Kyoto South (1945)

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Fushimi dolls-Born in Kyoto! A look at the essence of the first clay dolls- Early history 「What do you think of when you hear the words “Fushimi dolls”? Fushimi dolls are a traditional craft product of Kyoto, born in Kyoto some 400 years ago. Not only do the dolls themselves have a long history, their origins can be traced back far beyond the Edo period (1603-1868) to the Nara period (710-794). I will look at the circumstances before and after the genesis of Fushimi dolls. The origins of Fushimi dolls Fushimi dolls are said to have originated from earthenware and clay figurine artisans who lived in the Fukakusa area during the Nara period and were employed by the Imperial court to make its earthenware. It is thought that as time went on the artisans began to set up their own businesses producing everyday earthenware. According to Kōgei Shiryō (Sources on Crafts) written in 1877 by Kurokawa Mayori and published by the Museum Bureau, the unit in charge of museum administration in the Ministry of Education and Ministry of Agriculture and Commerce at the time, the first person to make earthen figure dolls as children’s toys was a person by the name of Ikaruga ō of Fushimi in 1615. The method used by Ikaruga Kōemon to make his dolls was to first fire clay in a pair of front and back molds in a kiln, attach the two fired parts together with gelatin, and then finally paint the doll. This is, apparently, the method Fukakusa craftsmen also used, and is very similar to the method used to make Fushimi dolls today. Perhaps this is why Ikaruga Kōemon’s earthen figures were said to be masterpieces of a rarely seen caliber, and why 1615, which was the first year of the Genna years (1615-1624), was deemed the year of origin of Fushimi dolls and Ikaruga Kōemon their founding father? A key to the birth of Fushimi dolls Fushimi-shi (Fushimi Journal) published by Fushimi Town Office, Kii County, Kyoto Prefecture, on June 20, 1915 references a “Tokugawa era companion log”. The log is a table tracing the history of merchant colleagues in Fushimi at the time. At the end of the table is the sentence “Fushimi doll colleagues, silver payment from Genna years”, indicating that a Fushimi doll union paid silver to the town office in the Genna years. This is proof that doll production or retailers already existed to a significant degree. Furthermore, the fact that Ikaruga Kōemon had “colleagues” when he began to make Fushimi dolls, as noted in the Japanese craft sourcebook Kōgei Shiryō, is a crucial key in the story of Fushimi dolls existing prior to 1615. In other words, it would appear that Ikaruga Kōemon was not in fact the founder of Fushimi dolls despite being deemed so. The mystery deepens. Furthermore, Fushimi-shi notes changes in Fushimi dolls from the Nara period through to the Genna years in the Tokugawa period (1603-1868), mentioning that that Ikaruga Kōemon’s works commanded high prices and that Fushimi dolls were affected by a shift from water transportation on the Yodo River to railway and other forms of land transportation. This shift in transportation effected a decline in Fushimi dolls for a period of time before they were to be seen on the road to Fushimi Inari Shrine, albeit in small numbers, thanks to the Inari faith. So far, I’ve written about circumstances before the birth of Fushimi dolls and we encountered the person Ikaruga Kōemon. Considering that his doll-making method is similar to that used to make Fushimi dolls and that Fukakusa craftsmen made their dolls using methods the same as his, I was completely under the impression that Ikaruga Kōemon was indeed the founding father of Fushimi dolls. However, I found out that Fushimi dolls already existed when Ikaruga Kōemon began making dolls. So, who started making them and when? There’s still a lot we don’t know. The deeper one investigates Fushimi dolls, the more interesting they become. Next, I wish to look at what happened after Fushimi dolls were born and delve further into the appeal of Fushimi dolls. ※TriviaWhen it comes to pottery in Kyoto, it’s Kiyomizu-yaki that everyone knows. But believe it or not, a type of pottery called Fukakusa-yaki has existed since the Heian period (1068-1185), the Fujiwara era, before Kiyomizu-yaki was even born. In other words, Fukakusa is the birthplace of a pottery with a longer history than the more famous Kiyomizu-yaki. Overview Characteristics of Fushimi dolls Fushimi dolls were sold as souvenirs at Fushimi Inari Shrine in the early Edo period (1603-1868), and are said to be the archetype of all folk toys and clay dolls. Folk toys modeled on Fushimi dolls spread across Japan. Fushimi dolls are not charms but figurines of ancient believers. As there are different types of dolls made in various sizes, one can find a doll that suits one’s own taste. Kabuki-related varieties are painted in set color schemes, but some of the other dolls are painted in color combinations unthinkable today. One of the charms of Fushimi dolls is that one can feel the sensibilities of bygone eras. In the past the dolls were made from soil from Mt. Inari, but due to ownership issues, presently soil from Shigaraki in Shiga Prefecture is used. Since the material and paint used for Fushimi dolls has varied over the ages, slight variations can be seen even in dolls of identical type. I believe the main feature and greatest charm of Fushimi dolls is that each one has a slightly different expression and no two are exactly alike. One of the true pleasures of Fushimi dolls is that one can select the doll that suits oneself from among the many available. History of Fushimi dolls Fushimi dolls had a close association with the kabuki of the time. Artisans made dolls modeled on kabuki actors which they sold to the