FIG. 1. ONIYARAI CEREMONY.
BY HOKKEI.
FIG. 2. PREPARING BEANS FOR ONIYARAI.
BY HOKKEI.
The origin of the use of shimenawa on New Year’s day may be traced back to mythological times when the Sun Goddess, Amaterasu, was tempted forth from the cave into which, through fear of her brother, she had retired. In order to entice her from her hiding place, all the gods assembled together and, bringing with them a dancer, made such a commotion that the “heavenly ancestor of the emperor” peeped out. Her face was reflected in a mirror which they had hung upon a tree. Never before had she gazed upon her own beauty, and thinking it the countenance of a rival, she stepped forth. She was prevented from returning by a fellow deity who stretched a straw rope across the opening of her retreat. During her retirement all the earth had been in darkness. As she emerged, the warm light of the sun spread over the world and joy returned to the people.
A survival of the belief in this legend is to be seen to this day at a certain spot on the shore of Owari Bay. There, at Futami, two tower-like rocks, known at the “Husband and Wife Rocks” (Myōto-seki) jut out of the waves close to the beach. They are joined together by a straw rope which some say represents the bond of conjugal union. Others see in it a hindrance against the entrance of the Plague God. However, these rocks are popularly thought to represent the cave into which the Sun Goddess retired. On this account many people journey to Myōto-seki before dawn on New Year’s day, in order to see the first rays of the sun emerge on the horizon between these two rocks, thereby witnessing the re-appearance of the Sun Goddess who is restrained by the shimenawa from re-entering her retreat.
The fern leaves and yuzuriha, attached to the straw rope, are also in evidence on certain ceremonial arrangements which are to be seen in all households on New Year’s day. Two such objects are illustrated in Fig. 3. They are called o kazari mono, “honorably decorated thing.” Both of these stands of sambo form are laid with paper covers on which are placed rice puddings (mochi) of various forms. Those on the stand at the left are large, flat and round, in shape representing the mirror into which Amaterasu looked when she came forth from the cave. Again they symbolize the sun, the yo or male principle, and the moon, the in or female principle. They are adorned with two fern leaves, a folded paper arrangement (called noshi) and a bitter orange (daidai) to which are attached two yuzuri leaves. The Japanese are devoted to puns on words. Daidai-yuzuri, in pronunciation, is identical with the phrase which means “bequeath from generation to generation,” hence the adoption of the bitter orange with the yuzuri leaves in the New Year’s decoration. Dried chestnut kernels (kachiguri) are often added to the arrangement, for the name suggests the happy thought of victory (kachi). The second stand which holds rice puddings is surmounted by a branch of pine, one of the well-known emblems of longevity. The pine, bamboo and plum are arranged together for this occasion and are known as sho-chiku-bai. At the base of the pine in Fig. 3 and lying on fern leaves, is a lobster. On account of the bent back and long tentacles it typifies a life so prolonged that the body is bent over and the beard reaches to the waist. A lobster or crayfish is often seen hanging to the center of the straw rope.
In the background of this picture, a set of bows and arrows used for indoor practice may be seen leaning against a basket filled with square rice cakes. In the foreground, a woman is seated before a chopping board on which she cuts the rice cakes into small pieces. Being small and hard, these bits are known as “hail mochi.” In some parts of Japan, it is customary to eat them on the third day of the festival. A companion who holds up a picture of the Sun Goddess, is seated near a lantern, on the base of which rests a waterpot. It is likely that this vessel contains the “young water” (hatsumizu) used for the New Year’s tea (fuku cha, “good luck tea”). Custom decrees that this water must be drawn from the well before the sun’s rays strike it. An offering of rice is sometimes first thrown into the well. With the tea is served a preserved plum (umeboshi), which, because of its wrinkled skin, suggests the hope of a good old age. In addition, there is always served on this festive day a fish stew known as zoni, and a special spiced brand of wine called toso. In some households the first day is devoted entirely to family devotion. Before the ancestral shrine offerings of tea, mirror dumplings, zoni and toso are placed, and then each living member is served in order of age with the same viands. With the same respect for age, New Year’s greetings are spoken first to the shrine, then to grandparents and parents and so on down to the smallest child.
As we leave the house and go outdoors, we see before all portals the “pine of the doorway” (kado-matsu)—pine and bamboo saplings bound together and set up at either side of the entrance. The pine on the left has a red trunk and is of the species akamatsu (pinus densiflora); that on the right has a black trunk and is the kuro-matsu (pinus thunbergii). Fancy has attributed to the lighter pine, the feminine sex, while the black pine is thought to represent the masculine. Between these kadomatsu is usually hung the straw rope previously described. The two plants, the pine and bamboo, have no religious significance but are emblematic of longevity and fidelity. Long life and vigor are naturally suggested by the old and gnarled evergreens; the reason why the bamboo should typify fidelity is less obvious. It is again a case of a similar pronunciation of two Chinese characters: setsu meaning fidelity and setsu denoting the node of the bamboo. A kado-matsu is pictured in the fourth illustration where in the foreground two boys, bound together with a rope are testing their strength. This common pastime for boys is called kubi hiki. A third child, acting as umpire, holds in his hand a kite in the shape of a bird.
The streets during the New Year’s festival are veritable playgrounds; stilt walking, rope pulling and jumping, top spinning and ball playing are all indulged in. Kite-flying is perhaps the most conspicuous sport, for kites of many shapes and sizes are sent up by all lads on these days. In Japan kite-flying is not only more picturesque than with us, on account of the use of such fantastic forms as double fans, birds, butterflies, cuttlefish or huge portraits of heroes in brilliant colors and unusual proportions, but it is also apt to be a very exciting sport. Occasionally opponents try to capture an enemy’s kite. Competitive kite-flying is accomplished by covering the first ten or twenty feet of the kite string with fish glue or rice paste, and then dipping it into pounded glass or porcelain. On hardening, this portion of the string becomes a series of tiny blades which when crossed with another string at high tension can soon saw away the kite of the adversary. It is also customary to attach a strip of whale bone or a bow of bamboo to the large kites, so that on ascending a loud humming is produced which adds to the excitement of the flight. Only boys and men fly kites in Japan.