Izumi Shikibu ( Japanese : 和泉式部 , born 976?) was a mid- Heian period Japanese poet. She is a member of the Thirty-six Medieval Poetry Immortals ( 中古三十六歌仙 , chūko sanjurokkasen ) . She was the contemporary of Murasaki Shikibu , and Akazome Emon at the court of empress Joto Mon'in .
25-510: She "is considered by many to have been the greatest woman poet of the Heian period". Her legacy includes 242 poems and two kashu . "Torn between worldly ties and physical desire, Izumi Shikibu left a wealth of passionate love poetry, fueling rumors that purported that she was a femme fatale with numerous lovers besides her two husbands and two princely lovers." Izumi Shikibu was the daughter of Oe no Masamune, governor of Echizen . Her mother
50-585: A jacket or cardigan. The saṃghāti is a double layers robe of Bhikkhus or Bhikkhunis used as an outer cloak for various occasions. It comes over the upper robe ( uttarāsaṅga ), and the undergarment ( antarvāsa ). In representations of the Buddha, the saṃghāti is usually the most visible garment, with the undergarment or uttarāsaṅga protruding at the bottom. It is quite similar in shape to the Greek himation , and its shape and folds have been treated in Greek style in
75-414: A result of the scandal her husband divorced her and her family disowned her. The Eiga Monogatari implies that Tametaka fell ill and died because of his "continual nocturnal escapades." After Tametaka's death, she was courted by Prince Atsumichi ( 敦道親王 , Atsumichi Shinnō , 981–1007) , Tametaka's brother. The first year of this affair is described in her semi-autobiographical Diary. Her motive in writing
100-462: A sequence of affairs at the imperial court in Kyoto . In the beginning, before her marriage to Michisada, she is believed to have been the companion (some accounts say wife) of a man named Omotomaru at dowager Queen Shoko 's court. While still married to Michisada, she fell in love and had an affair with Emperor Reizei 's third son, Prince Tametaka (Danjo no Miya Tametaka Shinnō:弾正宮為尊親王 977–1002). As
125-402: A set of robes for monks who followed the teachings of Gautama Buddha . A notable variant has a pattern reminiscent of an Asian rice field. Original kāṣāya were constructed of discarded fabric . These were stitched together to form three rectangular pieces of cloth, which were then fitted over the body in a specific manner. The three main pieces of cloth are the antarvāsa , the uttarāsaṅga , and
150-464: A single editor. This Japanese literature–related article is a stub . You can help Misplaced Pages by expanding it . Kasaya (clothing) Kāṣāya are the robes of fully ordained Buddhist monks and nuns , named after a brown or saffron dye. In Sanskrit and Pali, these robes are also given the more general term cīvara , which references the robes without regard to color. Buddhist kāṣāya are said to have originated in ancient India as
175-540: A third person narrative, the diary contains waka poetry , with over one hundred poems including renga . The "plot" is one of "alternate ardor and indifference on the part of the Prince, and timidity and yearning on the part of Izumi." Her important work is present in the Izumi Shikibu Collection ( 和泉式部集 , Izumi Shikibu-shū ) and the imperial anthologies . Her life of love and passion earned her
200-455: A work which describes the color of monastic robes used in five major Indian Buddhist sects, called Da Biqiu Sanqian Weiyi (Ch. 大比丘三千威儀). Another text translated at a later date, the Śāriputraparipṛcchā , contains a very similar passage corroborating this information, but the colors for the Sarvāstivāda and Dharmaguptaka sects are reversed. In traditions of Tibetan Buddhism , which follow