public. Fushimi dolls of a popular actor of the day, Ichikawa Ebizō, were apparently hugely popular with kabuki fans. One can imagine queues of people lining up in front of doll shops to buy dolls just like the queues in front of the tapioca shops that are fashionable at the moment. I personally am sensitive to trends and popular things, so I think I too would be buying kabuki-related Fushimi dolls had I been alive then. Back to the topic, we’ve seen how Fushimi dolls took the world by storm thanks to kabuki. As time went on, however, fewer people were making Fushimi dolls, and the dolls all but dwindled out. However, people began to buy Fushimi dolls once again due to the Inari faith and people’s wishes for resolution of political unrest and successive famines, and the dolls spread throughout Japan on passenger ships. The result was that, while not to the extent of former days, Fushimi dolls did begin to appear once again at the gates of Fushimi Inari Shrine and around the country. After once being a hit but then falling into decline as a result of fewer artisans making them, there was once again increased demand for Fushimi dolls against a backdrop of political unrest and successive famines. Famine and political unrest inflict loss and harm onto people and shouldn’t happen. However, if they had not happened, Fushimi dolls may not have made a reappearance in the world. As I see it, it was thanks to famine, political unrest and the Inari faith that Fushimi dolls have survived to the present day. For that reason, from the point of view of the survival of Fushimi dolls, I can’t help feeling gratitude for the famine, political unrest and Inari faith of the day. Thoughts of a Fushimi doll preservationist and seller To find out more about Fushimi dolls, I visited Hirata folk toys, a store near Toji Temple that sells folk toys from all over Japan. The owner spoke to me about her feelings about Fushimi dolls, their history, and preservation activities. Although Fushimi dolls exist to this day, they do not apparently exist in large numbers. The sole Fushimi doll maker today, Tanka, which I touch on below, has about 2,000 Fushimi doll molds. This is not the entire number that existed as some have been broken and lost.1) In view of the situation, a preservation society has been established to preserve remaining Fushimi dolls and hand them down to future generations. The preservation society is active in making dolls using the existing Fushimi dolls molds and preserving the dolls. This speaks to just how long a history Fushimi dolls have so far and the value in continuing to preserve them, doesn’t it? Artisans make each individual Fushimi doll by hand, putting their all into each doll and breathing life into them. That’s why each one has its own special flavor. My impression is that the reason each Fushimi doll has its own individual flavor and expression is that artisans focus not on producing large quantities of dolls but rather on creating dolls of high quality. The owner of Hirata folk toys speaks passionately, “No two Fushimi dolls are the same. Different paints have been used over the ages, and therefore dolls of different eras have a different feel. The greatest appeal of Fushimi dolls is how even dolls from the same mold have a different flavor depending on the era. I hope people will keep this in mind and use it to find a doll that appeals to them, so they feel attached to it.” 　１）In the past some 60 workshops making Fushimi dolls existed along the Fushimi-kaido Road. However, to this day all of these potters but Tanka have disappeared due to factors such as the Pacific War. Consequently, only one store, Tanka, remains today, and that is the only place Fushimi dolls are made. In addition, as fewer shops are stocking Fushimi dolls, they are becoming harder to acquire. They have become such a rarity that if you miss out on buying one when you want one, you may never have the opportunity. Fushimi doll buyers and Fushimi dolls not for sale Next, I asked about the buyers of Fushimi dolls, and a doll on which a “Not for sale” sign was displayed. Fushimi dolls are bought by grandfathers, grandmothers, parents, etc. The sweet bun eater is a popular choice for those who wish their grandchild or child to be clever. Animals such as ogres and cats are popular with foreign tourists, and some people even buy them as the basis for a design for a tattoo or a picture. That tells us that Fushimi dolls are popular both inside and outside Japan, and there are still many people who wish to purchase one. The owner told me that the Fushimi doll not for sale is from the Edo period and the only one of its kind still existing. It is to be preserved and therefore cannot be sold. She also said that it would not be able to be sold even if there was more than one of the doll since its rarity and lack of comparable market price make it impossible to determine a selling price. Now that I’ve described Fushimi dolls, I’ll introduce several common types. -Sweet bun eaterThe figure of a child holding a sweet bun in its hand. It is said that when asked “Who do you like better, your mother or your father?”, the child broke the sweet bun he was holding in his hand in two and answered, “Which piece of this bun is sweeter?” This made him a popular symbol of clever children. Many people buy this doll in the hope their child will be clever. It is also given as a present to wish for safe childbirth or as baby-birth gift. -FoxSeen as a messenger of god, there are several versions of the fox which often come in symmetrical pairs that are displayed on Inari home altars. The fox comes in many forms including as a divine fox, riding a horse, holding a money chest, or holding a ritual wand. The fox motif is said to be unique to Fushimi dolls. -DenboOne of the first types of Fushimi dolls to