THE BRITISH LIBRARY

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5 posts categorized "Japanese"

11 November 2016

Daikoku and Ebisu: two Japanese deities of good fortune

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The British Library holds a five-volume set of Ofuda [amulet] albums from which we have been introducing some selected items in our previous AAS blog posts. One of these featured an image which happened to be of Daikoku, and caught the attention of the East Asian Money Curator at the British Museum. She drew our attention to some fascinating coin-shaped charms with images of Daikoku and Ebisu.

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Daikoku (left) and Ebisu (right), two coin-shaped charms. British Museum 1887,0511.21  and 1984,1222.13

Daikoku and Ebisu are not only two of the Seven Deities of Good Fortune in Japan, they have also been major votive gods for bringing good luck in answer to the prayers of Japanese since time immemorial. They are considered to be the guardians of the natural produce of land and sea, and while one hosts the annual meeting of eight million gods, the other keeps guard over their vacant shrines. They can sometimes be thought of as father and son, but there are also various other reasons why Daikoku and Ebisu are paired together.

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Daikoku (left) and Ebisu (right) on a coin-shaped charm. British Museum 1908,0605.8 

Daikoku is the tutelary god of farming and Ebisu is the deity associated with marine products. This combination covers almost all possible sources of food, one of the fundamental drivers for the development of human society. Japan has always been a country of agriculture (rice) and fishing, and so praying for bountiful harvests of rice and good catches of fish was deeply embedded in people’s daily life and attitudes.

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Two Ofuda of Daikoku, shown riding on rice bags. Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library, 16007.d.1(5), 74-80 Noc

Daikoku is depicted riding on rice bags and Ebisu carries a fishing rod and a big fish, and these associated images directly symbolise their roles: promising a good harvest and a plentiful catch of fish. However these were not their only roles. If we trace the origins of Daikoku and Ebisu back through ancient legends, we learn that their existence itself is a story of constant transformation.

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Ebisu carries a fishing rod and a big fish. Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library, 16007.d.1(4), 12-17 Noc

In fact, Daikoku is a mixture of the Japanese Shinto God Ōkuninushi 大国主 and the deity Shiva, one of the principal deities of Hinduism. How did Shiva ‘The Destroyer’ come to be transformed into this jolly happy figure carrying a big bag of presents on his back?

The answer is linked with the spread of Buddhism into East Asia.  When Chinese monks travelled to India as the birth place of Buddhism to learn about the origin of the Buddha’s doctrines, they translated many sutras into Chinese. Chinese is an ideographic language without phonetic symbols so the early Chinese scholars had to match up every uncommon foreign word with the closest equivalent to their own Chinese ideographs.

Shiva was absorbed into Tantric Buddhism as one of the deities guarding the Buddha. Shiva has as his avatar Mahākāla, literally meaning “great” + “darkness or blackness”, which correspond to the Chinese ideographs 大 + 黑 (Dà hēi). In the Buddhist pantheon, Shiva was thus transformed into Dàhēi tiān大黑天, a brave protector of Buddhism from all demons against the virtues of Buddha.

Eventually, when Shiva =  Dàhēi 大黑reached Japan he was not only accepted as one of the Buddhist Devas, but also merged with a Japanese god. The Japanese Shinto god Ōkuninushi 大国主, could be read phonetically as Daikokunushi, very similar to the sound of Dàhēi 大黑 in the Japanese phonetic reading 'Daikoku'. In Japan Buddhism and Shinto belief are closely connected and over time have influenced each other, becoming mixed together.  Thus Daikoku大黒 can be both a Buddhist Deva and an avatar of Ōkuninushi.
 
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Daikoku (left) as a young god shows that he keeps a touch of his past as Mahākāla. Daikoku (right) in one of his most popular manifestations.  Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library, 16007.d.1(2), 41-44 and 16007.d.1(5), 74-80 Noc

Ōkuninushi is the god of the completed construction of the world situated between heaven and hell, known in Japanese as the ’Ashihara no Nakatsukuni 葦原中国’, which literally means “The middle country of reed beds”, and which represents the physical land of Japan. Ōkuninushi builds the land mass and the villages, introduces farming and treats the sick. He blesses all good relationships and lives in Izumo. Once a year, all Japanese gods assemble at his great shrine and have an annual meeting to report to each other – a sort of divine summit meeting!

