For New Year 2012 (4)
2012/01/28
On January 15, 2012, Shinzan shrine naked pilgrimage festival (新山神社裸まいり : shinzan jinja hadaka mairi ) was held in Yurihonjo city (由利本荘市)of Akita prefecture(秋田県), Northern Honshu, Japan.
新山や雪の参道裸者登る 秀法
Shinzan ya yukino sando rasha noboru
naked men
climb the snowy approach –
Shinzan shrine Hidenori
Manisha Kundu-Nagata says in her blog Life with hubby as follows.
The Hadaka Mairi (pilgrimage) Matsuri is a winter festival where naked men brave the cold and snow and proceed to a rather distant Shinzan shrine. The naked men carry offerings to the shrine by walking through the snow. There are different opinions and sayings regarding the origin of the Hadaka Mairi Matsuri. One of the stories is that shugensha monks protected the Shinzan shrine by walking naked as a form of ascetic training and practice. Shugendo is an ancient Japanese religion in which enlightenment or oneness with god is obtained through the study of the relationship between man and nature. It is centered on an ascetic, mountain-dwelling lifestyle and incorporates teachings from koshinto, buddhism, and other eastern philosophies including folk animism. Monks following shugendo religion are known as shugensha. The monks prayed for the toughness of body, the safety of homes, the happiness of the families, and bumper crops in the fields. Every year the monks went to the shrine to display in front of the god the results of their training, practice, and the growth of their mind and body.
You will get familiar with the festival through the following blog.
http://lipikazuo.blogspot.com/2009/02/shinzan-shrine-naked-pilgrimage.html
Lastly, let me post haiku and photos by Corinne Kinvig, Sabrina Ketcherside, and Charlotte Regnier, who studied about haiku and learned to write haiku at the class by Alexander Dolin, PhD, Professor of Japanese Literature and Civilization Studies at Akita International University(国際教養大学).
Corinne Kinvig contributed the works of haiku and photos to us in November, 2011.
秋にしがみつく
雨の滴が赤い葉から落ちる
自然の涙のように
冬の太陽が昇る
むきだしの殺風景な陸地に
再び春になるのはいつかしら
羊が野原で前脚をあげて跳びはねる
スイセンの花の中に生まれたばかり
春の芳香
再び夏がやって来た
赤い顔をした子供たちが浜辺で遊ぶ
太陽の光線が彼らを喜ばせている
英国の夏季
8月になり雨傘を用意する
雨が踊り始める時
Sabrina Ketcherside also contributed the works of haiku to us in November, 2011.
秋たけなわ
リスたちは皆どこへ行ったのかしら
ドングリには住む家がない
葉が風に吹かれている
秋の音が聞こえる
秋のダンスが始まる
葉が色を変える
黄色、赤、そしてオレンジの色合い
暖かい感じのカンバス
葉が落ちる、りんごが落ちる
収穫の時が始まる
各家々ではごちそう
枝が裸になる
ほんの少しだけまだ残っている
冷気が皮膚からしみ込む
Charlotte Regnier also contributed the works of haiku to us in November, 2011.
心地よい風が木々に
共に揺り動かそう
メロディーのように
オレンジ、赤、黄色、
深紅色の葉が火のように
森を輝かした
葉が地上に散っている
色彩の豊かな棺のように
きのこの匂い
色彩のに富んだ花々
徐々に雪の覆い
冬の翌朝
唯一の理由
寒い冬の復活
白い雪と新しい層
The next posting ‘For New Year 2012 (5)’ appears on February 4.
― Hidenori Hiruta
On August 1, 1689, Basho visited Kisakata (象潟), Akita Prefecture (秋田県), Northern Honshu, on his journey.
Basho wrote about Kisakata in his travel diary The Narrow Road to Oku, 『おくのほそ道 (Oku no Hosomichi 』 .
Here I take up the latter part of this section.
