One reason why children seemed to look forward to the peddler’s visit so much probably hinged on the rather unusual paper balloons they passed out, as appreciated and looked forward to as shogatsu koma.
Unfortunately, the whole style of peddling Toyama medicines has altered greatly with the economic resurgence of modern Japan. The peddler no longer trudges or bikes from village to village nor does he leave a black paper medicine sack, this having been replaced by convenient plastic bags. The willow wand cases with all their inner compartment boxes too have gone and one finds this style box only as a storage case for summer/winter clothes in homes where tradition dies hard.
| 19 | SHIZUOKA |
| TAKO | |
Akite
in the same place
in yesterday’s sky!
This Buson haiku (translated by Blyth) captures the floating freedom one naturally feels on seeing a small wisp of paper and bamboo sailing lightly aloft, tied to land only by the thinnest cord. The East is famed for its variety. Crowded Edo spawned miniature varieties flown on slim threads, kites smaller than the size of a modern calling card. Other locales created monstrous behemoths that required a steady breeze and 40 able men to send them soaring skyward and to keep them aloft. The in between ranges run the whole gamut in sizing with washi and take as materials. Kite makers talents are slowly being recognized as worthy of propagation.
Not to slight any locale, this chapter is concentrating on just one particular kite — the fighting kite of Hamamatsu in Shizuoka Prefecture. For three days every spring a kite festival brings thousands of spectators and hundreds of participants from all over Japan. Kites used all resemble the one pictured, although their visual design varies greatly. Huge kites often have a single complex kanji. Others use crests (mon) and some pictoral representations such as the Japanese crested crane, symbol for happiness for over 1,000 years. The kite shown has the katakana “na” as its sole pattern. No doubt size (paper face being about 70 cm square) dictates the simpler design but some small kites are vertitable works of art with intricate patterns.
Formalized fighting, pitting one district against another, was the final outcome of restrictive regulations on size and decor. Limited on two fronts, flyers turned to fighting style to express their enthusiasm during the May fete. By friction of string on string, one or more bridle cords holding the kite to a stable flight position will snap. Uneven pressure will then break its remaining holds, causing it to run free and fall. The winning team is delirious and the losing team anxious to repair their fallen wonder for another try. A related photo is on page 129.
| 20 | GIFU |
| BANGASA | |
Nothing seems so lovely as a kimonoed lady sheltering from the rain under a BANGASA. Light filters through the translucent covering and delicately illuminates its sheltered user. These lightweight items are a speciality of Gifu-ken where both abundant varieties of versatile bamboo and handmade paper are readily available. It’s no coincidence that makers of these umbrellas are also typically makers of chochin or paper lanterns, the materials being identical.
Bangasa come in at least four varieties. There is a thick-handled and sturdily ribbed man’s model, a thinner, more feminine style for ladies and a child’s size. In addition, there is the brightly tinted slim style favored by refined ladies and geisha. All are essentially the same construction with hinged bamboo ribs that use horsehair threads to secure them firmly in place. Horsehair is also used to reinforce the paper covering, being glued into folds of the paper along the edges.
One difference readily apparent is the halfway stop ladies’ bangasa have. When the rain pelts down, a halfway stop allows the owner to cock it open in a conical position that hugs head and shoulders more closely.
Another distinguishing feature are the number of ribs. Men’s usually number about 50 while ladies’ typically have 40.
The previously mentioned four types must be expanded if one includes the HIGASA, surfaced with fine silk and meant only to protect the user from the sun’s heat. The hi in it’s name derives from the kanji for sun.
SHUGASA are yet another variety that should be mentioned, although they are not to be seen on the street. These huge umbrellas are used for shade in garden tea ceremonies. Commonly a bright red, their two-meter plus diameter of crimson casts a large shadow.
First mention of the ribbed-style umbrella dates to the reign of Emperor Kimmei (539—571) when the King of Kudara, a large province in Korea, sent as tribute several finely decorated silken kasa. Prior to that time, large reed hats were widely used for rainwear.
They are still extremely popular at most traditional ryokans who stock them for patrons when it rains. These kasa are often adorned with the name or mon of the inn decorating an otherwise plain style. See page 130 for two related colour photos.
| 21 | ISHIKAWA |
| WAJIMA-NURI | |
Shikki is the correct Japanese term for lacqueware, although a great many varieties of the same exist throughout Japan. Prior to upgrading of kiln technique in the early 17th C, lacquering was the most widely used medium for food vessels. The advent of cheaper seto-mono caused a decline that finally took its toll of a cottage industry whose small scale production could not compete on the level of the newly improved ceramics centers.
WAJIMA-NURI derives its name from where it is made on the Noto peninsula in Ishikawa-ken. Nuri is a conjugation of the verb nuru which means to paint. Similar place names are applied to other extant lacquerware centers scattered thinly about the islands.
Most are identified by some distinct design characteristic. Tsugaru-nuri (often referred to as bakaurushi or foolish lacquer) is easily discerned by multihued crazed patterns. In Iwate, where the Heian-era stronghold of the Fujiwaras flourished, is found still a style dating from those exuberant days laced with gold leaf in elegant but classic motifs.
Another northern lacquerware is the wood-grained variety found in Sendai, Miyagi-ken, which differs from the wood-grained Shikoku style in that the wood is completely covered on those from Tohoku while the Kagawa type uses natural wood colouring to augment an overall design of concentric circles.
Nara has yet another type one can easily recognize — red patterns painted over black backgrounds. But all contrast readily with Wajima-nuri’s simple, straight forward forms and solid tones where black outer surfaces are generally lined with inner surfaces of red and vice versa.
It is reassuring to know that in Wajima wood alone is used. Icho or ginko wood is favored, although many types are used. It seems the ginko tree is lightest and strongest as well as easiest to form into thin walled pieces.
Lacquering takes months for the finest pieces — sometimes a full year between the first lacquer application and the final layer. As many as 12 and occasionally double that are not uncommon but cost well reflects what you are buying. Two related photos are on page 132.
| 22 | MIE |
| MARUBASHIRA-YAKI | |
Marubashira, Mie-ken gained its name from the huge wooden pillars it supplied to the Nara court. A small sleepy hamlet then, it hasn’t really changed all that much in the intervening years. What has changed is that the village is no longer known for massive timber posts. Its present fame rests on ceramics that have been the villagers’ production mainstay for several centuries.
Marubashira