wind-swept spirit

In this mortal frame of mine which is made of a hundred bones and nine orifices there is something, and this something is called a wind-swept spirit for lack of a better name, for it is much like a thin drapery that is torn and swept away at the slightest stir of the wind.

Matsuo Bashō, ‘The Records of a Travel-Worn Satchelʼ (after The Narrow Road to the Deep North and Other Travel Sketches, edited and translated by Nobuyuki Yuasa)

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from beneath curtains

Also hidden from the gaze of men and the general public were the women themselves. If we were to peep inside the confines of her residence, we would see that women of classical Japan resembled Nô masks: her hair was parted down the middle and her hair was probably longer than her height (although she may have been little more than four feet high). Her face was powdered white; her lips were painted red with rouge; her teeth were blackened (ohaguro); and her eyebrows were plucked entirely out and replaced by charcoal ovals placed an inch or two above the original eyebrows, producing faces that looked like Nô masks of young women. With sight prohibited, women had to resort to subtle oblique ways to impart their taste, breeding, intelligence, education, and so on, since men and women could not see each other during courtship. Faith had to be placed on senses other than those available through face-to-face interactions. Women seated behind curtains could intimate their taste by letting the color combinations of their sleeves peek out from beneath curtains so men could admire their skill in blending shades of color for their costume. Or visually unavailable women could call upon the olfactory senses to indicate skill and taste by wearing robes scented by incense. Women of the upper classes blended incense themselves and scented robes by burning incense in close quarters to impart fragrance to color-coordinated robes.

Female Waka Poets: Love poetry in the Kokinshû
Yumiko Hulvey



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Otafuku

The auspicious spirit Otafuku, reminiscent of the ancient goddess Amenouzume – who entertained the gods of creation and coaxed the sun goddess from a cave to bring light to the world – is an emblem of happiness and prosperity. Around lunar New Year (now early February), called Setsubun, Japanese drove demons from their homes by flinging beans (that cause extreme pain to demons) while yelling, “Oni wa soto, fuku wa uchi” (out with the bad, in with the good). The name Otafuku means “great prosperity,” and in paintings to be hung at the New Year, she is shown inside a window or beyond a blind to indicate the presence of joy and plenty in the home.

(painted scroll attributed to Hanabusa Itcho, Japan, 1652-1724)

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