In this second installment of our Hoshinoya Kyoto stay review, we will introduce the "Oku-Arashiyama Poetry Composition" event. Waka poems, which incorporate seasonal scenery and seasonal feelings into 800 syllables in a 25-XNUMX-XNUMX-XNUMX-XNUMX format, strongly reflect the aesthetic sense that is so important to the Japanese. In the "Oku-Arashiyama Poetry Composition" event, participants will listen to a lecture on the uniquely Japanese aesthetic sense by Reizei Tamehito, the XNUMXth head of the Reizei family, who have been protecting waka culture for XNUMX years, and then receive instruction in the Reizei family style of waka poetry from the head's wife, Kimiko, before actually composing a waka poem themselves. This special event is only available to guests staying at Hoshinoya Kyoto.The event will consist of a tour of the Reizei family residence on the day after the "uta-recitation." Both will be valuable opportunities to experience a part of the elegant court culture that has been passed down through the ages.

Hoshinoya Kyoto Hotel Review Part 1000: Click here for details on "A waterside villa that blends into the nature of Arashiyama, unchanged since XNUMX years ago"　

Receive instruction in waka poetry from a descendant of Fujiwara Teika in a place associated with Teika

Many people have heard of or even played a game of karuta called "Hyakunin Isshu." The Reizei family, whose ancestors were Fujiwara no Teika, the judge of this "Hyakunin Isshu," and his father Shunzei, have served the Imperial Court for generations as a "house of waka poetry."

In addition, Fujiwara Teika compiled the Hyakunin Isshu at Ogurayama, located across the Oi River from Hoshinoya Kyoto. The "Poetry Recitation in Oku-Arashiyama" is a valuable and meaningful experience, where you can receive instruction in waka poetry from Teika's descendants in a place closely connected to Teika.

"Plum blossoms and nightingales." This is an aesthetic sense that the Japanese have cultivated as a "form" since the Heian period.

"Do you know the content of the commemorative lecture that Yasunari Kawabata gave when he received the Nobel Prize?"

Reizei Tamehito's lecture began with this topic. According to Tamehito, Kawabata Yasunari preached about "mono no aware," and Oe Kenzaburo, who also won the Nobel Prize in Literature, spoke about the "ambiguity" that is unique to Japanese culture in his commemorative lecture.

"For example, 'Plum blossoms and a nightingale.' It's a scene that any Japanese person can picture in their mind. Since the Heian period, Japanese people have had this as a 'form' in their aesthetic sense. However, it is not a theory, but rather a vague understanding of emotion; very few people have actually seen the scene, so it can be considered an abstract concept. This 'vagueness' is also connected to the 'pathy of things' and 'ambiguity' that the two Nobel Prize laureates spoke of, and the aesthetic sense fostered by 'form' is also an important principle of the art of waka poetry that has been passed down by the Reizei family. This aesthetic sense is a feeling that is difficult for Westerners to understand."

From the aesthetic sense of "mono no aware" and "ambiguity" to the aesthetic sense found in the Tale of Genji, Tamehito's talk made me realize once again that there may be feelings that have been cultivated unconsciously within myself.

A common understanding of "patterns" that creates a sense of security and unity

Next up was Kimiko Reizei, who explained in more detail the "kata" that Tamehito spoke about, along with how to compose waka poems.

"Waka poetry was originally created as an offering to the gods. Beautiful words were needed to please the gods, and choosing beautiful words appropriate to the season became 'kata'. In postwar Japan, being different was considered good in the name of individuality, but it could also be said that the shared understanding of 'kata' has created a sense of security and unity."

It was a very informative talk, where I learned many new things, such as the difference in seasonal feeling that arises from the difference between the old and new calendars, and the elegant names for the moon as it waxes and wanes, such as "Tachimachizuki," "Imachizuki," and "Gamachizuki."

Then, a piece of paper is handed out. It's finally time to actually compose your waka poem.

We move to another room. We start reciting poetry with inkstone, ink, small brush, and paper in front of us.

The place to compose waka poetry is a Japanese-style room in a separate building. Inkstone, ink, small brush, writing paper, and short strips of paper are provided.

In fact, there are detailed rules to follow, from how to enter the room to the procedure for receiving the calligraphy paper and inkstone, and Kimiko kindly explains them to me. However, I was a little nervous.

We placed the folding fan in front of us, sat upright, and started to recite poetry. The piece of paper we were given earlier actually had the "form" of the poetry recitation written on it.

The poetry contest was held at the end of July. Kimiko chose the theme "ice house" to provide some coolness during the heat of the day. In fact, during the Heian period, ice was delivered to the Imperial Palace in midsummer from ice houses set up in the northern part of Kyoto, and even Sei Shonagon enjoyed the coolness of ice.

