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45-459: His father, Kan'ami Kiyotsugu , introduced him to Noh theater performance at a young age, and found that he was a skilled actor. Kan'ami was also skilled in acting and formed a family theater ensemble. As it grew in popularity, Zeami had the opportunity to perform in front of the Shōgun , Ashikaga Yoshimitsu . The Shōgun was impressed by the young actor and began to compose a love affair with him. Zeami

90-607: A Japanese Noh actor, author, and musician during the Muromachi period . Born Yūzaki Kiyotsugu ( 結崎 清次 ) in Iga Province , Kan'ami also went by Miyomaru ( 観世丸 ) and Kanze Kiyotsugu ( 観世 清次 ) . He is the father of the well-known playwright Zeami Motokiyo ( 世阿弥 元清 ) . Kan'ami's career began in Obata, Nabari-shi, Mie when he founded a sarugaku theater group in the Kansai region on

135-724: A detailed first-person account of his exile. In the account he conveys a stoic attitude toward his misfortunes. Little is known about the end of his life, but it was traditionally believed that he was pardoned and return to the mainland before his death. Zeami died in 1443 and was buried in Yamato. His wife died a short time later. Zeami is known as the foremost writer of Noh and the artist who brought it to its classical epitome. Scholars attribute roughly 50 plays to him, many of which have been translated into European languages. The contemporary versions of his plays are sometimes simplified. Some of his plays are no longer extant, and roughly 16 exist only in

180-431: A matter of debate. Many plays have been attributed to Zeami, and he was known to be involved in revising and transmitting many others. Some plays are decisively known to have been written by him. His plays have been passed down through generations of Kanze leaders, as a result they have been revised and reworked from various leaders. The following are universally attributed to Zeami: Zeami produced 21 critical writings over

225-511: A parade through the streets by a "sacred" horse. One will see people dressed in traditional costumes of the Heian to Edo periods and can experience authentic kagura dance displays with dengaku music. The Kasuga Wakamiya Festival takes place at the Wakamiya Jinja shrine from December 15 to 18th each year. The main goal of this gathering was to ward off disease while promoting new growth for

270-433: A period of roughly four decades. His treatises discuss the principles of Noh. He sought to inform his colleagues of the most important aspects of theater, discussing the education of the actor, character acting, music, and physical movement. They also discussed broader themes, such as how life should be lived. The treatises were intended for a small circle of his colleagues, since the troupes were hereditary and such information

315-463: A significant amount of time writing Kakyo and gave the completed work to his son Motomasa , Zeami's son Motoyoshi had previously transcribed Zeami's treatise Reflections on Art . After Ashikaga Yoshinori became the Shōgun, he demonstrated a deeper disdain for Zeami than his predecessors had, though the origins of his feelings are unknown. Speculation has centered on Zeami's association with Masashige and

360-587: A theater troupe which primarily performed in the Kyoto region, before becoming popular in the late 1360s and early 1370s. As they became better-known, Kanami's troupe began to perform in Daijogi. Zeami acted in the troupe and was considered attractive and highly skilled. Ebina no Naami, an adviser of the Shōgun Ashikaga Yoshimitsu, booked the troupe to perform for the Shōgun, who was then 17 years old. The shōgun

405-410: A variety of competing theories have been advanced, Yoshinori sent Zeami into exile to Sado Island . After Yoshinori's death in 1441, Zeami returned to mainland Japan, where he died in 1443. Zeami was born in 1363 near Nara and was known as Kiyomoto as a child. A later genealogy mentions his mother as the daughter of a priest and a military official, but it is not deemed reliable. His father Kanami led

450-516: Is a Shinto shrine in Nara , Nara Prefecture , Japan . It is the shrine of the Fujiwara family , established in 768 CE and rebuilt several times over the centuries. The interior is famous for its many bronze lanterns, as well as the many stone lanterns that lead up to the shrine. The architectural style Kasuga-zukuri takes its name from Kasuga Shrine's honden (sanctuary). The Torii at Kasuga-taisha

495-505: Is a tradition based on the tokowaka (常若) concept of Shinto, in which objects are renewed in order to keep their divine prestige in pursuit of eternity. Like the Ise Grand Shrine, Kasuga-taisha has been rebuilding its shrines to the same specifications every 20 years for more than 1000 years since the Nara period, with the most recent reconstruction being the 60th rebuilding in 2016. During

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540-587: Is attributed to Shinatsuhiko no mikoto and Shinatsuhime who are kami of the winds. Wakamiya Jinja Shrine, created in 1135 CE, is one of the more prominent auxiliary shrines because it houses the kogami, or offspring kami called Ame no Oshikumono no mikoto. The primary worship here revolves around vengeful gods, and the dead and is the location of the Kasuga Wakamiya festival. The Treasure House at this shrine contains hundreds national treasures as well as about many other cultural properties, most of which are from

