Tea-fans (Rikiu ogi) are for use at the tea ceremonies celebrated in honour of tea in every province on the first day of the first month, and commemorating the curing of the Emperor Murakami, 947-967 A.D., of a disease against which the physicians were powerless. The Emperor recovered after drinking an offering of tea made to the Goddess Kwanyin. The code, that formerly was of a gorgeous description, was modified later by Sen-no Rikiu, from whom the fan set apart as cake tray or saucer derives its name. The Rikiu fan is of the simplest possible construction, having only three sticks, the decoration also being of a simple character. It is used for handing round little cakes, and for no other purpose, fanning being strictly tabooed during such a dignified proceeding.[58]
The giant closing fans (Mita ogi) were used in the processions at Ise in honour of the Sun Goddess, the traditional originator of the Japanese dynasty. These were six or seven feet long, five men being appointed to carry one of this huge magnitude.
Water-fans (Mizu uchiwa), for kitchen use, date from the eighteenth century. These are of bamboo split into segments, covered with stout paper, and varnished or lightly lacquered so as to allow of the fan being dipped in water, thus securing extra coolness by evaporation. They are often decorated with figures and other subjects, the varnish subsequently applied being of a rich warm brown.
Roll-up fans (Maki uchiwa) are circular, the paper stiffened with thin strips of bamboo; the handle is of bamboo cut through with a slit to allow the circular fan, which is set on a pivot, to have free play. When open, the strips of the bamboo foundation are horizontal, thus securing rigidity; when not in use, the position of the strips may be reversed, and the disc rolled round the stick and tied.
| Modern Japanese Fan, Ivory with gilt Lacquer, and Painted Fan signed Kunihisa. | Mr. W. Tomkinson. |
Of modern fans, those of ivory and tortoise-shell, carved or decorated with lacquer and inlay, are, for the most part, made for exportation, and are often of extreme beauty. The excellent example in the Victoria and Albert Museum is decorated with circular medallions in gold lacquer of various shades, portions being carved in relief. It is finely inlaid in places with mother of pearl; signed by Taishin (a pupil of Zesshin), and dated 1884. An example, equally fine, is given from the collection of Mr. M. Tomkinson. This is decorated with a view of Fuji san, or Fuji-no-yama (peerless mountain); those born within its watch are considered most happy and fortunate beings.
‘Great Fujiyama, tow’ring to the sky!
A treasure art thou giv’n to mortal man,
A god-protector watching o’er Japan—