have been made. Three stacked unglazed pottery plates- small, medium, and large- each painted in a different color such as red, green and ultramarine blue around the edge. Small rice crackers, roasted beans, seeds or the like were placed on the plates and offered to Buddhist or Shinto deities. Denbo are a legacy of Fushimi dolls’ origins in earthenware making. -Hotei figureThe figure of Hotei is referred to as “Fire-preventing Hotei”. With the Chinese character for “fire” written on his back, Hotei believed to prevent fires if he is displayed on the home altar. In Kyoto it is customary for homeowners to buy a small Hotei figure on the first day of February each year to display on the home altar. It is said that if one starts with the smallest figure and subsequently collects a total of seven Hotei figures the home will be blessed with good fortune. However, if misfortune occurs while the seven are still being acquired, the acquired figures must be thrown in the river and the collection process begun again.　Notably, the Hotei figure was a favorite of Ito Jakuchu, a painter who made a living painting pictures of Fushimi dolls. 2. Fushimi dolls? Fukakasa dolls? Inari dolls? Which is the correct name? Origin of the name Fushimi dolls Known as one of Kyoto’s traditional crafts and older than the famous Kiyomizu-yaki, Fushimi dolls were apparently not always known by this name. Then why are they called “Fushimi dolls” now? Despite this being the name commonly used to refer to these figures today, we are apparently yet to find an explanation that shows for certain why this is. There are, however, several theories. Let’s take a look at them in detail. What they were called before becoming “Fushimi dolls” In the past, Fushimi dolls were referred to variously as “Fukakusa-work” and “Inari dolls”, names that are related to the places where the dolls were made. Dolls made in Fukakusa where our Ryukoku University is located were called Fukakusa-work after the place name Fukakusa. On the other hand, it is thought that “Inari dolls” became a general name for figures that were made from clay from Mt. Inari, denoting earthenware foxes and things that had some kind of direct relationship with Inari Shrine, such as Hotei or earthenware bells. However, by the end of the Tokugawa shogunate era (1853-1867), “Fushimi dolls” was being used, with “Fukakusa dolls” having already fallen out of favor by the Kasei era (1804-1830).　As someone who commutes to Fukakusa on a daily basis, I am saddened that the name Fukakusa has disappeared. There must, however, be a reason for the disappearance of the name Fukakusa. Next, I want to look into why “Fukakusa dolls” stopped being used and “Fushimi dolls” began to be used. Theories as to why the name “Fushimi dolls” came to be used. No. 1. In the past, the dolls we have been talking about were sold at the gates of Fushimi Inari Shrine and bought by many people as a souvenir of their visit to the shrine. It is said that the dolls came to be referred to as “Fushimi dolls” in reference to their being bought at Fushimi Inari Shrine or being bought as a souvenir on the first day of February, which is associated with Fushimi, thus replacing the name “Fukakusa dolls”. Hearing this theory, it occurred to me that place names greatly affected the naming of the dolls. While we can’t know the truth without asking people of that time, I speculate that it was not the name of the place where the dolls that were made but the name of the place where the dolls were bought by which they became known. Theories as to why the name “Fushimi dolls” came to be used. No. 2. As discussed, “Fushimi dolls” took over from “Fukakusa dolls” and “Inari dolls” as the common name. However, the term “Fushimi dolls” was not used in the local area where names such as “clay dolls”, “clayware dolls” and “denbo” conveyed the intended meaning sufficiently. As such, there is a theory that they were called by the name “Fushimi dolls” with other regions in mind. Fushimi dolls circulated throughout the country on boats from the port of Fushimi. As the dolls spread throughout the country, the name “Fushimi dolls” became synonymous with these figures and used to refer to clay dolls in general. As someone from Kyoto, it makes me happy and even proud that a traditional craft product of Kyoto spread throughout the country and became synonymous with clay dolls. I’ve gone off on a tangent. Let’s go back to our earlier discussion. Behind the spread of Fushimi dolls throughout the country were factors including the Inari faith that captivated the hearts of a population shivering in the face of political unrest and successive famines, the head temple that was Fushimi Inari Temple, an abundance of high-quality clay, and clay-work tradition and techniques. There was also the remarkable talent of the merchants of Fushimi who cleverly pulled all these factors together to spark a golden age of Fushimi dolls. The name “Fushimi dolls” is more than simply a name reflecting a production area, but a name that became firmly rooted in society under the strong influence of the merchants of Fushimi and the Inari faith. Conclusion Writing about the origins of the name “Fushimi dolls”, I discovered that there were actually various names for them before the name “Fushimi dolls” that is so normal to us now, and that the process of change was deeply connected with politics and religion of the time. Furthermore, although I haven’t expounded on it here, I discovered that there are many historical secrets in Fukakusa and Fushimi, like the fact that Fukakusa boasts a type of pottery older than Kiyomizu-yaki and that the artist Ito Chujaku had a connection with Fushimi dolls. I never imagined that this Fukakusa area that I associate with without much thought is so rich in history and associations with famous people. I feel proud that I study at a campus in Fukakusa. The deeper one delves into one’s subject of research, the more fascinating it becomes. If you have something that you’re even a little interested in, how about trying to do some research? You might discover something new just as I did with Fushimi dolls. References：・Tanka The origins of Fushimi dolls - http://www.tanka.co.jp/base.htmLast retrieved August 9, 2019・Hirata Folk Toys Fushimi dolls - https://www.kyodogangu-hirata.com/fushimiLast retrieved August 9, 2019・Folk toys Fushimi dolls Fushimi dolls - http://kyoudogangu.xii.jp/fushimi.htmLast retrieved August 9, 2019・Fushimi dolls - Author: SHIOMI, Seiran Publisher: Kawara Shoten Date of publication: July 10, 1967