However, there are a few exceptions, such as Ebisu 恵比寿. He stays at his own shrines to keep his eyes on people who are praying, as well as to watch over the vacant shrines whose gods have departed to attend the great shrine in Izumo.

Ebisu is an indigenous Japanese Shinto god, who has not been combined with other religious figures. Japan is surrounded by seas so it is natural for the ancient Japanese to worship the sea.  Ebisu is often symbolised by marine flotsam. He represents visitors from across the sea and is the god of what the sea brings forth. Ebisu is often associated with Hiruko 蛭子.

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Ebisu (top) and Daikoku (bottom). Illustrated by Ogino Issui 荻野一水.Zuan hyakudai 圖案百題. Kyoto: Unsōdō 京都 : 芸艸堂, 1910. British Library ORB.30/788 Noc

Hiruko was born as the imperfectly formed child of Izanagi and Izanami as they were trying to form the land of Japan. Hiruko did not have a firm enough body to become an island such as Awaji island or Shikoku island. He was placed in a tiny boat and abandoned to the sea. Hiruko survived this trial and was eventually washed ashore. This legend led to Hiruko being linked to visitors from the sea bringing forth sea resources, and eventually Ebisu was identified as Hiruko.

Ebisu is also associated with Kotoshironushi 事代主, one of the sons of Ōkuninushi大国主, who loves fishing and is deeply connected with the sea.  Kotoshironushi was the key deity in Ōkuninushi’s negotiations with Upper Heaven (Takamagahara 高天原), to reach agreement to pass on the role of rule of Japan to the descendants of the Sun Goddess.  In return Ōkuninushi insisted that a great shrine be built for him in Izumo. Therefore Ebisu, who is associated with Kotoshironushi, plays an important role in patrolling while all the other gods are meeting at his father’s shrine.

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Ebisu fishing. Coin-shaped charm. British Museum 1884,0511.2414

Daikoku and Ebisu continued to develop and build up Japan, bringing a rich variety of produce from land and sea which led to the accumulation of wealth and the evolution of society.  It therefore makes sense to the Japanese - and those interested in Japan and its culture - that Daikoku and Ebisu, the chief guardian deities of happiness and good fortune, should constantly turn up in the shape of charms or amulets.

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Daikoku as Ōkuninushi (right) and Ebisu as Kotoshironushi (left). Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library, 16007.d.1(5), 64-70  Noc

Previous blog posts on Ofuda:

Ofuda: in with the good, out with the bad (Part 1), 27 May 2016

Ofuda: in with the good, out with the bad (Part 2), 10 June 2016

Yasuyo Ohtsuka Curator, Japanese Collections Ccownwork

12 September 2016

Hell hath no fury like a woman scorned: the legend of the bell of Dōjō-ji

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This famous English saying - often misattributed to William Shakespeare, but actually a partially paraphrased quotation from William Congreve - could apply to many tragic tales from all over the world through the centuries. Here we will introduce a famous Japanese story featuring one such jilted woman, associated with the ancient temple of Dōjō-ji 道成寺 in Kii province (modern Wakayama) in Japan.

Dōjō-ji is a Buddhist temple dedicated to Senju Kannon 千手観音 or Avalokiteśvara “With a thousand arms and eyes” and his flanking attendants Nikkō Bosatsu (日光菩薩  Suryaprabha) and Gakkō Bosatsu (月光菩薩 Candraprabha). Dōjō-ji is believed to have been established in 701. Senju Kannon’s thousand arms and eyes symbolise the depth of his compassion (慈悲Jihi), keeping his eyes on all living things and extending his hands to anyone suffering from hardship.

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Ofuda of Dōjō-ji Senju Kannon (highlighted above). From a collection of ca. 330 Japanese amulets printed up to the 1880's, mounted in 5 albums. [Ofuda harikomichō : Daiei Toshokanzō お札貼込帳 : 大英図書館蔵] British Library, 16007.d.1(2)30-33r Noc
 
Although there are a number of variations on the story of tragic romance and the Dōjō-ji bell, the most famous version is that of Anchin安珍 and Kiyohime 清姫. Anchin is a handsome young trainee monk who catches the eye of a local maiden called Kiyohime. Kiyohime is very attracted to Anchin, but this story doesn’t have a happy ending!