225-669: Is not even a moment of calmness. In the heart that loves the blossoms, the wind is already blowing." ( [1] ) 亡人のくる夜ときけど君もなし 我が住む宿や魂無きの里 naki hito no kuru yo to kikedo kimi mo nashi wa ga sumu yado ya tamanaki no sato loosely: They say the dead return tonight, but you are not here. Is my dwelling truly a house without spirit? ( Goshūi Wakashū 10:575) Upon seeing her daughter Koshikibu no Naishi's name on her Imperial robes she received after her death: 諸共に苔のしたには朽ちずして 埋もれぬ名をみるぞ悲しき morotomo ni koke no shita ni ha kuchizu shite udzumorenu na wo miru zo kanashiki loosely: Beneath
250-502: Is worn over a Chinese-style long robe, called jikitotsu (直裰) which was also developed in China, and had a belt or sash tied at the waist. Zen Buddhist monks wear a form of formal dress which is composed of two kimono, covered by the jikitotsu; and the kesa is finally worn on top of the jikitotsu. Japanese buddhism kesa (袈裟) used to be worn covering the entire body beneath the head, including both shoulders, but now they are worn with
275-501: The saṃghāti . Together they form the "triple robe," or ticīvara . The ticīvara is described more fully in the Theravāda Vinaya (Vin 1:94 289). The antarvāsa is the inner robe covering the lower body. It is the undergarment that flows underneath the other layers of clothing. It has a large top, and almost entirely covers the torso. In representations of the Buddha, the bottom of the antarvāsa usually protrudes, and appears in
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#1732772140395300-528: The Greco-Buddhist art of Gandhāra . Other items that may have been worn with the triple robe were: In India, variations of the kāṣāya robe distinguished different types of monastics. These represented the different schools that they belonged to, and their robes ranged widely from red and ochre, to blue and black. Between 148 and 170 CE, the Parthian monk An Shigao came to China and translated
325-646: The Mūlasarvāstivāda Vinaya, red robes are regarded as characteristic of the Mūlasarvāstivādins. According to Dudjom Jigdral Yeshe Dorje , the robes of fully ordained Mahāsāṃghika monastics were to be sewn out of more than seven but no more than twenty-three sections. The symbols sewn on the robes were the endless knot (Skt. śrīvatsa ) and the conch (Skt. śaṅkha ), two of the aṣṭamaṅgala , auspicious symbols in Buddhism. In Chinese Buddhism ,
350-834: The Opéra National de Paris and the Grand Théâtre de Genève jointly commissioned an opera based on her poems. Titled Da gelo a gelo by Salvatore Sciarrino and sung in Italian, the work draws on 65 poems from Izumi Shikibu Nikki that features her passion for Prince Atsumichi. It was performed in early 2008 in Geneva with the Chamber Orchestra of Geneva. 刈藻かき臥猪の床のゐを安み さこそねざらめ斯らずもがな karu mo kaki fusu wi no toko no wi wo yasumi sa koso nezarame kakarazu mo gana loosely: Trampling
375-596: The black robes." However, the Song dynasty monk Zanning (919–1001 CE) writes that during the earlier Han - Wei period, the Chinese monks typically wore red. The Japanese term kesa came from the Chinese transliteration of the term kāṣāya. Like in China, the kesa is a rectangular garment which is worn over the left shoulder. The Japanese kesa are also made of patchwork (割截衣; kassetsue) which can be composed of five, seven, nine, or more panels of fabric sewed together. The kesa
400-677: The colors of a Chinese Buddhist monastic's robes often corresponded to their geographical region rather than to any specific schools. By the maturation of Chinese Buddhism, only the Dharmaguptaka ordination lineage was still in use, and therefore the color of robes served no useful purpose as a designation for sects, the way that it had in India. During the Tang dynasty , Chinese Buddhist monastics typically wore grayish-black robes, and were even colloquially referred to as Ziyi ( 緇 衣 ), "those of
425-442: The diary "seems to have been written solely to appease her mind, and to record the poems which passed between them." Izumi then moved into Atsumichi's residence, and the two had a very public courtship until Atsumichi's death in 1007 at the age of 27. Soon after, probably in 1009, Izumi joined the court of Fujiwara no Shōshi , who was the daughter of Fujiwara no Michinaga , and the consort of Emperor Ichijō . Further testimony of
