he needed a road he was still capable of cutting it himself, 
but that he would avail himself of the courtesy of his opponent to send 
Chikudo Maru to his castle of Kongozan to apprise Masatsura of his father's 
death. He then assembled his men, and ten times made them take a solemn 
oath to send their ghosts unto the seventh generation of their descendants 
to excite their hate against the Ashikaga, praying himself that he might 
have seven lives to lay for the service of the Emperor,'* after which they all 
committed seppuku. Masashige's head was taken to Kioto to be publicly 
exposed, where it was seen by his widow and his son (1336). 

Masashige is generally shown in full armour, with a fierce expression 
on his face. The two most common episodes are his separation from his 
son and the battle of Minatogawa, when he is depicted beneath his standard 
seated on a folding seat by the sea coast, the big drum being beaten to 
assemble his followers. 

His crest is a chrysanthemum flower half dipped in the waves. A 
curious netsuke, once in the Gilbertson collection, shews him seated on a 
coil of rope with a mariner's compass in his hand. Many popular histories 
of Masashige have been published, amongst which the History of the Three 
Kusunoki and the Nanko Seichu Gwaden (1815). 

* Hirose, in 1904, composed a poem embodying the same wish. 

2O2 



LEGEND IN JAPANESE ART. 

See further: Go DAIGO, NITTA YOSHISADA, HONMA MAGOSHIRO, TAKAUJI, 

SUGIMOTO, KlOTAKA, MASATSURA. 

537. KUSUNOKI MASATSURA $f IE ft was the son of Kusunoki 
Masashige. He was eleven years old when his father sent him back home 
before the battle of Minatogawa. After seeing the severed head of Masashige 
he went into a room full of Buddhist figures in their castle of Kawachi to 
commit seppuku, but was prevented by his mother. In 1348, when only 
twenty-three years old, he raised an army against Takauji, and with a 
thousand men forming the garrison of the castle of Chihaya, he defeated the 
attack of thirteen thousand men under the command of Hosokawa AKIUJI. 
He was then rewarded by Go Murakami with the title of Sacmun no Kami. 
In Kyoto he attacked Takauji, who ran away, his wife was killed, and his 
brother Tadayoshi escaped by an underground passage. In 1349, Ko no 
Moronao and Moroyasu attacked him with six thousand men, he went to 
Yoshino, and the Emperor told him that he trusted him as his elbows and 
thighs; he wept, and with his men worshipped at the tomb of Go Daigo, 
upon which they cut their names with their swords, and with an arrow he 
inscribed upon the door of the temple the poem: 

Kayerajito 

Kanete kakugo no* 
Azusa yumi 

Naki kazu ni iru 
Naozo todomeru, 
which is still on the door now, and means: 

" I could not return, I presume, so I will keep my name among those 
who are dead with bows" (allusion to his having written it with an 
arrow). 

With three thousand soldiers only he met the enemy on the road 
"between rice fields" (naivaie), at the battle of Shijo Nawate. He was 
fatally wounded, and committed seppuku with his brother Masatoki. 

Once, on his way to Yoshino he rescued the court lady, BEN NO NAIJI, 

6 Also read Kanete omoye ba. 
203 



LEGEND IN JAPANESE ART. 

from the attacks of Moronao's servants, and the Emperor suggested that she 
should become his wife, but he refused the gift, replying: 

"Totemo yo ni 
i Nagaro bekumo 

A 

Aranu mi no 

Kari no chigiri wo 

*> 

> Ikade musuban." 



- \ 

V 
v 



can I promise a short marriage who would by no means live long in 
this world." 

538. KUYA SHONIN |g & A- Old priest who, when on a 
pilgrimage, suspended from his waist a metal gong and struck it every time 
he had said ten prayers. He is depicted with that implement, the necessary 
hammer in the right hand, a staff in the left, and a sprig of bamboo in his 
mouth. 

539. KUZUNOHA U 0) ||. The fox wife of ABE xo YASUNA (q.v.), 
depicted nursing her child, or as a white fox giving ABE the key to her 
disappearance in a dream. She has usually a writing brush in her mouth. 

540. KWAKKIO. See KAKKIO. 

541. KWANROKU US ]AV The Corean priest, KWAL-LEUK, who, in 
602, brought to the Court of the Empress Suiko the books of the Calendar 
and treatises on astrology and magic. He was rebuked by the Imperial 
Prince Shotoku, who was afraid least occult practices might prove fatal to 
Buddhism. 

542. KWANNON H "|f (the Chinese KWANYIN, Sanskrit AVALOKITE- 
SEVARA). This Boddhisatva, Deity of Mercy, spiritual son of AMIDA, is 
represented in a feminine shape because in China its worship got confused 
with that of a deified daughter of a semi-legendary King of Chow, of 
whom it was said that, when she refused to marry the man selected by her 
father and was sentenced to death, the executioner's sword broke on her 
neck. Kwannon is said to have visited Hades, and when at the bottom of 
the last circle she took such compassion upon the damned that she exclaimed, 

204 



LEGEND IN JAPANESE ART. 

Amitofo! and a rain of lotus suddenly fell, the foundations of Hades were 
shaken, and the damned released, after which, the Regent of Hell sent her 
to the Lotus Paradise Island of Poo Too on a lotus flower. The Butsu dzo 
dzui (II., p. 12) gives the eight varieties of Kwannon as: 

Senslriit, with a thousand hands, of which some forty are shown, with 
various attributes, gems, lotus, willow, wheel, begging bowl, shakujo, 
halbert, etc. 

Bato, the horse-headed, with three faces and a miniature horse amongst 
her hair, with eight arms grasping the sword, axe, wheel, sceptre, and rope. 

Jiuichimen, with eleven small faces upon her head, probably as a relic 
of the association of Avalokitesevara with Manjusri (Monju) and Vajrapani; 
her left hand holds a lotus and her right is extended downwards. 

Shokwanze-on, the Holy, her right hand blessing, the lef