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Ikaruga Koemon: the founder of Fushimi-ningyō? I wonder how many readers would be familiar with the name Ikaruga Koemon? Even amongst historians, his name is largely unknown. But according to some accounts, Ikaruga Koemon is credited as the man who started the traditional Japanese pottery craft of Fushimi-ningyō. Some other versions of history, however, claim the man was nothing more than a legend. Whichever version you subscribe to, it’s clear that Ikaruga Koemon is a figure swathed in mystery. Let’s take a closer look at some of the myths surrounding the man. The three origin stories of Ikaruga Koemon There are several theories as to Ikaruga Koemon’s origins. One version has it that he was a doll artisan with thorough local roots, born in the vicinity of Tōfuku-ji temple. Another claims he was a samurai in the service of Hayashi Gemba, vassal of Ukita Hide’ie, who after the Battle of Sekigahara settled quietly in the town Fukakusa and began a career crafting dogū clay figures.According to this version, it is believed that Koemon lived adjacent to Fushimi Inari Shrine for seven years, earning a living from his craft. Finally, a third account of his life describes Koemon as a potter from Fukakusa who was invited to work in Osaka Castle by the warlord Toyotomi Hideyoshi himself. In this version Koemon is said to have been killed during the Siege of Osaka. 2. Was Ikaruga Koemon a real person? Though some experts assert that the person Ikaruga Koemon never actually existed, others refute this claim with evidence. Shiomi Seiran, author of the book Fushimi ningyō, does not agree with the concept of Koemon as a completely fictional personage, and points to the existence of pottery bearing the potter’s name as evidence. Some posit that many of the pottery pieces bearing Koemon’s name are fakes, but it’s thought this may be because he was well-known through channels of popular culture such as plays and stories, and forgers used his name to sell their counterfeit pieces. The experts who argue that Koemon was in fact a fiction have proof of their own. With regards the theory of Koemon’s serving Toyotomi Hideyoshi and perishing in the Siege of Osaka in 1615, the Fushimi ningyō genre of pottery figures is believed to have started after this date, making Koemon’s role as the originator of the style impossible.Moreover, the proliferation of fake pottery pieces bearing the Koemon name is further evidence, some argue, that the man was a fictional personage created in later generations. Ikaruga Koemon in kabuki On March 3, 1608, Hayashi Gemba, the vassal of Ukita Hide’ie, was murdered by a person named Tōmasakuroemon because of a personal grudge. Later, at Tengachaya in Osaka, Hayashi’s sons Jūjirō and Genzaburō avenged their father’s murder with the help of their servant Ikaruga Koemon. A kabuki play based on this incident, entitled Daiganjōju Dengachaya-sō made its debut at Osaka’s Fujikawa-za theatre in December 1781. It appears that Ikaruga Koemon was famous enough to be included as a character in kabuki, which used historical and mythological stories in many of its narratives. . Ikaruga Koemon’s influence on Fushimi ningyō As is obvious from the name, Ikaruga Koemon is credited with being the originator of the Koemon style of Fushimi ningyō pottery figures. Hoever, from the Meiji Period through to the early Shōwa Period, many pieces of counterfeit pottery bearing the Koemon mark were produced. Engraved with production dates of the Taisho or Kan’ei Periods, these forgeries are impossible for the layman to distinguish, and hence the authenticity of the entire range of Koemon pottery is rather murky and unknowable. One of the forms Koemon-style pottery often takes is the god Hotei or his followers, and these figures were thought to have been popular from the Edo Period through to the Taisho Period. As one story goes, Ikaruga Koemon’s inspiration to craft pottery figures stemmed from his fascination by the Hotei statue housed in the Kaizandō Hall within the Tōfuku-ji temple complex. However, like much of this man’s life, this detail is also shrouded in mystery and the story has been dismissed as mere legend. 5. Ikaruga Koemon in the present day When looking at a piece of Fushimi-ningyō pottery, it’s fascinating to imagine that the person who gave birth to this now-common craft form was in fact a “fictitious person.” What kind of man was he? What motivated him to be a start this distinct variety? Even after researching this man, one feels that there is still more to be discovered about him. It is interesting to learn that Ikaruga Koemon was connected with aspects of history and culture such as kabuki, and the revenge attack at Tengachaya. On a personal level, I feel that the man who is said to have worked for Toyotomi Hideyoshi and later died in battle is a gallant figure deserving of respect. It is probable then, that his life and legend will continue to be discussed. Ikaruga Koemon lives on in the hearts of those who maintain the man’s legacy through passing on his story.