450-581: The dry grass the wild boar makes his bed, and sleeps. I would not sleep so soundly even were I without these feelings. ( Goshūi Wakashū 14:821) 黒髪のみだれも知らず打臥せば まづかきやりし人ぞ戀しき kurokami no midaremo shirazu uchifuseba madzu kakiyarishi hito zo kohishiki loosely: My black hair is unkempt; unconcerned, he lies down and first gently smooths it, my darling! ( Goshūi Wakashū 13:755) 長閑なる折こそなけれ花を思ふ心の うちに風はふかねど nodoka naru ori koso nakere hana wo omou kokoro no uchi ni kaze wa fukanedo loosely: "There
475-534: The moss, imperishable, her name of high renown: seeing it is a great sadness. ( Kin'yō Wakashū 10:620) Kash%C5%AB (poetry) A kashū ( 家集 ) , also called a shikashū ( 私家集 ) or ie-no-shū ( 家の集 ) , is a private collection of waka poems compiled by the author of the poems included. The term is used in contrast to chokusenshū , imperially-commissioned collections both written and compiled by multiple people, and shisenshū ( 私撰集 ) , anthologies of poems by multiple poets privately compiled by
500-504: The nickname of The Floating Lady ( 浮かれ女 , ukareme ) from Michinaga. Also at the court at the same time as Izumi were Akazome Emon , Murasaki Shikibu , and Ise no Taifu . While at the court in 1009, she married Fujiwara no Yasumasa (958–1036), a military commander under Michinaga famous for his bravery, and left the court to accompany him to his charge in Tango Province . She outlived her daughter Koshikibu no Naishi , but
525-444: The rough shape of a triangle. This garment is essentially a skirt, which was common enough as ancient menswear. When needed, its height could be adjusted so it did not hang as low as the ankles. A robe covering the upper body. It comes over the undergarment, or antarvāsa. In representations of the Buddha, the uttarāsaṅga rarely appears as the uppermost garment, since it is often covered by the outer robe, or saṃghāti. Or can be worn with
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#1732772140395550-538: The scandal caused by her successive affairs with the Princes Tametaka and Atsumichi can be found in two historical tales ( rekishi monogatari ) about the period, A Tale of Flowering Fortunes (or Eiga Monogatari ), c. mid-eleventh century, and The Great Mirror (or Ōkagami ), c. late eleventh century. Izumi Shikibu Nikki was written at the beginning of Izumi's relationship with Prince Atsumichi and continues for about nine months (1003–1004). Written in
575-448: The term jiasha ( Chinese : 袈裟 ; pinyin : jiāshā ) was borrowed from the term kāṣāya. In China, the jiasha refers to a one-piece, patchworked rectangular fabric which is worn over a long one-piece, cross-collar robe known as zhiduo . During the early period of Chinese Buddhism , the most common color was red. Later, the color of the robes came to serve as a way to distinguish monastics, just as they did in India. However,
600-577: The year of her death is unknown. The last Imperial correspondence from her was a poem written in 1027. The Eiga Monogatari includes this poem, which accompanied Yasumasa's offering of jewels for a Buddha figure "made in memory of the Empress Dowager Yoshiko ." She later devoted herself to Buddhism, donning Buddhist robes that she wore for the rest of her life. Her Dharma name was Seishin Insei Hōni (誠心院専意法尼). In contemporary arts,
625-551: Was the daughter of Taira no Yasuhira, governor of Etchu . In 995, at the age of 20, Izumi was married to Tachibana no Michisada, governor of Izumi , the origin for her name. Their daughter was born in 997, Koshikibu no Naishi, who also became a poet. However, Izumi soon divorced, and her former husband died soon afterwards. As is standard for Heian period women, her name is a composite of "Izumi" from her husband's charge ( 任国 , ningoku ) and her father's official designation of master of ceremony ( 式部 , shikibu ) . She had
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