6 Traditional Japanese arts

BSTC2003
Lecture Date Topic

1 Jan 18 Introduction
2 Jan 25 Origin and development of Zen Buddhism
Lunar New Year Feb 1 No Class
3 Feb 8 The acceptance and development of Zen in Japan
4 Feb 13 Japanese aesthetic values 1
5 Feb 22 Japanese aesthetic values 2
6 Mar 1 Traditional Japanese arts
Reading Week Mar 8 No Class
7 Mar 15 Influence on arts and literature
8 Mar 22 Influence on architecture and landscaping (Short Essay Due)

9 Mar 29 Zen and design

Ching Ming Festival Apr 5 No Class
10 Apr 12 Zen and lifestyle
11 Apr 19 Influence across the globe
12 Apr 26 Zen and contemporary aesthetics

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 1.Essential concepts, practices and historical background.
 2.Aesthetics of Zen:
 Philosophy and nature of beauty and taste.
 What is consider beauty? Why pleasing?
 Set of principles and concepts underlying the works of Zen.

 3.Application:
 Traditional Japanese arts;
 Arts and literature;
 Architecture and landscaping;
 Spirituality;
 Design;
 Lifestyle.

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 The way of arts.
 Traditional Japanese arts disciplines.
 Chadō 茶道
 Kadō 華道
 Kōdō 香道
 Nōgaku 能楽

 The “way”.
 A process of training.
 Kata (方, way of training).
 The process is as important as the result.
 A form of meditation.
 Merging the mind and the art form.
 Keeping both in harmony with one another.
 Engaging the mind in the present moment.
 Not thinking of the past and future.
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 3 Arts of Refinement
 Chadō 茶道
 Tea, Cha no yu (茶の湯).

 Kadō 華道
 Flower arrangement, Ikebana (生け花)

 Kōdō 香道
 Incense “listening”, Mon kō (聞香)

 Established in the feudal periods.

 Supported by the warrior class.

 Popularized in the Edo period.

 Loved by the merchant class.

 Declined in the Meiji Period.

 Westernization.
 Traditional arts were considered old-
fashioned.
 Revived nowadays. 5
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 Originated in China.
 Popular in the Tang and Sung Dynasties.

 Japanese monks (Myoan Eisai 明菴栄西, 1141 –

1215) introduced to Japan.
 Important practice in Zen Buddhism.
 Keeping the practitioner awake.
 Meditation practice.
 Practice of mindfulness.
 Tranquility.

 Formal or informal manner.

 From tea room to matcha bar.

Formal: rules, procedures and etiquettes.

 Tea event (chaji, 茶事).
 Last for ~4 hours.

Informal: matcha to go!

 5 minutes.

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 Tea culture spread widely in the samurai society.
 Tea and tea wares were considered luxurious items.

 Owning of expensive tea wares (chadogu 茶道具) and

tea houses were indication of high social status.
 Since the Muromachi period, the Shogun/daimyo
families owned the tea estates in Uji 宇治.

 Important social and political opportunities.

 Tea ceremony was popular for gathering and showing
off processions among the elite class.
 Drawing upon Buddhist rituals, elite aristocrats
joined each other for tea gathering (chakai 茶会).
 Developed into tōcha (闘茶).

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 Tōcha (闘茶)
 Adopted from Tang China.

 Started in the Kamakura period.

 Peaked during early Muromachi.
 A game on identification of
different types of tea.
 Who’s tea is the “best”.

 Tōcha were boisterous, became

related to arrogance, vulgar and
gambling.
 A reformation is needed.

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 Originated by Murata Jukō (村田珠光, 1423–
1502) and Takeno Jōō (武野 紹鴎, 1502–1555).
 Sen no Rikyū popularized and promoted the
style.
 One of the most practiced style in cha-no-yu.
 The “three Sen houses/families” San-Senke (三千家)
 Omotesenke (表千家), Urasenke (裏千家), and
Mushakōjisenke (武者小路千家).