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Joseon missions to Japan : Toyotomi Hideyoshi’s cultural legacy in Fushimi Kyoto’s Fushimi Inari Shrine is by far the most popular tourist attraction in the city, bringing in countless visitors from all over the globe. The street leading to the temple complex, Fushimi Kaidō, is thronged with people most days of the year. Over four centuries ago, the street was just as full of visitors, but this was because of an incident regarding the local area’s pottery figures, Fushimi-ningyō. In this paper I would like to look closer at this event and its influence on the city of Kyoto. Fushimi Kaidō and the Joseon Missions From the early stages of the Edo bakufu era until the end of the 18th century, the Joseon nation sent a total of 500 envoys on 11 diplomatic missions (each time a new shōgun was named) to Edo, the Japanese capital. These envoys were said to usually arrive in Yodo on a gosabune samurai warship, and head for Tō-ji in Kyoto via the town of Toba. However, records show that there were two occasions on which the envoy group passed along the Fushimi-Kaidō.The first instance was in 1617, when an envoy visited in celebration of the Osaka Normalisation Treaty, and to repatriate Japanese prisoners taken on the occasion of Hideyoshi’s invasions of Joseon. When moving the enjoy from Fushimi Castle to a special banquet hall the Edo Shogunate had prepared at Nara’s Daibutsuden, the party travelled along the Fushimi-Kaidō.The second occasion was in 1624, when the party used Fushimi-Kaidō as a return route to Yodo from Edo. This trip was immortalized in artworks at the time, so even now we have a good idea of what the procession might have looked like. In one famous example, the Rakuchū Rakugai-zu, no less than 13 of the work’s total 100 scenes depict townspeople watching the envoy procession. Given that they are depicted in major artworks these envoy visits were obviously influential events in the lives of Fushimi and Kyoto locals. Perhaps they watched the parades of visiting dignitaries with the same sense that contemporary Japanese watch parades of exotic theme parks. Let’s take a closer look at what the Fushimi Kaidō was like at the time. Fushimi Kaidō circa 1617 What was the Fushimi Kaidō like at the time of the first Joseon Mission? We may get some hints from surviving documents, such as the illustrations Engelbert Kaempfer, head of the Dutch Nagasaki Trading Post, or Fusoroku, Joseon Mission administrator Lee Kwon-jik’s written account of the missions. Through these we witness that the stretch of road between Fushimi and Kyoto was lined with homes and eateries, while in the Eastern Mountains, temples and pagodas stood majestically, surrounded by yet more teahouse and taverns. With such a proliferation of places to eat and drink, one can readily imagine how routinely lively the Fushimi Kaidō must have been. Fushimi Kaidō circa 1624 The second time the Joseon Mission parade passed along the Fushimi Kaidō, the area was described by Kang Hong-Jeung in his account of the visit Tōsaroku. After Toyotomi Hideyoshi’s death, the castle and surrounding living quarters of the daimyo fell into disrepair, and the only remaining features of the town were a few local temples. It’s clear from this account of the visit that the Fushimi Kaidō was vastly different to the one passed through by the Joseon Mission just seven years earlier. Even this writer, who passes through Fushimi every day, finds it difficult to imagine the area in such a run-down state, and just as surprising that the catalyst for such a dramatic change was the death of Hideyoshi. It’s obvious that he was a irreplaceable figure in the history of the region. Joseon Missions and Fushimi-ningyō The processions that passed along the Fushimi Kaidō in those days, be them from the Joseon Missions or other leaders such as that of the Tsushima-Fuchū Domain, each featured close to 3000 members. The influence of the Joseon Missions on Japanese culture was immense, especially in the festivals observed in Edo and Nagoya, as well as crafts such as clay figurines. For example, it’s said that a part of the San’nō Festival of Edo contained a recreation of the Joseon Mission Parades. Furthermore, the Joseon Missions also influenced the local craft of Fushimi-ningyō. For example, according to the head of the Fushimi-ningyō store Tanka, the figure known as a zō-nori karako was inspired by the elephants that were part of the grand Joseon Mission procession. As the missions made their way around Japan, the impact they left of the local populace was considerable, and it’s possible that the nation was gripped by what is known in modern parlance as a “Korean Boom.” It’s also not unthinkable that the artisans creating Fushimi-ningyō were moved by the sight of the processions, and that this roused their creative spirits. The excitement and emotion of the times is passed on to us today through Fushimi-ningyō figures such as zō-nori karako and the Joseon Mission envoy figure. Joseon Mission envoy figures As stated above, it’s clear that as the Joseon Missions passed along the Fushimi Kaidō, they had a deep influence on the crafts of the region. The Korean envoy motif has been used in many regional varieties of pottery figures all over Japan, but among these the Fushimi-ningyō examples have been singled out for their elegant colors and designs. The envoy figures feature a decorative headress, and wear the male overcoat known as a durumagi and shoes. At the time, footwear was not a custom among the common Japanese, so the fact that the figures wear them is proof of their Korean inspiration. The artisans who created these figures obviously took careful note of the sartorial differences between Japanese and Koreans at the time. The superiority of the Fushimi-ningyō Joseon Mission figures to all other examples in Japan is yet more proof of the pride that the Fushimi artisans took in their work. Zō-nori karako 「The Zō-nori karako (elephant-riding boy) figure is, as its name suggests, a piece that features a small boy in Chinese clothing sitting on the back of an elephant. It’s one of the most representative of all the Fushimi-ningyō figures. It’s believed that artisans were inspired to create these by the sight of elephants paraded through Kyoto after Hideyoshi’s invasions of the Korean Peninsula. In fact, a bull elephant was led through through Kyoto on April 26th, 1729, being sent from Nagasaki to Edo. Roads were closed and the townspeople were forbidden to leave their homes as the elephant passed, and another reason for its visit to Kyoto, aside from resting the creature, was so that the Emperor might have an opportunity to inspect the animal. The Emperor and nobles wrote songs in commemoration of the beast’s visit to the capital, and observed it as it ate. The elephant left Kyoto at around 10am on May 10th, and continued on its way to Edo, leaving countless admirers in its wake. It’s incredible to think of what Kyotoites thought of this strange animal, in an age of no smartphones, television, or internet. Perhaps some of them expressed their surprise and interest through the words of poetry and song. However, Fushimi artisans were able to express this through their craftwork, in an attempt to immortalise the feelings of surprise and joy that locals must have felt at the time. Bibliography：・Nakao Hiroshi, 2011, Chōsen Tsūshinshi no Ashiato- Nikkei Kankeishi-ron, Akashi Shoten Publishing・Shin Gi-su, 2002, Shinpan Chōsen Tsūshinshi Ōrai - Edo Jidai kara 260-nen no Heiwa to Yūkō, Akashi Shoten Publishing ・Murayama, Shin’ichi, 2003 Kyoto Daibutsu Goten Seisui-shi.