As a novice monk Anchin has no intention of falling in love with a woman, and therefore in order to escape from his admirer Kiyohime he tells her he has to go away, but falsely promises that he will come back for her. He dashes away, but she chases after him. He gets to the river and attempts to escape by crossing the river by boat, but Kiyohime does not give up easily, and dives into the water and swims after him.

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Kiyohime chases Anchin as he flees across the Hidaka River in his boat. Dōjō-ji emaki 道成寺絵巻.
Manuscript scroll. National Diet Library

As Anchin flees from Kiyohime, he sees her gradually transforming herself from a young girl into a scaly creature while continuing to pursue him. Anchin is horrified and asks the monks at Dōjō-ji to rescue him. The monks sympathise with Anchin and give him a hiding place, inside the bell of the temple, but it is too late: Kiyohime has already turned into a fire serpent. Persistent Kiyohime, who is no longer a woman but a fiery demon, wraps herself around the bell, and burns Anchin to death inside the bell.

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Consumed by anger a desperate Kiyohime transforms herself into a fire serpent. Dōjō-ji emaki 道成寺絵巻. Manuscript scroll. National Diet Library

The story has many variations and sequels, and its basic theme of transformation has inspired numerous Kabuki and Bunraku puppet plays as well as other dramatic and literary forms including No drama.

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Monks preparing for the ceremony of reinstalling the bell. Dōjō-ji utai ezu 道成寺謡絵図. Manuscript, mid Edo period (ca. 18 century). British Library, Or.977 Noc

Returning to the narrative, one spring the restoration of the bell is finished and the monks of Dōjō-ji are looking forward to a ceremony for reinstalling the bell. They forbid women to participate because of the tragic memories associated with the previous bell. However, one girl manages to sneak in to the venue on the pretext that she would like to perform a dedicatory dance for blessing the new bell.

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A girl pretending to dance for the dedication for the new bell. Dōjō-ji utai ezu 道成寺謡絵図. Manuscript, mid Edo period (ca. 18 century). British Library, Or.977 Noc

As it turns out she is the incarnation of the fire serpent who burned the man to death in the old bell. She deeply opposes the new bell being placed in Dōjō-ji and wants to prevent the monks from celebrating it. The monks are taken by surprise, and immediately pray to exorcise the demon woman, in order to protect the bell and to defend the temple from supernatural interference.

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Monks vs the demon woman.  Dōjō-ji utai ezu 道成寺謡絵図. Manuscript, mid Edo period (ca. 18 century ). British Library, Or.977  Noc

Although the monks successfully defeat the vengeful sprit, eventually the bell is sent to another temple in Kyoto. Ultimately all the departed souls related to the Dōjō-ji bell legend, including the jilted woman who changed into a demon and took her revenge on the man who had spurned her, are placated and granted peaceful rest by the virtues of Buddha.

"Heaven has no rage like love to hatred turned, nor Hell a fury like a woman scorned" is the full quotation from William Congreve's 'The Mourning Bride' (1697). Probably the fundamental message in this story is a lesson for life. Rage is often caused by our own misunderstandings, and we should not lay blame on a fate imposed on us by heaven or hell.

References:

Dōjō-ji Home page

演目事典:道成寺

狂言の絵画資料の収集 その四 - 東洋哲学研究所

"Heaven has no rage like love to hatred turned, Nor Hell a fury like a woman scorned." The Mourning Bride. William Congreve (1670-1729)
「天には、愛が憎しみに変わったような激しい怒りは無く、地獄にも蔑まれた女の烈火の怒りのようなものはない。」

Yasuyo Ohtsuka, Curator, Japanese collections Ccownwork

10 June 2016

Ofuda: in with the good, out with the bad (Part 2)

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In the previous Ofuda blog, we gave a brief introduction to Japanese amulets (Ofuda) which have always reflected the fundamental curiosity of people about the uncertainties of life.
 