 “Wabi-cha”.
 Emphasizes simplicity.
 As a spiritual path based on Zen.
 Contemplative awareness of the relationship
between people and things.
 Transcending materialism.
 Regardless of social status.
 No matter who you are, you have to bow before
entering a tea house.
 Impermanence and non-self. 10
 Rikyu (利休,1989) is Hiroshi Teshigahara's film
about the 16th century master of the Japanese tea
ceremony, Sen no Rikyū.
 Death of a Tea Master (千利休 本覺坊遺文, Sen no
Rikyu: Honkakubô ibun also known as Sen no
Rikyū: Honkakubo's Student Writings) is a 1989
Japanese biographical drama film directed by Kei
Kumai.
 It is based on real life events of Sen no Rikyū,
particularly the events surrounding his ritual suicide.
 It was entered into the main competition at the 43rd
Venice International Film Festival, in which it won the
Silver Lion.
 Ask This of Rikyu (利休にたずねよ) is a 2013
Japanese biographical film directed by Mitsutoshi
Tanaka and based on a novel by Kenichi
Yamamoto.
 This film won the award of Best Artistic Contribution at
Montreal World Film Festival in 2013.
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 An occasion to enjoy the moment with those around you.
 Focusing on the people and atmosphere, not just the tea
itself.
 Central to tea ceremony.
 Harmony (和, wa),
 Bring peace among host and guests, the nature, and
utensils.
 Respect (敬, kei),
 Humbleness to others and utensils (regardless of the price).

 Purity (清, sei),

 Treat oneself and others with a pure and open heart.
 Symbolically: cleaning hands, mouths, and utensils.

 Tranquillity (寂, jaku).

 Achieved through relaxation and enjoyment of the present
moment.
 The point in ones training where “selflessness” is reached.
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 2 major forms
 Chadō (茶道), or cha-no-yu (茶の湯)
 matcha (抹茶, powdered tea).
 From the Tang dynasty.

 Senchadō (煎茶道, lit., "the way of

sencha")
 loose leaf tea.
 From the Ming dynasty.

 Both can be formal and informal.

 Formal: ritualized and highly
ceremonial process, with rigid rules
governing the way that it must be
carried out.
 Kata: training your mind and body.

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 Chashitsu (茶室)
 Tea house/ room.
 E.g. Jo-an, at Inuyama (如庵).

 For formal Japanese Tea

Ceremony.
 City University’s “teaching” tea
room. (Hong Kong)
 Yuko-an 友香庵 (Urasenke裏千家)
 “Teaching” tea house.
 Practice techniques and
etiquettes.
 http://www.cityu.edu.hk/ais_te
aroom/

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 Most classical tea houses “chashitsu” (茶室) are
in the sukiya style.
 Sukiya-zukuri (数寄屋造り). Jo-an

 A distinctive Japanese architectural style.

 Legend: Sen no Rikyū initiated this style.
 The formal Shoin-zukuri (書院造) was popular
during his time.
 The Sukiya style is an informal and miniature
version of the Shoin style.
 Popular in the Edo period.
A modern home
 Small, simple and austere.
 “Wabi-sabi” elements.

 Not restricted in tea ceremony.

 Many modern houses, inns, restaurants, shops,
and even imperial palace are in this style.
 Katsura Imperial Villa (桂離宮).

Katsura Imperial Villa

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 Tea garden (roji 露地, “dewy ground”).
 The garden through which one passes to the tea room for the
tea ceremony.
 Partition/ interface from the outside world.
 Sen no Rikyū stressed this is an important part of the tea
house.
 Simplicity and naturalness.

 Typical features:
 tsukubai (蹲踞, stone basin, cleaning of hands and mouth),
 tōrō (灯籠, lantern),
 tobi ishi (飛石, stepping stones).

 Simple plants
 moss, ferns, and evergreens, plum and Japanese maple.
 according to the season (mono no aware).

 Cleaned before the ceremony.

 Wet? (just cleaned) Fallen leaf? (intentionally for the “vibe”).
 Sekimori-ishi (関守石 Barrier Stone ) or tome-ishi (止め石 Stop
Stone ).
 “Soft barrier” for respect.
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 The “crawl-through” opening.
 Attributed to Sen no Rikyū.
 Show humbleness and modesty.
 Everyone is the same.
 Bow and enter.

 Symbolize rebirth.
 Gives you vital power.
 Pillar at Todai-ji.

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 Very small!
 Intimateness among host
and guests.
 Hearth (炉, ro).
 Drink the tea prepared
from the same fire.
 We are one (non-self).

 Tokonoma.
 Ma (space).

 Tatami.
 Guest sit on the tokonoma
side.