此寺の方丈に座して簾を捲ば、風景一眼の中に尽て、南に鳥海、天をさヽえ、其陰うつりて江にあり、西はむやむやの関、路をかぎり、東に堤を築て、秋田にかよふ道遥に、海北にかまえて、浪打入る所を汐こしと云。江の縦横一里ばかり、俤松島にかよひて、又異なり。松島は笑ふが如く、象潟はうらむがごとし。寂しさに悲しみをくはえて、地勢魂をなやますに似たり。
Here is a painting of Kisakata exhibited at the Kanmanji Temple.
Photo courtesy; as per original copyright at:
http://staff.aist.go.jp/nakano.shun/Jap/Chokai/news/recently.html
Donald Keene translated this part into English as follows:
Seated within the priests’ quarters of the temple, I rolled up the bamboo blinds and took in all at once the whole spectacle of Kisakata. To the south loomed Mount Chokai, supporting the heavens; its image was reflected in the water. To the west, one can see as far as Muyamuya Barrier; to the east, the road over the embankment leads to Akita in the distance. The sea is to the north. The place where the waves of the sea break into the lagoon is called Tide-Crossing. Kisakata is about two miles in either direction.
Kisakata resembles Matsushima, but there is a difference. Matsushima seems to be smiling, but Kisakata wears a look of grief. There is a sadness mingled with the silent calm, a configuration to trouble the soul.
Basho’s last lines say that there is something woeful about Kisakata.
I wonder if Basho predicted that such a natural disaster as earthquake might occur in Kisakata in the future.
In fact, on July 10, 1804, a big earthquake occurred in Kisakata about 105 years after Basho’s visit there. The earthquake caused upheaval of ground by 2.4 meters. As a result, the lagoons were changed into dry land.
Here is a photo of the backyard of the Kanmanji Temple in Kisakata, 321 years after Basho’s visit.
Koji Otomo, curator at Shoji Taro Memorial Museum in Akita-city, contributed his poems on the earth to our network.
春愁 無情 Spring Woe No Mercy
東海林太郎音楽館館長 大友康二
大地 ゆらぐ日 On the day when the earth quakes
海 怒りて the sea gets furious
慟哭 cries bitterly
三陸の海を the Sanriku coast
引き裂く tears into pieces
花 待つことなく Flowers wait for no man
人 逝く those there pass away
波に 消える vanish into waves
あわれ alas!
世界に ただひとつ The only nation in the world
被爆の国 ニッポン the atom-bombed nation, Japan
その空に in the skies
白い光の 恐怖 the terrors of white rays
六十有余年 A little more than 60 years
問われる 政治 what has politics done?
問われる いのち what is life?
喪われた こころ lost hearts
なぜ Why?
どうして for what reason?
繰り返すことばは the repeated words
がれきに 吸い込まれ are absorbed into rubbles
沈黙(しじま) 空しく silence is empty
潰滅の地に In the annihilated areas
おののきばかり there remain nothing but shivers
人 ただ侘(た)つ those there have only to mourn
ふるさとの こころに In the heart of home
槌音 響くは hammering sounds will resound
いつの日か when is it?
Here is a photo of the ruined fortress (払田柵)in Akita Prefecture(秋田県), constructed in the Heian period(平安時代)(794-1185).
Haikuists in Akita contributed haiku to our network.
They are members of the haiku group: Ten’I (Providence)(天為俳句会)led by Dr. Akito Arima(主宰 有馬朗人).
余震なほ朔太郎忌の星月夜 伊藤沐雨 (Mokuu Ito)
aftershocks come
on the starlit night
Sakutaro’s anniversary
燭台に朱のろうそくや余震来る 伊藤智子 (Satoko Ito)
on the candlestick
vermeil candles burning
the aftershock comes
大津波退きオリオンの煌めける 伊藤慶子 (Keiko Ito)
huge tsunami gone out
Orion’s Belt
sparkling
大地震の果てなる春の浅きかな 五十嵐義知 (Yoshitomo Igarashi)
great earthquake over
this spring
how transient!