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Why did Kiroku and Seihachi buy Fushimi-ningyō dolls in the the story Sanjikkoku Yume no Kayoi-ji? Sanjikkoku Yume no Kayoi-ji is a famous Kamigata rakugo* story, set aboard one of the sanjikkoku ferry boats that once ran between Osaka’s Hachikenya wharf and Fushimi, in the south of Kyoto. On the Fushimi Kaidō road, the story’s two main characters, Kiroku and Seihachi, buy pottery Fushimi-ningyō dolls, which were popular souvenirs at the time this story was written. *Kamigata rakugo is the Osakan genre of rakugo, the traditional Japanese comic storytelling performed on stage by a single narrator. Sanjikkoku The sanjikkoku of the story’s title refers to the sanjikkoku-bune ferry boats Fushimi is famous for. These boats ferried passengers along the Takase-gawa canals linking Kyoto and Osaka, a transport network that was created by the merchant industrialist Suminokura Ryōi, after feudal lord Toyotomi Hideyoshi established Fushimi-jō castle in 1594. The name sanjikkoku refers to the 30 koku (around 150kg) of rice a single boat of this type could carry. These sanjikkoku boats ferried people, rice, and even Fushimi-ningyō between the two cities. It is said that these pottery dolls were first put on the boats going to Osaka as a kind of ballast, stabilizing the empty ferries returning to Kyoto. From Osaka the dolls became known all over the country, and are thought to have been the prototype for all Japanese clay dolls. The Port of Fushimi was the main shipping docks of the Kamigata region (between Kyoto and Osaka), and flourished as Japan’s largest hub of river trading. However, as the scope of rail transport spread, the sanjikkoku-bune gradually disappeared from the canals as the Port of Fushimi fell into redundancy. In 1997, the port and the sanjikkoku-bune were restored and reopened to the public, giving the area a second life as a tourist destination. The plot Returning from a pilgrimage to the Ise Grand Shrine, the two main characters Kiroku and Seihachi buy some Fushimi-ningyō dolls before they catch the ferry from Fushimi back to Osaka. Kiroku buys a Fukurokuju and a manjū-kui figure, while Seihachi buys a ne-ushi (sleeping cow) and a faceless bamboo figure called a komusō ningyō. They head to the Terada-ya riverbank from where the ferries depart, and sign in under false names, making fun of the ferry clerk as they do so. Along the journey to Osaka the two characters have several encounters with fellow passengers, and a number of conversations take place. Near the end of the voyage a minor incident occurs when someone is robbed of 50 ryō, but the perpetrator is caught thanks to the quick thinking of the crew. The story concludes with the boatman’s song and the words “Sanjikkoku Yume no Kayoi-ji de gozaimasu.” (lit. “This is the ferry-boat of dreams.”) Fushimi-ningyō in the narrative These days, a store named Tanka is the sole remaining outlet specialising in Fushimi-ningyō, but in this story the Fushimi Kaidō road is described as teeming with such stores. At the time, decorative dolls and figurines were popular souvenirs, and many customers visited the Fushimi Kaidō to buy these items. In this comic story, a total of four types of Fushimi-ningyō are mentioned. ・Manjū-kuiIn the story, there is an exchange between one of the main characters and a shopkeeper which proceeds as follows: Customer: What’s this, then? Shopkeeper: That’s a manjū-kui figure.Customer: Manjū-kui? Eating round bean-paste cakes all year round, eh? A year-round round boy… The manjū-kui figure is a boy holding a manjū sweet bean cake torn into halves. As the old saying goes, when asked “Who do you love more, your mother or your father?, the boy showed the two identical halves of manjū cake and asked in reply “Well,which of these is more delicious?” These figures were bought and displayed with the wishes for safe childbirth and the development of childrens’ intelligence. ・Fukurokuju with TenjinFukurokuju, one of the Seven Lucky Gods of East Asian culture, represents luck (fuku), the self (roku) and longevity (ju). In Japan this god is particularly associated with a long life, and this figure was a popular choice for people wishing for longevity. ・Ne-ushiThis figure of a cow, when displayed in the tokonoma alcove while uttering the words “Bō no kusa o tabetokure, jō no kusa tabetokure” (lut. eat the grass of the boy, eat the grass of the girl”) had the power to heal any swellings or boils on children’s skin. It is said that the origin of this belief came from the use of grasses in remedies for skin complaints, as the figure takes the form of a prostrate cow ruminating on grass. Many parents of children with skin complaints bought the ne-ushi in the hope of a cure. ・Komusō ningyōAlthough this is not alluded to in the narrative, the faceless bamboo figures known as komusō ningyō were said to have the power to alleviate seasickness when carried on one’s person. Passengers on the sanjikkoku ferries on the Yodo-gawa River were said to have bought these dolls for that very reason. It is clear when listening to this story that each of the four dolls purchased by the two main characters are colored with their own unique cultural meanings and wishes. It is therefore quite possible that Kiroku and Seihachi bought these souvenirs for the sake of their families of themselves. Fushimi and Fushimi-ningyō in the story Sanjikkoku Yume no Kayoi-ji Thanks to the detail in the comic story Sanjikkoku Yume no Kayoi-ji, we are able to see Fushimi as a centre of trade and transport, and imagine the Fushimi Kaidō with store after store selling Fushimi-ningyō buzzing with customers. In particular, the careful detail with which the shopkeepers describe the features of each doll and figure are reminiscent of that of the owner of Tanka when interviewed for this research. Another interesting discovery was that