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Ee ja nai ka ええじゃないかwas a convergence of carnival-like religious celebrations which coincided with a rumour that the Ofuda of Ise Shrine would fall down from heaven. Japan, between June 1867 and May 1868. Kawanabe Kyōsai 河鍋 暁斎. ‘Keiō Hōnen odori no zu 慶應四豊年踊之圖’ from the series Egoyomi Harikomichō  [絵暦貼込帳] 1792-1870. National Diet Library

Lafcadio Hearn was a Japanologist who was fascinated by Ofuda. Hearn was born on Lefkada, in the Greek Ionian islands, in 1850 during the British occupation.  He was the son of an Irish soldier and a Greek mother, and moved to Ireland when he was still an infant. He later worked as a journalist in the USA and eventually settled in Japan in 1890 where he married a Japanese woman the following year, and in 1896 obtained Japanese citizenship and took the Japanese name of Koizumi Yakumo 小泉八雲.

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Lafcadio Hearn and Bruce Rogers. The Romance of the Milky Way, and Other Studies & Stories. Boston: Houghton Mifflin, 1905. British Library, 12355.aa.26

Lafcadio Hearn's last book, The Romance of the Milky Way, and Other Studies & Stories, is an anthology of seven different short studies and stories. One of these is ‘Goblin Poetry’, Hearn’s selected translations taken from the Kyōka hyaku monogatari  狂歌百物語. Hearn owned a copy of the original work, which was compiled by Tenmei Rōjin 天明老人 , illustrated by Ryūsai Kanjin 竜斎閑人 and published in 1853 (Kaei嘉永6).  Together with the majority of Hearn's private book collection, it was purchased by Toyama High School (est. 1924), which later became Toyama University, where The Lafcadio Hearn Library is now held. Kyōka hyaku monogatari was listed on p.117 in the Catalogue of the Lafcadio Hearn Library in Toyama High School (1927).

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The cover of the first volume, and (in the centre) Fuda Hegashi 札へがし. Poems on One Hundred Ghost Stories (Kyōka hyaku monogatari 狂歌百物語), woodblock print, 1853 (Kaei 6).  Metropolitan Museum of Art, New York, Department of Asian Art (Rogers Fund, 1918) JIB27_001, JIB27_136

In ‘Goblin Poetry’, Hearn wrote an explanation of the Japanese title as follows: 'The Hyaku monogatari or “Hundred Tales” is a famous book of ghost stories, Kyōka is written with a Chinese character signifying “insane” or “crazy” and it means a particular and extraordinary variety of comic poetry' (Hearn & Rogers 1905: 53-54).

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The chapter on Fuda Hegashi 札へがし in ‘Goblin Poetry’. Lafcadio Hearn and Bruce Rogers, The Romance of the Milky Way, and Other Studies & Stories. Boston: Houghton Mifflin, 1905. British Library 12355.aa.26

In his footnote to poem 'XII, FUDA-HÉGASHI', which he explains as “Make-peel-off-august-charm Ghost”, Hearn also refers to his other book Ghostly Japan in which the reader can find a good Japanese story about a Fuda-hégashi (Hearn & Rogers 1905: 92-93).  This is the story ‘A Passion of Karma’, the English translation of Botandōrō 牡丹灯籠.

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In Ghostly Japan is a collection of 14 mysterious Japanese short stories. Story No 6  is  ‘A Passion of Karma’. Lafcadio Hearn, In Ghostly Japan. London: Sampson Low, Marston and Co, 1899. British Library, 08631.F.6

In 1934, Hearn’s family published an extremely valuable book on the thirtieth anniversary of his death. It was an endeavour in which his whole family was heavily involved: his eldest son was the editor, his grandson wrote the Daisen題簽 (the book title slip), and the design of the cover cloth was inspired by Hearn’s favourite bedcover.  Yōma shiwa 妖魔詩話 assembled together three elements in one  book: the original Japanese text of the Kyōka hyaku monogatari; ‘Goblin Poetry’, which was Hearn’s published English translation; and Hearn’s own draft notes for the preparation of his publication. For an introduction to the book, and the background to its publication in 1934, see 小泉八雲秘稿画本「妖魔詩話 」/ 寺田寅彦 著

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This is the page on Fuda Hegashi 札へがし. At top left is a facsimile of Hearn’s manuscript with his original illustration; at bottom left is a modern Japanese transcription of Edo Kyōka poems and explanations in Japanese, based on Hearn’s English translation edited by his eldest son Kazuo Koizumi; while on the right page is the main text of ‘Goblin Poetry’. Lafcadio Hearn and Kazuo Koizumi小泉一雄. Yoma Shiwa: Koizumi Yakumo Hiko Gahon妖魔詩話 : 小泉八雲秘稿畫本. Tōkyō: Hakubunkan Shinsha 東京 : 博文館新社, 2002. British Library, ORB.99/236.  Image courtesy of Hakubunkan Shinsha博文館新社.