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 Alcove (床の間, toko no ma)
 Important not only in tea room, but common
in most Japanese room (washitsu 和室).
 Ma (Lecture 4).
 A recessed space.
 A spiritual space.

 Displaying of artistic appreciation item.

 The most important guest with his or her back
to the tokonoma.
 This is because of modesty—the host should
not appear to show off the contents of the
tokonoma to the guest.
 But the host are supposed to show the best
they have in the tokonoma.

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 Items for artistic appreciation are
displayed.
 Calligraphic or pictorial scrolls.
 Flower arrangement.
 Incense burner.
 Other decorative items.

 The tokonoma usually is decorated

according to the four seasons.
 With the sense of mono no aware.

 Stepping within it is strictly

forbidden.
 Except to change the display, when a
strict etiquette must be followed.

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 Painting/ Scroll
 Kakejiku (掛軸, "hung scroll")
 Calligraphy, Zen poems, verses ...
 Paintings ...

 Cha-kakejiku (Tea scrolls).

 Simplicity.
 Monochromatic.
 Antique (rustic).

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 The tokonoma is arranged to the
theme of the tea ceremony.
 Guest will take turn appreciating the
arts in the tokonoma before tea
serving.
 Respect for the whole ceremony.
 Gratitude for the arrangement.

 Prepare the mind for the ceremony.

 https://www3.nhk.or.jp/nhkworld/en
/ondemand/video/2029161/

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 Rikyū seven rules:
1. Make a satisfying bowl of tea.
2. Lay the charcoal so that the water boils
efficiently.
3. Provide the sense of warmth in the winter and
coolness in the summer.
4. Arrange the flowers as though they were in the
field.
5. Be ready ahead of time.
6. Be prepared in case it should rain.
7. Act with utmost consideration toward your
guests.
 According to the Southern Record (南方錄
Nanboroku)
 By Nanbō Sōkei (南坊宗啓), Rikyū disciple, Zen
monk.
 Rikyū was asked what is the way of tea.
 The questioner was upset by Rikyu's reply.
 Saying these were simple matters that anyone could
handle.
 Rikyū responded that he would become a disciple of
the person who could carry them out perfectly.
 Simple yet to master these requires great
cultivation.
 The Way of Tea is basically the activities of
everyday life.
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 Stylized procedures and etiquettes.
 A way to train oneself mindfully in
everyday life.
 Without bothered by the “monkey
mind”.
 Repeating actions/ gestures in cha-no-
yu training.
 Host:
 Honouring your guest.
 Omotenashi (おもてなし, hospitality).
 Cleaning, preparing and serving.

 Guest:
 Gratitude towards the host.

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 “One chance in a lifetime”.
 Impermanence.
 Cherish any gathering that you may
take part in, as any moment in life
cannot be repeated.
 Each moment is always a once-in-a-
lifetime experience.
 Treasuring the unrepeatable nature
of a moment.
 Treat the ceremony as “only once in a
lifetime”.
 State of mindfulness.
 Treasure and enjoy the present
moment.

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 Chadōgu (茶道具)
 Kama (釜): water pot, usually
made of iron, in which the
water used to make tea is
heated.
 Mizusashi (水指): lidded
container for fresh cold water.
 Kensui (建水): container for
rinse-water.
 Natsume (棗): tea container.
 Hishaku (柄杓): long bamboo
water ladle.
 Chashaku (茶杓): tea scoop to
transfer the powdered tea
 Chawan (茶碗): tea bowl
 Chasen (茶筅): bamboo whisk. 26
 In cha-no-yu, powdered tea is used.
 Shade-grown leaves.
 High graded: Gyokuro (玉露, jade dew)
 Covered from direct sunlight.

 Resulting in high chlorophyll level and

sweet taste (theanine).
 A good matcha blend chosen for the tea
ceremony should have a good balanced of
sweet and bitterness, symbolizing the reality
of life.
 Hand-picked the finest buds.
 Grinding by stone mill slowly (prevent
heating up).
 Others are not grown in shade.
 Sencha.

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 Depending on the quality of the tea
leaves:
 Ceremony Grade
 Expensive
 Sweetest
 Koicha (濃茶, thick tea ~3 tsp/60ml)
 Usucha (薄茶, thin tea ~1tsp/60ml)

 Moderate Grade
 Everyday drinking.
 Usucha (薄茶, thin tea ~1tsp/60ml)

 Food Grade
 Most affordable
 More bitter.
 Sushi restaurants.
 Matcha latte, cake, dessert ...
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 The tea will be present to the
guest.
 With the “best-faced” side
towards you.
 Rotate the bowl and drink from
the other side (respect).
 Drink in 3 sips.