なにもかも攫はれし地に黄水仙 笹尾巳生子 (Mioko Sasao)
everything lost
in the waste land
jonquils bloom
鎮魂の瓦礫の町に春の雪 進藤八重子 (Yaeko Shindo)
consoling
the towns of devastation
spring snow
奥入瀬の激しき調べ春の霜 鈴木東亜子 (Toako Suzuki)
intense music
of the Oirase River
spring frost
浴槽の揺れの余震や春寒 寺田恵子 (Keiko Terata)
the aftershock
of bathtub shaking
spring cold
被災地につくしたんぽぽなずなかな 山内誠子 (Seiko Yamanouchi)
for the devastated areas ―
field horsetail’s shoots,
dandelions, and shepherd’s purses
囀に小さな森の膨らめり 和田仁 (Jin Wada)
birdsongs resounding
the small woods seem
bigger and bigger
Here is a photo of daffodils and local springwater (郷清水) in Akita Prefecture.
Hiroko Kawashiri (川尻弘子) in Akita contributed haiku too.
地震止みて運河に重き春の雪
the earthquake over
too heavy for the canal
spring snow
誰からか呼ばれたやうな朧月
the pale moon ―
i feel like…
someone is calling
Last of all, let me post my haiku.
草青む払田柵やよみがえる
grasses growing
over the ruined fortress
reconstructing
The next posting ‘Haiku about the Great East Japan Earthquake (5)’ appears on May 28.
― Hidenori Hiruta
Haiku by Hidenori Hiruta in Japan (2)
2010/07/17
First of all, I present you the following haiku I wrote when I visited 角館(かくのだて)(Kakunodate), Akita.
Hyakusui’s monument
stands in beauty
cherry blossoms
さくらばな百穂の碑を飾りけり
Sakurabana Hyakusui no hi o kazari keri
This is a monument inscribed with two tanka poems written by平福百穂(ひらふく ひゃくすい)(Hirafuku Hyakusui)(1877 – 1933), who was a Japanese-style painter as well as a tanka poet. He was born and brought up in 角館 (Kakunodate) , which is famous for the birthplace of 小田野直武 (おだの なおたけ)(Odano Naotake)(1750 – 1780), one of the greatest painters of Akita ranga (秋田蘭画) , also known as the Akita-ha (秋田派).
平福百穂 (Hirafuku Hyakusui) was greatly influenced by Akita ranga (秋田蘭画) and earnestly tried to introduce and spread its style, in which the Akita painters for the most part painted traditional Japanese themes and compositions using Western-style techniques and an approximation of oil paints.
The monument for Hyakusui’s tanka poems was erected in 角館 (Kakunodate) on September 9, 1944, with the two following tanka poems inscribed with.
うつろへる川の流れを見るにさへ
年ふりにけり国を出しより
Seeing the current of the river moved in different sites,
I realize what many years have passed since I left hometown.
ひと時に芽吹き立ち匂ふみちのくの
明るき春にあひにけるかも
How lucky I have felt to be in such a bright spring of the Tohoku district,
where trees have just begun to bud all at once, giving nice smells!
Secondly, I present some of my haiku I wrote when I visited 男鹿半島(Ogahantou), or
the Oga Peninsula in English.
Driving straight
down the coastline
sweetbriers
ドライブの海岸線の野バラかな
Sailing boat
through the islands
off bonds
島巡り絆を後に走りけり
Summer colours
call ogres
the Oga Peninsula
夏の色ナマハゲを呼ぶ男鹿半島
Diving
into cobalt blue water
the Oga Isles
男鹿島や群青の海に飛び込めり
Thirdly, I present some haiku about summer.