people in the past would buy dolls and figures to fulfil the promise of specific blessings, such as good health for their family, or safe travels. Fushimi-ningyō are still made with the same care and attention to detail as they were at the time of this story, though unfortunately people who buy them nowadays are mostly unaware of these meanings. It is hoped that through this research, more people might understand the special blessings that each of these figures represent. In conclusion, it might be said that after Toyotomu Hideyoshi revitalised the area with his castle and inspired countless local citizens to co-create a new history for themselves, the town of Fushimi was indeed the “ferry-boat of dreams.” Bibliography：Video: Sanjikkoku Yume no Kayoi-ji (rakugo performed by Katsura Shijaku) - https://youtu.be/7mSGV_x9wR0accessed on August 23rd, 2019Websites: Komabayashi Hideo, Yodogawa sanjikkokubune no kokon - https://www.kyoto-wel.com/yomoyama/yomoyama10/059/059.htmaccessed on August 23rd, 2019Websites: Ministry of Land, Infrastructure, Transport and Tourism, Kinki Regional Development Bureau. Port of Fushimi, - http://www.pa.kkr.mlit.go.jp/maizuruport/harbors/accessed on August 23rd, 2019Websites: Hayakawa Yukio, Fushimi no Ningyō - http://www.kyoto-kyoiku.com/hiroba2/hiroba179/hiroba179hayakawa.htmlaccessed on August 23rd, 2019

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The pride and passion of Tanka, the sole remaining Fushimi-ningyō workshop The pottery dolls and figurines known as Fushimi-ningyō are the oldest example of this traditional art, which reached its peak in the late Edo Period. Over ninety separate Japanese varieties of pottery figures have been identified, and it is said that every single one of them draws its roots from Fushimi-ningyō. In its heyday the Fushimi area was home to around 60 pottery kilns, but today there remains but one. This report is an account of a visit to this kiln and store, named Tanka, and an interview with its current master. History of the kiln Tanka was established around the year 1750, and first traded under the name Tamba-ya. Later, in the Meiji Period, the kiln decided to incorporate the master’s name, and so it changed its trading name to Tanka – combining the tan (tam) from the original name Tamba-ya and ka from the name of the kilnmaster of the day, fourth-generation Kasuke. The clay used in the kiln’s pottery works was originally sourced from nearby Mt. Inari. However, after the Pacific War, some issues of property forced Tanka to look elsewhere, and the workshop now sources its materials from Shigaraki in neighboring Shiga Prefecture. The creative process The process of creating a work of Fushimi-ningyō can be divided basically into two stages. April through August is the season for shaping, firing and drying the pieces. September through March is when the artisans finish the figures with paint and enamel. The reason for this is purely seasonal- the clay sets and dries better in drier temperatures. One can see the skill of the artisans in the efficiency with which a piece goes through the various processes over this period of one year. This is why figures that sold out will not be in stock again for another two years, and so it’s always best to buy an item as soon as your heart is set on it. The forms of Fushimi-ningyō The molds used to form Fushimi-ningyō are made of either clay or plaster, and the Tanka kiln has a remarkable collection of over 2000 different shapes. What is just as astounding is that all of these molds are perfectly arranged and ordered on the walls of the workshop. Plaster molds deteriorate over time, but if carefully used, clay molds can last almost indefinitely. Since no new molds are made nowadays, Tanka’s collection is an antique in itself, with every piece dating from the Edo Period over a century ago. This means that no new designs will ever be unveiled, and it is another expression of the artisan’s steely commitment to tradition. The artisan’s philosophy The work ethic of the artisan, creating beautiful items within a defined, repetitive process, is especially intriguing. Asked about his attitude to his work, Tanka’s master replies that the key lies in routine. But it is within the ultimate routine- machine-like production- where true artisans blossom. If an average person were to paint the same figure in the same way, day in day out, surely they would tire of it. The master adds, “Once, as a diversion, I tried using a different color palette on a piece, but it just didn’t feel right. The comment from customers that motivates me most of all is ‘The pieces never change.’ ” Process as automatic routine. It’s something artisans have in common with top sportspeople such as baseball star Ichiro, and something that gives one a renewed sense of admiration for them. Another interesting analogy from the master is how he likens the relationship between artisan and consumer to a spider’s web. Rather than a single thick strand, the web is made up of hundreds of delicate thin ones. That is, a great number of connections, even if they are weak, are preferable to a single, close relationship. Again we see the professionalism of the artisan; he is here to maintain a business rather than simply extend his social circle. Nowadays the figures are sold online, and at certain temples and shrines, but wouldn’t it make better business sense to sell them through outlets such as department stores? In fact there was a time when Tanka did sell their wares through a department store, but this this relationship soured due to the store’s less-than- consummate attitude, and the workshop broke off the agreement. The future of Fushimi-ningyō Finally, we ask for the master’s thoughts on the future of the brand. Unsurprisingly, his goal is to continue making the same items to the same standards, to protect and carry on the name. But he says that this is getting more and more difficult, as the products that sustain the craft- the brushes and the paints, gradually disappear from production. Though it’s clear that running again the tide of the times will not be easy, it’s just as clear that the work is vital and should be protected in its traditional forms. The passion of Tanka and its (in a good sense) quirky, exacting kilnmaster is unmistakable. I hope that though this piece the reader has gained some insight into the history and pride behind Fushimi-ningyō, the and the interest to learn more about the precious artform. Bibliography：Website - http://www.tanka.co.jp/base.htm