 Often, wagashi (和菓子),

traditional Japanese
confections, served before the
tea.
 https://www.youtube.com/wa
tch?v=--mxjzQggx0

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 Utensils appreciation.
 Guests in turn examine some of the
utensils.
 The tea caddy and the tea scoop.
 To show respect and admiration for the
host.
 The host then collects the utensils, and
the guests leave the tea house.
 The host bows from the door, and the
gathering is over.

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 Senchado (煎茶道 "Way of Sencha") is the formal
art of enjoying sencha.

 Generally it involves the high-grade gyokuro

class and sencha class tea leaves.

 Baisao (売茶翁,1675–1763)
 Ōbaku Zen monk.
 Popularize sencha tea and led to the creation of
the sencha tea ceremony.

 Originated from China, popular Chinese

method of tea drinking in the Ming dynasty.

 Using loose tea leaves.

 Sencha “simmered tea”.

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 Kadō 華道
 Flower arrangement, Ikebana (生け花)

 Traced back to Heian period.

 Offering to the Buddha (altars).
 Flowers in a vase, incense in a burner, and candles lit in
holders were placed as mitsugusoku (三具足, a set of three
ceremonial objects).
 Practiced by monks and followers.
 Tatebana 立て花, "standing flowers"

 Later engaged and promoted by the warrior class.

 8th Shogun Ashikaga Yoshimasa.
 (Lecture 3, Higashiyama culture).
 Sōami integrated the three elements of heaven, earth, and
human.
 From Buddhist and Shinto thoughts.
 From which have grown the principles of the arrangements
used today.

 Popularized in the Edo period among merchants.

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 Many styles and schools...
 Rikka (立て花)
 Standing flowers.

 Seika(生花)
 Alive/ arranging flowers.

 Nageire(抛入花)
 Thrown-in flowers,

 Chabana (茶花)
 Tea flowers.

 Jiyūka (自由花)
 Free-style flowers.

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 Rikka (立花, "standing flowers"),
 Promoted by Ikenobo Senkei (池坊
専慶) in the 15th century.
 A monk.
 Today as the Ikenobō school.

 Originally an interior
ornamentation for the warrior
class and aristocrats.
 Formal style.
 Still practice today.

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 Seika (生花) "flowers"
 8th Shogun Ashikaga Yoshimasa.
 (Lecture 3, Higashiyama culture).
 Sōami integrated the three elements of heaven, earth, and
human.

 From which have grown the principles of the

arrangements used today.
 Triangular setup, asymmetrical.
 3 main branches:
 Shin 真
 the central axis.
 symbolizing “truth” / heaven (天),
Note: some schools have
 Soe 副 different notations.
 the supporting branch
 human (人)
 Tai 体 / Hikae 控
 the earth (地).

 Balance / harmony of the three elements (天地人

Tenchijin).
 The number of branches should always be an uneven
number.
 The length of each branch is also specified.

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 Basics
 Standards
 Lengths, angles, and forms.

 Concept of Ma.
 Empty space between
branches.
 Not as something to fill in,
but rather as an element to
be created and preserved.
 Creates the “space” for
harmonious relationships to
form.
 Lack of space leads to clutter
and disharmony.
 Shu ha ri (守破離, Lecture 5)
 Learn-break-free.

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 Nageirebana (抛入花).
 “Thrown in” style.

 Legendary story of a samurai.

 A samurai, bored on a hot summer
day.
 Threw plant material into the small
opening of a tall, deep vase on the
opposite corner of the room.
 More casual than rikka and seika.

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 Chabana (茶花 tea flower)
 Promoted by Sen no Rikyū.
 To the season.
 Simple, often no more than a
single blossom is used.
 Collect in the wild.

 Avoid flowers with unpleasant

odors, strong odors, no clear
seasonality, and blooms which
are long-lasting.
 Small, modest vessels.
 Minimal rules.
 川瀬敏郎 Kawase Toshiro

Camellia flower (椿 tsubaki)

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 Free-style flowers.
 Creative design is emphasized.
 Popular nowadays.
 Especially in commercial places.
 Hotel lobbies, malls...