585-459: Is composed of five divine beings and each consists of a Buddhist deity and Shinto kami counterpart. The fifth deity, Ame-no-Oshikumone  [ ja ] , was added much later and is said to be the divine child of Ame no koyane and Himegami . The importance of the multifaceted kami was that it became a template for future worshipers who wanted to combine several deities to pray to at once. The architectural style of Kasuga-taisha comes from

630-406: Is dedicated to Takemikazuchi no mikoto , the second to Futsunushi no mikoto , the third to Amenokoyane no mikoto , and the final hall is attributed to the consort, Himegami . Several auxiliary shrines lie outside the main sanctuary that are dedicated to lesser kami. One is allotted to Tsunofuri no kami, that is commonly known as Tsubakimoto Jinja Shrine or Kayabusa Myojin. Kasenomiya Jinja Shrine

675-475: Is devoted to them which is Fujinami-no-ya Hall but the lanterns are only lit during the Setsubun Mantoro and Chugen Mantoro festivals. The four main kami each have a shrine devoted to them which are all in the same architectural style . They are characterized by sloping gabled roofs, a rectangular structure, katsuogi (decorative logs), and chigi (forked roof structures). The first hall established

720-525: Is one of the oldest in Shinto and helped influence the style of Torii seen across much of Japan . Kasuga Shrine, and the Kasugayama Primeval Forest near it, are registered as a UNESCO World Heritage Site as part of the " Historic Monuments of Ancient Nara ". The path to Kasuga Shrine passes through a deer park. In the park, deer are able to roam freely and are believed to be sacred messengers of

765-454: The Kanpei-taisha (官幣大社), meaning that it stood in the first rank of government supported shrines. The four main kami enshrined here are Ame no koyane , Himegami , Futsunushi no mikoto , and Takemikazuchi no mikoto . Though these are the primary divine beings of Kasuga taisha, they are often grouped together as a syncretic , combined deity known as Kasuga Daimyōjin . Kasuga Daimyōjin

810-508: The Kasuga shrine in Nara and Zeami performed during the visit. It was a significant political event, so Zeami was likely a well known artist then. He gave two significant performances for the Shōgun in 1399, one of which could have been attended by Emperor Go-Komatsu . Zeami found Yoshimitsu to be a difficult patron, and was rivaled by Inuo, a Sarugaku actor, for the favor of the Shōgun. Though Yoshimitsu died in 1408, and new Shōgun, Yoshimochi,

855-555: The Kusemai song and dance style and Dengaku dances from rustic harvest celebrations. He trained his son Zeami Motokiyo in his style, and his son eventually succeeded him as director of the Kanze school of Noh. Kan'ami died in Suruga Province . This article about a Japanese actor is a stub . You can help Misplaced Pages by expanding it . Kasuga-taisha Kasuga-taisha ( 春日大社 )

900-524: The Shinto gods that inhabit the shrine and surrounding mountainous terrain. Kasuga Shrine and the deer have been featured in several paintings and works of art of the Nambokucho Period . Over three thousand stone lanterns line the way. The Man'yo Botanical Garden is adjacent to the shrine. The birth of this shrine, according to legend, began when the first kami of Kasuga-taisha, Takemikazuchi , rode on

945-635: The Flower") . It is the first known treatise on drama in Japan; though similar treatises were written by Japanese Buddhist sects and poets, this is the Noh treatise. J. Thomas Rimer suggests that Zeami's education in Renga poetry provided him with the idea. It notably includes a thorough analysis of jo-ha-kyū , which Zeami viewed as a universal concept. His first treatise includes much of his father's views of Noh. The treatise Kakyo

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990-454: The Heian period. Some of the most noteworthy items that reside here are ornate taiko drums used in gagaku from the Kamakura period , arrows with crystal whistles from the Heian period, and bronze mirrors of the Heian and Nanboku-cho periods. Kasuga-taisha, like Ise Grand Shrine and Izumo-taisha , continues the tradition of shikinen zōtai (式年造替), the regular rebuilding of shrines. This

1035-509: The Kiyotaki shrine was transferred from Motomasa to Onnami. That year Zeami's son Motoyoshi retired from acting to serve as a Buddhist priest. That same year Motomasa died; it has been speculated that he was murdered. Though he had lost political favor, Zeami continued to write prolifically. Onnami inherited the leadership of Zeami's Kanze school . The appointment was made by the Shogunate, although

1080-617: The back of a white deer to the top of Mount Mikasa in 768 CE. This kami is said to have traveled from the Kashima Jingu Shrine in order to protect Nara. The shrine location first received favor from the Imperial government in the Heian period as a result of the power from the Fujiwara family as well as Empress Shōtoku . From 1871 through 1946, Kasuga Shrine was officially designated one of

1125-497: The classical tradition. In his earlier work, he used Zen illustrations, creating new Zen words and using established Zen words out of context. Many of the themes he used are present in other schools of Buddhism. Japan was dominated by a focus on Zen culture then, and he was registered at a Zen temple and was a friend of a well-known Zen priest. In 1422, he became a lay monk. One of the most important performances of Zeami's career occurred in 1394. At that time, Ashikaga Yoshimitsu visited