The British Library has recently acquired a deluxe facsimile published in 2002 of Yōma shiwa 妖魔詩話, which was originally published in 1934 by Oyama Shoten 小山書店, which affords us a rare opportunity of seeing Hearn’s handwriting.  Although the footnotes for ‘Goblin Poetry’ were omitted in Yōma shiwa, nevertheless, we are still aware of Hearn’s clear intention to link Fuda Hegashi and the well-known episode of Ofuda-hagashi お札はがし in ‘A Passion of Karma’ in his two books, The Romance of the Milky Way, and Other Studies & Stories and In Ghostly Japan.

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From a collection of c.330 Japanese amulets printed up to the 1880's mounted in 5 albums. [Ofuda harikomichō : Daiei Toshokanzō お札貼込帳 : 大英図書館蔵] British Library, 16007.d.1(1)71-73

Further reading:

Chronology of Lafcadio Hearn. Sanin Japan-Ireland Association.

Yasuyo Ohtsuka
Curator, Japanese Collections Ccownwork

27 May 2016

Ofuda: in with the good, out with the bad (Part 1)

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In a previous blog post, ‘Till death us do part – or not?’, we introduced the well-known episode of Ofuda-hagashi お札はがし(‘removing the ofuda’) in the story of the ghostly lover, Botandōrō 牡丹灯籠.  Ofuda-hagashi is one of the most thrilling scenes in the story where the servant betrays his master by removing the protective ofuda (paper amulets), allowing the ghosts to slip into the house where the hero is barricading himself from his ghost lover.

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A sample page from the BL Ofuda collection. From left to right, Buddha, possibly in the Western Paradise; the figure of a high-ranking Buddhist monk; and the back of a mirror dedicated to the Sun goddess Amaterasu. From a collection of c.330 Japanese amulets printed up to the 1880s, mounted in 5 albums. Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library, 16007.d.1(5) 71-73r Noc

What are Ofuda? It is hard to give a quick and easy definition of these paper amulets, because there are so many varieties with different functions. If we attempt to give a general description of Ofuda for readers who have never come across them, we could say that an Ofuda is usually a piece of paper or a wooden amulet, on which is written or printed religious material such as figures of Shinto deities, Buddhas, high-ranking monks, Buddhist sutras, etc.  In the majority of cases, they are issued by Japanese religious bodies such as temples and shrines for their followers. Then, the owner of Ofuda can make devotional visits to the places from which they received their Ofuda to pray and renew them on a regular basis. In general, we can distinguish at least two types of Ofuda: one to give protection from bad spirits, and the other to bring good luck to the owners.

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An Ofuda of Tsuno Daishi角大師, which featured in the previous blog postOfuda harikomichō : Daiei Toshokanzō お札貼込帳 : 大英図書館蔵. British Library, 16007.d.1 (2) 15-19r Noc

Shown above is an example of a protective Ofuda. In the story of Botandōrō, as long as the hero stays inside his house with the protection of the Ofuda, he is safe. But later in the story the Ofuda is secretly removed by someone else, allowing the ghost to slip into the house and take his life. From this story line, we can guess that the Ofuda which were put up to prevent ghosts from entering the house might be similar to Tsuno Daishi which is typically placed outside entrances to houses.

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Daikoku 大黒, a god of wealth. One of the Seven Deities of Good Fortune in Japan. Ofuda harikomichō : Daiei Toshokanzō お札貼込帳 : 大英図書館蔵. British Library, 16007.d.1 (1) 3-6 Noc

And shown above is an example of an Ofuda as a good luck amulet. Daikoku 大黒, who is known as Mahākāla in the original Hindu pantheon, became Maheśvara in the Buddhist pantheon with the spread of Buddhism into East Asia. Eventually when he reached Japan, he was not only accepted as one of the Buddhist Devas, but also merged with Japanese god Ōkuninushi 大国主 and transformed into the god of wealth.