On the paper, several words that evoke coolness, such as "Hiromu Mori" (protecting the ice house), "Summer is unknown," "Remnants of winter," "Cool evening shade," and "Atsusawa mo shiranai" (not knowing the heat), are written, and this becomes the "kata." Participants must combine these words with words of their own making to make a 5-7-5-7-7 syllable, which is quite difficult. All the participants are struggling to count the words, bending their fingers over and over again.

After much deliberation, I finally completed something that resembles a waka poem.

Many words ran through my head, I pictured the view of the Oi River from the window of my room, and after much thought, I finally created something resembling a waka poem. But that wasn't the end of it.

I wrote the poem on a piece of paper and had Kimiko correct it, and now I'm copying it onto a strip of paper. Nowadays, there are fewer opportunities to write with a pencil or pen, let alone a brush, so this is my first experience of writing on a strip of paper with a small brush, and I'm at a loss as to what to do.

I finally finished writing it, even though my handwriting was far from beautiful. I felt like I had accomplished a major project.

I'm embarrassed to show you the essential work I've put together after so much effort. (By the way, Kimiko didn't include any of the markup!)

Arashiyama, the green of the Hozu River shines brightly. The ice-cold wind blows, unaware of the heat.

I'm not sure if I'm good at it or not, but looking at the strips of paper on which I've written my own waka poems, I feel a little like a Heian aristocrat. Also, as I think about words related to ice houses, I can somehow experience the sight of an ice house, which I've never seen before, as a seasonal feature that brings coolness in the summer, and I feel like my world has expanded.

This is what Mr. and Mrs. Reizei meant by "kata," and I was reminded that this may be the sense of seasons and aesthetic sense that Japanese people have always valued. This was my first experience reciting poetry. At first, I was worried about how it would turn out, but in the end, it was a very dense three hours, including the talk by Mr. and Mrs. Reizei, that I rarely experience.

Tour the Reizei family home, the only intact aristocratic residence remaining

The next afternoon, we will tour the Reizei family home, which is normally closed to the public.

The Reizei family residence is the only aristocrat's residence that remains intact, and is a valuable building designated as an Important Cultural Property. It is located on Imadegawa Street, north of Kyoto Imperial Palace, where a number of aristocrat's residences once stood, but now only the Reizei family residence remains. Within the Reizei family residence stands a storehouse called "Obunko," which has been carefully preserved since the Heian period, including handwritten books by Fujiwara no Shunzei and Teika, as well as national treasures and classic books designated as Important Cultural Properties that have been handed down through the Reizei family.

We will listen to Tamehito's story in the tatami room.

"Thanks to the support and cooperation of many people, the new library building, 'Kita no Okura,' has finally been completed on the north side of the site. The Agency for Cultural Affairs recommended a concrete structure with air conditioning, but we chose a traditional earthen storehouse. Concrete structures do not last 100 years. Storehouses that have remained since the Edo period have proven that earthen storehouses can last for over 400 years. Furthermore, even without air conditioning, earthen storehouses have breathable earthen walls that maintain the ideal temperature and humidity inside."

After Tamehito's talk, we were given a tour of part of the mansion by Nomura Nagisa, Kimiko's niece and future successor to the Reizei family.

The tatami-style building is made up of a row of large rooms, including the Messenger Room, Middle Room, and Upper Room, from the west. There are no transoms between the rooms so that the sliding doors can be removed and the room can be used as one large hall for poetry readings and other events. The tokonoma alcove in the Upper Room is located in the center so that it can be used as an altar during ceremonies. A large stone has been placed in the garden onto which a palanquin can be lowered when a visiting noble person is coming. The unique appearance of the Reizei family, which conveys the history of a nobleman's residence to the present day, is full of surprises and moving things.

The tour began with a talk by Mr. and Mrs. Reizei, followed by instruction in waka poetry and a tour of the Reizei family home. Through waka poetry, the participants were able to rediscover the sense of seasons and aesthetic values ​​that are so important to the Japanese people, while also getting a glimpse of a part of the tradition that the Reizei family has continued to protect throughout their 800-year history and is trying to pass on for another 100 or 200 years. "Poetry Composition in Oku-Arashiyama" was a rare and valuable experience that nourished the soul.

Hoshinoya Kyoto Hotel Review Part 1000: Click here for details on "A waterside villa that blends into the nature of Arashiyama, unchanged since XNUMX years ago"

◆Hoshinoya Kyoto "Poetry from Oku-Arashiyama"

・Dates: November 2024th to December 11st, 30

Price: 1 yen per person (tax and service charges included) *Accommodation fee not included

Included: Lecture by Mr. Reizei Tamehito, Reizei-ryu waka lesson by Ms. Reizei Kimiko, tour of the Reizei family home

・Reservation method: Reservations accepted up to 7 days in advance on the official website

・Capacity: 8 people (minimum number of participants: 1 person)

・Target: Guests staying at Hoshinoya Kyoto

・Notes The date, venue, and content of the event may be subject to change.

Photos by Yukiyo Daido

text by Sakurako Miyao