 Non-flower materials are permissible for

use.
 No rigid rules to follow.
 Shu ha ri
 Learn-break-free.

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 Incense in Japan can be traced back to
Asuka period.
 Arrival of Buddhism.
 Air purification.
 Offering to the Buddha.

 Evolved into a structure of codified practice.

 “Way of Incense/Fragrance“.
 Kōdō (香道) 香 kō, incense/ fragrance.
 Like tea ceremony.

 Traced back to the Higashiyama culture.

 8th Ashikaga shogun.
 Originally exclusive for the aristocrats and the
warrior class.
 Popularized in the Edo period.

 Schools:
 Oie-ryu (御家流) & Shino-ryu (志野流) 43
 Sharpen the senses and concentration.
 Bring out the atmosphere of the season.
 Samurai warriors would prepare for
battle by purifying their minds and
bodies.
 Using exotic fragrance wood kōboku(香
木).
 Agarwood (沈香 jinkō).
 Kyara (伽羅).
 Sandalwood (白檀 byakudan).
 Plants and animal products.
 Frankincense, honey, ambergris...
 Medicinal and spiritual purpose.

 Wood-only, kneaded/ molded blends

(neriko 練香, inko 印香), sticks...
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 Heat the incense to release the
fragrance.
 Charcoal, electricity.
 Wood-only, kneaded/ molded
blends.
 Direct burning (incense stick).
 Formal way:
 Incense tools (kōdōgu 香道具)
 Censer (kōrō 香炉)
 Mica plates (gin-yo 銀葉)
 White ash
 Charcoal

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 The art of enjoying incense, with
all its preparatory aspects, is
called monkō (聞香), which
translated means “listening to
incense”.
 Game of guessing the incense.
 Genjikō (源氏香)
 The pattern corresponded to
different stories in the Tale of
Genji.
 Example: Ch.11 Hanachirusato (花
散里)
 Decorating patterns in kimono,
lacquerware and pottery.

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 Depicted in literatures such as the
Tale of Genji and the Pillow Book (
枕草子, Makura no Sōshi).
 Mono no aware
 The “atmosphere” of that time.
 The four seasons.
 E.g. Ch.11 Hanachirusato (花散里)
 Summer, orange blossoms.

 Ch. 32 Umegae (梅枝)

 Winter, plum blossoms.
 Kurobō 黒方.
 Smell of “yūgen” in Winter.

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 Originated in China in the 6-7th
century.
 Japanese dance-drama that has been
performed since the 14th century.
 One of the oldest theatre art that is still
regularly performed today.
 UNESCO intangible cultural heritage.
 Based on stories from traditional
literature.
 Genzai Noh (現在能, “present Noh”)
 Features human characters and events.
 Mugen Noh (夢幻能, “supernatural Noh”)
 Supernatural being transformed into
human form as a hero narrating a story.
 Ryōkake Noh (両掛能, “mixed Noh”).

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 Noh is heavily influenced by Zen.
 Zeami Motokiyo (世阿弥 元清1363-
1443) and his father, Kanami (観阿弥
1333–84), established Noh in the
present form.
 Noh actor and play writer.
 Wrote about 30-50 plays.
 Wrote many treatises about Noh.
 Fūshikaden (風姿花伝, "Style and the
Flower")
 The oldest known work on the
philosophy of drama in Japanese
literature.

 Favored by the shogun Ashikaga

Yoshimitsu and warlords.
 Kitayama bunka (北山文化).
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 Simple, asymmetrical theatre.
 No change of scenery.
 Stylized gesture, kept minimized.
 Only mask, no makeup.
 Antique masks are used.
 Undergone damage and repair.

 Presented in a deep and

mystified way.
 Room for the audience’s
imagination.
 Slow paced. Present emotion in
every movement. Subtleness.
 Brings tranquillity.
 Highly trained performers.

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 There are four: shite, waki, kōken, and
hayashi.
 Shite (仕手): The main protagonist.

 Shitetsure (仕手連れ): The shite's companion.

 Waki (脇): Performs the role that is the

counterpart or foil of the shite.
 Wakitsure (脇連れ):The companion of the waki.