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Daikoku with the Seven Deities of Good Fortune in Japan. [Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library 16007.d.1 (2) 21-25r Noc

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Kosazuke Kishimojin 子授鬼子母神, who is the guardian of women who wish to become pregnant, as well as the protector of childbirth and children. [Ofuda harikomichō : Daiei Toshokanzō  お札貼込帳 : 大英図書館蔵]. British Library 16007.d.1(4)40-44r Noc

Items such as Ofuda and other types of talismans and amulets reflect fundamental human concerns about the uncertainties of life. The Kansai-kan of the National Diet Library, Japan, recently held a display of items from their collections showing how people prayed for good things, what they were afraid of, and how their wishes were transformed into objects, such as amulets, talismans and incantation spells.

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Osore to inori : majinai no katachi おそれと祈り : まじないのかたち, "Awe and prayer – the forms of incantation," The 19th Small Exhibition at the Kansai-Kan of National Diet Library, 18 February – 15 March 2016.
    
Incidentally, it was Lafcadio Hearn (1850–1904), the author of ‘Kwaidan: stories and studies of strange things’ who translated Botandōrō into English as ‘A Passion of Karma’ and collected Japanese Ofuda himself. Many of his Ofuda are now kept at the Pitt Rivers Museum in Oxford.

In the second part of this blog post, we will explore further Hearn’s ‘A Passion of Karma’ and his other work ‘Goblin Poetry’ in which he described ofuda-hagashi, and introduce a newly acquired deluxe facsimile version of Goblin Poetry, Yōma shiwa 妖魔詩話, published in 2002.

Further reading:
Josef A. Kyburz, Ofuda: amulettes et talismans du Japon : actes du colloque international, Ofuda-images pieuses du Japon, Fondation Hugot, 1-2 mars 2012 = on Japanese charms.  Paris : Collège de France, Institut des hautes études japonaises, 2014. British Library JPN.2014.b.73
Josef A. Kyburz, ヨーロッパに来ている日本のお札 – その三つのコレクション
The Seven Deities of Good Fortune

Yasuyo Ohtsuka, Curator, Japanese Collections Ccownwork

29 October 2015

Till death us do part – or not?

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The highlight of most wedding ceremonies is two people making their vows to each other by promising to be true to each other ‘for better, for worse … till death us do part’. But what happens when they die? Where does all the eternal love sworn by innumerable couples go? We first explored the subject in East Asian ghoulish images & stories last year; this year we concentrate on one particular story to investigage the possibilities of love after death.

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A lover heading for an assignation escorted by a maid holding a peony lantern. Taisō, Yoshitoshi 大蘇芳年.  “Botandōrō ほたむとうろう” from the series Shinkei Sanjūrokkaisen 新形三十六怪撰 Tōkyō: Matsuki Heikichi東京 : 松木平吉, 1889 - 1898. Nishikie print. National Diet Library
 
Otogibōko 伽婢子 (1666) by Asai Ryōi 浅井了意 , a pioneering early modern Japanese work of terror and wonder, contains 68 stories mainly inspired by ghost and supernatural stories from the Asian mainland. Not only did the author translate the story lines into Japanese, but he localised situations to meet the expectations of Japanese popular fiction readers in the early Edo era.  Although a number of episodes in Otogibōko fired the imaginations of later authors, perhaps the most loved story is ‘The Peony Lantern’ (Botandōrō 牡丹灯籠), which originated in China as Mudan deng ji牡丹燈記as a part of ‘New stories told while trimming the wick’(Jian deng xin hua 剪燈新話).
 
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Volumes 1-3 of a 16-volume set of Otogibōko.  Asai Ryōi 浅井了意. Otogibōko 伽婢子. Kyōto: Nishizawa Tahē 京都:西澤太兵衛, 1666. British Library, 16107.c.45 Noc

This is the story of a young widower, Shinnojō新之丞, who re-encounters his beautiful beloved without realising that she has in fact already died. His neighbour hears the young couple cheerfully chatting and laughing, and accidentally sees that Shinnojō is with a skeleton. He warns Shinnojō that he is in danger, and strongly urges him to find out the true identity of the woman he believes to be his newfound love. In the end, Shinnojō finds the grave of his lover and faces the shocking truth that she is indeed a ghost, and realises that he must not contact her any more.
 