Humid night
staring the cool
summer moon
夏の月湿った夜の涼味かな
Summer’s dream
someone sits in shade
Buddha’s posture
夏の夢仏陀が影に座りけり
Buddha’s rise
from the pond
lotus flower
池中より出づる仏陀や蓮の花
Falling winds
Hiroshima no more
prayers ring
風よわりヒロシマの祈り聞こえけり
Lastly, I present the latest haiku from my own blog: http://akitahaiku.blogspot.com/.
Permanent snow
cools the air
summer solstice
夏至の空万年雪の涼気かな
The shade
bathes in the water
summer isle
夏の島影水中に浴しけり
The next posting ‘Haiku by Brian McSherry in Japan (2) appears on July 24.
― Hidenori Hiruta
Basho’s stay in Kisakata, Akita (Part 1)
2009/08/29
On August 26, I visited 象潟(Kisakata), 秋田(Akita) and took some pictures of the spots referred to in『奥の細道』(Oku no Hosomichi), ‘The Narrow Road to Oku’ .
I also wrote some haiku there. I’d like to post some pictures and haiku.
松尾芭蕉( Matsuo Basho )(1644-1694) arrived at Kisakata on the evening of August 1, 1689, when a misty rain started to fall, obscuring Chokai Mountain.
The next morning the weather cleared beautifully. When the morning sun rose in all its splendor, Basho and his party took a boat out on the lagoon on Kisakata. They put in first 能因島 (Nohin jima), Nohin Island, where they called at the remains of the hut in which 能因(Nohin)(988-?), a waka poet, lived in seclusion for three years.
Here are the photos of Nohin Island.

My haiku is this:
能因島ねぶの花行き老松樹
(Nohin jima nebu no hana yuki roh shoh ju)
Nohin Island
mimosa blossoms gone
old pine trees
After that, Basho and his party left for the opposite shore, where they landed from their boat, and they saw the cherry tree that stands as a memento of 西行法師(Saigyo hoshi)(1118-1190), Saigyo, who wrote of it in 1174:
虫甘方の桜は波に埋もれて花の上漕ぐ海士の釣り舟
Kisakata no sakura wa nami ni uzumorete hana no ue kogu ama no tsuribune
At Kisakata
A cherry tree is covered
At times by the waves;
Fishermen must row their boats
Above the cherry blossoms.
Translated by Donald Keene
Then they called at the temple standing nearby. In those days it was called the Ebb-and-Flow-Pearls Temple(干満珠寺)(Kanman ju ji), which is now called 虫甘満寺(Kanman ji), the Kanman-Temple.
Seated within the priests’ quarters of the temple, Basho rolled up the bamboo blinds and took in all at once the whole spectacle of Kisakata. To the south loomed Mount Chokai, supporting the heavens; its image was reflected in the water.
Now there is the stone for tying the boat with a rope (舟つなぎの石)(fune tsunagi no ishi) found behind the temple, where Basho and his party landed, tying their boat.
And we can see Mt. Chokai from there.
Here is a photo of the boat-tying stone and Mt. Chokai.

By the way, I’d like to show you a photo of Mt. Chokai, taken at the countryside of Kisakata.
There I wrote the following haiku:
白雲の鳥海山に蜻蛉飛ぶ
(haku un no Chokaisan ni tonbo tobu)
Mt. Chokai
rising in white clouds
dragonflies below
Here I’d like to tell you about the origin of the name ‘Mt. Chokai’.
Kanji characters, 鳥(tori), bird , 海(umi), sea , and 山(yama), mountain, are used for that name in Japanese. This means that the mountain was filled with birds and had a wonderful view of the sea.
Here is a photo of the sea taken from the slope in Kisakata, which leads to the foot of Mt. Chokai.
There I also wrote the following haiku:
初尾花海の彼方に島一つ
(hatsu obana umi no kanata ni shima hitotsu)
Fresh pampas grasses
facing the horizon
lonely island
― Hidenori Hiruta



