 Kōken (後見): stage hands, usually one to three

people.
 Jiutai (地謡): the chorus, usually comprising
six to eight people.
 Hayashi (囃子): the instrumentalists who play
the four instruments used in Noh theatre: the
flute (笛, fue), hip drum (大鼓, ōtsuzumi) or
ōkawa (大皮), the shoulder-drum (小鼓,
kotsuzumi), and the stick-drum (太鼓, taiko).
 A typical Noh play always involves the chorus,
the orchestra, and at least one shite and one
waki actor.

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 Noh masks (能面 nō-men) are carved from wood, (cypress)
and painted.

 There are approximately 450 different masks mostly based

on sixty types, all of which have distinctive names.

 Some masks are representative and frequently used in

many different plays, while some are very specific and may
only be used in one or two plays.

 Noh masks signify the characters’ gender, age, and social

ranking
 Nonhuman (divine, demonic, or animal) characters.

 Usually the shite wears a mask in most plays.

 Masks show different emotions through slight tilting of the

head.

 Noh masks are treasured by Noh families and institution.

 Repair and passed down from generations.

 Are said to contain the spirits of the of the characters.

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 Yūgen: the core of Noh.
 Zeami: Supreme form of beauty.
 Deep within.

 Expression of a “hidden beauty” inside the play.

 Seeing facial expression on actors face is superficial.
 So as intense dramatic gestures.

 With masks, the imagination dive deeper.

 Restricted and stylized body gesture.
 Yūgen, intrinsic beauty expressed through the
technique and the mind of the actor.
 Buddhist teachings: do not focus on external forms,
as the beauty is deep within.
 https://www.youtube.com/watch?v=TjWtOfrkIac

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 White-powdered (Oshiroi 白粉) face .
 Plucked eyebrows (Hikimayu 引眉).
 Aristocratic women used to pluck or
shave their eyebrows and paint new ones
using a powdered ink.
 Blackened teeth (Ohaguro お歯黒).
 Using iron based dye (鉄漿 kane).

 Was banned in 1870 (hikimayu and

ohaguro).
 Mask: Ko-omote 小面
 Young girl.

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 In Suzuki’s Zen and Japanese Culture.
 Buddhist play with Zen thoughts.
 Yamanba 山姥, old woman / “deity” of the
mountains.
 The mountains have been under her care
since the world began.
 She covers them with snow in winter, with
blossoms in spring, helping villagers ...
 She has grown very old.
 Wild white hair hangs down her shoulders
and her face is very thin.
 Hidden and mysterious.
 Main character:
 Hyakuma Yamanba 百万山姥, an
beautiful, young and famous actress by
performing the yamanba dance.

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1. Hyakuma and her attendants are making a pilgrimage to
Zenkoji (善光寺).

2. Her attendant asks a villager directions to Zenkoji and is told

there are three ways. The best is the steepest being a path made
by the Buddha himself. They set off on this steep path when it
suddenly turns dark. The attendant says they should find
accommodation nearby.

3. An old woman comes and offers them a place to stay. As she

enters, she asks to hear the song of the Yamanba, saying she
recognizes the famous dancer Hyakuma Yamanba. Then the old
woman told them that she is the real Yamanba, and that she
dislikes the fame Hyakuma has attained, as she herself remains
stuck in the wheel of suffering.

4. Hyakuma is shocked to meet the real Yamanba. She is old and

worn out. While Hyakuma is about to sing, the old woman
interrupts, telling Hyakuma to wait for dark when she will show
her true form. The old woman sudden vanishing.

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5. A villager tells them stories of Yamanba, she has acorn eyes, walnut
nose, toadstool ears, vine hair, and pine resin body which picks up
dust and grows.

6. Night comes, Hyakuma sings in the moonlit mountain.

7. Yamanba appears, the chorus sings “demons raging and angels

rejoicing as good and evil are one, and asks what craftsman made
these mountains upon mountains”.

8. Hyakuma in terror asks if this is Yamanba. The chorus describes her

with “crown of snowy weeds, star-like eyes, and demon glow”. The
chorus recalls how long ago a demon swallowed a terrified girl whose
feelings the Hyakuma now has. Yamanba comments on the poetic
mountain scene and asks the Hyakuma to sing.

9. With the chorus, Yamanba dances as she describes mountains formed

from dust and mud, oceans from dewy moss, Buddha’s teaching and
change in the natural world, and Yamanba’s existence in both the
supernatural and human realms. She describes how she has invisibly
helped woodcutters with their heavy loads and weaving maids at their
looms. Then describing her endless mountain rounds, she tells
Hyakuma to return home and relate the true story of Yamanba.