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Shinnojō and his lover, who is actually a skeleton. Otogibōko. British Library, 16107.c.45, vol. 3, f. 16r Noc

Shinnojō is given a talisman (ofuda お札) by a Buddhist monk in order to protect his house from the dead. After about fifty quiet nights have passed, Shinnojō goes to see the monk to thank him for his protection. He thinks he is safe, but on his way back home he passes close by the woman’s grave and starts thinking of her again. Suddenly she appears and captures the unprotected Shinnojō whom she blames for betraying all her devotion and true love.  Later his body is found with the skeleton in her grave.
 
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His ghost lover captures Shinnojō. Otogibōko. British Library, 16107.c.45, vol. 3, f. 21r Noc

San'yūtei Enchō I 三遊亭 圓朝 (1839-1900) wrote a rakugo 落語 version of this story and titled it Kaidan Botandōrō 怪談牡丹燈籠. Rakugo is a highly distinctive genre of comic monologue performed by professional storytellers, rakugo-ka 落語家. Enchō I added more episodes which extended the story lines of the Botandōrō , renaming the hero as Shinzaburō新三郎 and the ghost heroine as Otsuyu お露 and relocating the setting from Kyōto to Edo. Enchō I’s adaptation was later translated by Lafcadio Hearn as ‘A Passion of Karma’ in his book In Ghostly Japan.
 
One of the added highlights of Enchō I’s version is ‘The scene of removing the protective charms’, ofuda-hagashi お札はがし. After Otsuyu’s true identity as a dead woman is revealed, Shinzaburō barricades his house with the talisman or ofuda and constantly keeps his protective golden statue of the Buddha close to him. Otsuyu continues grieving over her separation from Shinzaburō because of the ofuda and becomes very angry. Otsuyu plots against Shinzaburō by bribing a pair of his servants to swap his golden statue of the Buddha for a copper one, and removing the ofuda from his house. As soon as all Shinzaburō’s protections were removed, Otsuyu merrily slips into the house and takes Shinzaburō to the world where they will never be separated again – by ending his life.
 
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The ofuda is removed by the servant (seen in his right hand), and the ghosts of Otsuyu and her maid slip into the house to embrace her lover, Shinzaburō. San'yūtei, Enchō三遊亭円朝, and Suzuki Kōzō 鈴木行三 (eds.). Enchō Zenshū: 2 円朝全集 : 第2巻. Tōkyō: Shun'yōdō 東京 : 春陽堂, 1928. National Diet Library

An interesting difference between the two versions is the way in which the hero is captured by the ghostly woman.  In the earlier version, the ofuda is not removed, and as long as the hero stays inside his house with the protection of the talisman, he is safe. In the later version however, the talisman is secretly removed by someone else, allowing the ghost to slip into the house.

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Ofuda of Tsuno Daishi角大師, one of a collection of approximately 300 Japanese ofuda in 5 albums. Early Meiji period (ca. 19th century). British Library, 16007.d.1 Noc

Shown above is an example of a famous talisman or ofuda to protect people within a house by sticking it on the outside of the entrance door, and thus preventing all evil spirits from entering the house. This figure, called Tsuno Daishi角大師, meaning the Horned Master, is an avatar of Ryōgen 良源. Ryōgen was a high-ranking Buddhist monk in the 10th century. In the legend of Tsuno Daishi, Ryōgen dared to transform himself into a powerful demon in order to defeat evil spirits by scaring them off.  Tsuno Daishi protects people as if he is fighting in the front line in the war between Good and Evil. Therefore the ofuda used in the Shinzaburō’s house could well have been of Tsuno Daishi.
 
It is said that true love never dies. However, it could cost the lover’s own life as well….
 
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The graves of Otsuyu and her maid with their peony lantern. Lafcadio Hearn,  In Ghostly Japan. Boston: Little, Brown and Co, 1899. British Library, 08631.f.6. Noc

References

General information on Rakugo:
Shinji, N. "Rakugo: Japan's Talking Art." Japan Echo, 31 (2004): 51-56.

How to place ofuda:
Gofu 護符 Kawagoe Daishi Kitain 川越大師 喜多院

About Ryōgen & Tsuno Daishi:
Hazama, Jikō 硲慈弘. Densetsu no Hieizan 伝説の比叡山. Kyōto: Ōmiya Shoten 京都: 近江屋書店, 1928, pp 67-69. National Diet Library

Yasuyo Ohtsuka, curator for Japanese  Ccownwork