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Let’s take a close look at Sekihō-ji, a temple with deep ties the celebrated painter Itō Jakuchū. The art of Itō Jakuchū, the Edo Period painter whose influence on Japanese art was enormous, has been applauded within Japan and around the world. It’s said that Jakuchū lived in a small hut in front of the gates of this temple. In this report I will investigate the relationship between the artist and the temple which took him in after he lost his home in the great fires that ravaged Kyoto in 1788. The Hyakujō-zan Sekihō-ji temple, as it is officially named, belongs to the Ōbaku-shū, one of the three great sects of Zen Buddhism. It is located in the Fukakusa neighborhood of Kyoto, within a kilometer from Ryūkoku University’s Fukakusa Campus. From the entrance to the temple one is afforded an expansive view of the entire surrounding area. There is a straight flight of stone steps leading to a sanmon gate built in the Ming style. The deep vermillion hue of the gate melts into the surrounding garden, imparting on the visitor a feeling of great tranquility. The auspicious color of this gate is said to ward off evil, explains the temple’s abbott. Another interesting feature is that these gates do not have any doors, unlike sanmon gates of other traditional Japanese temples. The Ming-style sanmon gate Sekihō-ji was established by the monk Senai Shōan in the Hōei Era (1704~1710). At the time it was established, the temple grounds were far more expansive than they are today, reaching as far as the current-day JR Nara railway line. Jakuchū’s dwelling is said to have stood near the edge of the grounds. However, due to tides of anti-Buddhist sentiment and the expansion of agricultural land, the temple grounds shrunk in size to that of today. Ōbaku-shū Zen was brought to Japan in the early Edo Period by the poet-monk Ingen, whose influence on Japanese culture extends to the culinary field. It’s said that he was responsible for introducing several new foods to Japan, including ingen beans and watermelon. The temple itself is built in a style similar to those of the Rinzai Sect of Buddhism. The fittings in the Main Hall are designed with manji swastika patterns, as part of a wish to bring in a multitude (man meaning ‘ten thousand’) blessings. At first glance the temple does not seem to have any overt connection to the great painter Jakuchū, so what exactly was his link to the place? Itō Jakuchū was born in 1716 into a family of fruit and vegetable merchants in Kyoto’s Nishiki Market. He took over the family business at age 23, but at age 40 Jakuchū handed the reins to the business to his younger brother and set about devoting himself to his painting. In 1771, under orders of the Kyoto machi-bugyō officials of the shogunate, Kyoto’s Nishiki Market was ordered to cease trading. Jakuchū worked tirelessly to get the market reopened, gathering petitions from local farmers and mobilizing the people. Moreover, through his apprentice the abbot of Sekihō-ji, Jakuchū was granted audience with Hakujun Shōkō, chief of the Ōbaku-shū sect’s head temple Manpuku-ji. From Hakujun, Jakuchū received the Buddhist name Kakusō, as well as the head priest’s vestments. Eventually, the ban on trading at Nishiki Market was lifted, but for this to have happened one can imagine Jakuchū arguing the case for the local market, “Kyoto’s kitchen,” dressed in Buddhist garb. The official robes of Manpuku-ji bear a crest officially sanctioned by the Tokugawa shogunate, the ura-fuji. Perhaps Jakuchū flaunted this in front of the Kyoto machi-bugyō to get them to take part in negotiations. However, in 1776, Hakujun Shōkō, the head priest of Manpuku-ji to whom Jakuchū had been so indebted, passed away. Beginning the following year, Jakuchū created as many as 1000 gohyaku-rakan statues over a period of ten years to mourn the great man. As he worked on his memorial, in 1788 the Tenmei Fires took a great toll on the city, and Jakuchū lost his home. After moving from place to place, he was able to find residence in the cottage beside the Sekihō-ji temple gates. through the help of the seventh-generation abbot Mitsusa1n. It’s said that with his fortune lost to the fires, Jakuchū painted Fushimi-ningyō figures to earn a living. After Hakujun’s death, Jakuchū created almost 1000 gohyaku-rakan statues over a period of ten years to mourn his benefactor. Around 530 of these statues survive to this day. It’s said that Jakuchū, dividing the work between his acolytes, and again with the help of Mitsusan, produced the statues at a pace of one every three days. Today, these statues remain in their original state in the area behind the temple. One feature of gohyaku-rakan is that they vary not only in size and shape, but also facial expressions. It’s a pleasant pastime to search among the myriad statues for the one you like best. It’s a cool, serene spot, located in a stand of bamboo- a perfect retreat from the summer heat. From Jakuchū’s gravesite one can take in a beautiful view over the Fukakusa area, including our very own Ryūkoku University. Each year on the anniversary of Jakuchū’s death, the temple puts on display a selection of its collection of the artist’s paintings and hanging scroll artworks.