10. Yamanba dances.

11. With the chorus, she again describes her awesomeness and her
jumping from mountain to mountain as she vanishes. 58
 Yamanba in this Noh play is not a hideous woman in contrary to
folklore.
 She is benevolent and care for the villagers.

 Yamanba – represents principle of love/compassion,

 Secretly moving in all of us.
Young Hyakuma Yamanba=
 Not conscious of it.
superficial love
 Abusing it.

 Hyakuma Yamanba – the superficial / “look” of love.

 We all imagine that love is beautiful, young, delicate and charming.

 But in fact unnoticed by us, the way to “love” has to work hard, like
an old woman, rather torn out, from worrying and caring of others,
her face is full of wrinkle, her hair is white, and in pain which she
gladly suffers. In the ultimate form it even looks like a demoness.

 We always “sing” of how beautiful love / compassion is, but when we

are actually practicing it, “we are at loss and know not what to do Old Yamanba = love in reality
with ourselves”, as if we have saw a demon.
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1. Hyakuma and her attendants are making a pilgrimage to Zenkoji.
 (Searching for love/ compassion : Zenkoji Amitabha Buddha, Hidden/ Secret
Buddha, not shown to anyone.)

2. The attendant asks a villager directions to Zenkoji and is told there are
three ways, the steepest being a path made by the Buddha himself...
 The Bodhisattva path (love/compassion for all sentient beings)looks illuminating,
but is very tough!

3. An old woman comes and offers them a place to stay. As she enters, she
asks to hear the song of the Yamanba, saying she recognizes the famous
dancer Hyakuma Yamanba. Then the old woman told them that
Yamanba is herself, and that she dislikes the fame Hyakuma has
attained, as she herself remains stuck in the wheel of suffering.
 We are often proud/ speak of ourselves as being compassion or we always portrait
love as a something delightful, but in reality, it involves hardships and patience,
which we often overlooked or not realized.

4. Hyakuma is shocked to meet the real Yamanba. She is old and worn out.
While Hyakuma is about to sing, the old woman interrupts, telling
Hyakuma to wait for dark when she will show her true form. The old
woman sudden vanishing.
 People focused on the superficial level of “love”, and they are shocked when they 60
know about the suffering “love” may lead to.
5. A villager tells them the various theories and stories of Yamanba, how she is a
mixture of all things including acorn eyes, walnut nose, toadstool ears, vine hair, and
pine resin body which picks up dust and grows.
 Some people (villagers) often talked about how much you have to give up in “love” (how
terrible love is), but they all missed the point.
6. Night comes, Hyakuma sings in the moonlit mountain.
7. Yamanba appears, the chorus sings “demons raging and angels rejoicing as good and
evil are one, and asks what craftsman made these mountains upon mountains”.
 Non-duality: love is neither good or bad. Bodhisattva practice it without discrimination. This
is called Great-compassion in Mahayana Buddhism.
8. Hyakuma in terror asks if the form is Yamanba. The chorus describes her with crown
of snowy weeds, star-like eyes, and demon glow. The chorus recalls how long ago a
demon swallowed a terrified girl whose feelings the Hyakuma now has. Yamanba
comments on the poetic mountain scene and asks the Hyakuma to sing.
 Do not rely on what you have heard from others. You have to practice it yourself to
experience it.
9. With the chorus, Yamanba dances as she describes mountains formed from dust and
mud, oceans from dewy moss, ...
 This “love” is “embedding” in everything. This is the nature, Buddha nature. Buddha nature
exist everywhere. We should all know about this.
10. Yamanba dances.
11. With the chorus, she again describes her awesomeness and her jumping from
mountain to mountain as she vanishes.
 Bodhisattva paths carries on from life to life, and never cease.

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 https://www.youtube.com/watch?v=blOzH842IYg
 https://www.youtube.com/watch?v=Id5McwyuaNk
 https://www.the-noh.com/index.html

 (厳島神社

Itsukushima Jinja (厳島神社)

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 Mar 15.
 Mar 8, reading week, no class.

 Influence on arts and literature

 More arts:
 Calligraphy, paintings...

 Literature:
 Haiku, modern works...

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