1170-448: The court, and Zeami accompanied him to events. Due to his connection with the Shōgun, Zeami was provided with a classical education by court statesman and poet Nijo Yoshimoto. Nijo was renowned for his skill as a Renga and taught Zeami about literature, poetry, and philosophy. This type of education was very unusual for an actor: due to their lower-class backgrounds, actors received little education. Zeami received patronage in 1374, which

1215-530: The extent of his personal interest in Zen. The exact number of plays that he wrote is unknown, but is likely to be between 30 and 50. He wrote many treatises about Noh, discussing the philosophy of performance. These treatises are the oldest known works on the philosophy of drama in Japanese literature, but did not see popular circulation until the 20th-century. After the death of Yoshimitsu, his successor Ashikaga Yoshimochi

1260-592: The festivals of Setsubun Mantoro (February 3) and Chugen Mantoro (August 14–15), three thousand shrine lanterns are all lit at once. The Setsubun Mantoro refers to the celebration of the seasonal shift from winter to spring while the Chugen Mantoro relates to the transition of summer to fall. They both take place in order to celebrate the Obon and Setsubun holidays in Japanese culture. At Kasuga Grand shrine, people are seen writing and attaching their wishes, or ema , to

1305-436: The form of rare manuscripts. There are few extant biographical documents of Zeami, the lack of solid information about his life has led to a significant amount of speculation. Some common themes in the speculation are that Zeami could have been a spy, a Ji sect priest, or a Zen master. Zeami's treatises were not widely available after his death; only the upper-class warriors were able to gain access to them. In 1908, several of

1350-492: The lanterns before lighting them during both festivals. Additionally, it is said that tossing dried beans at these times will ward off bad luck in the future. March 13 is the Kasuga Matsuri, a local festival which features the dances of gagaku and bugaku . Shinto women perform traditional Japanese Yamato-mai dances that date back to the Heian and Nara periods . This festival also holds a horse celebration which consists of

1395-716: The lyrics. The number of plays that he wrote is uncertain, and is estimated to be around 50 or 60. His intellectual interests were eclectic and he was a proficient writer of Renga. The Tale of the Heike was the source of several of his best known plays. He integrated Japanese and Chinese ancient poetry into his drama. Contemporary dramatists Doami and Zoami had a significant influence on him, earning recognition in his treatises. He spoke particularly well of Zoami, but his shift toward Yugen and away from Monomane may have been because of Doami's influence. He mixed popular dance, drama, and music with classical poetics and thus broadened and popularized

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1440-506: The main Honshu island. The troupe moved to Yamato and formed the Yuzaki theater company, which would become the school of Noh theater. He grew in popularity and began making trips to Kyoto to give performances. In 1374, the shōgun Ashikaga Yoshimitsu was in the audience of a performance and was so impressed by it that he became Kan'ami's patron. Kan'ami was the first playwright to incorporate

1485-445: The name of its main hall ( honden ) known as Kasuga-zukuri . The shrine complex is protected by four cloisters and contains a main sanctuary, treasure house, several different halls, and large gates. One beautiful aspect of this shrine is the many wisteria trees known as " Sunazuri-no-Fuji " that bloom in late April and early May. This shrine is also home to over 3,000 lanterns which are made of either stone or bronze. An entire hall

1530-517: The spring. Like Kasuga Matsuri , attendants can see kagura performances along with a procession in traditional attire. Kasugayama Primeval Forest is primeval forest of about 250 hectares (620 acres) near the summit of Kasugayama (498 metres (1,634 ft)), and contains 175 kinds of trees, 60 bird types, and 1,180 species of insects. In this area adjacent to Kasuga Grand Shrine, hunting and logging have been prohibited since 841 CE. Because Kasugayama has long been tied to Kasuga Grand Shrine worship, it

1575-968: The theory that Zeami was a restorationist. In 1967, the Kanze-Fukudu genealogy was found and gave credence to the idea that politics contributed to Yoshinori's treatment of Zeami. The genealogy showed that a brother of Zeami's mother was a supporter of the southern court against the Ashikaga Shogunate. Yoshinori is sometimes seen as eccentric, and it has been speculated that he punished Zeami because he did not enjoy his performances. (Yoshinori preferred colorful plays that involved actors portraying demons; these types of plays were seldom found in Zeami's repertoire.) Yoshinori, who enjoyed Monomane, preferred Onnami, as his performances included demons. Zeami had been close with his Onnami and they had performed together. Zeami had been unsure whether any of his sons would be able to lead

1620-400: The treatises were discovered at a used books store in Japan. They gained wider circulation after this discovery but a complete set was not published until 1940. Zeami's plays have been continually performed in Japan since they were first written. A crater on the planet Mercury was named after Zeami in 1976. Kan%27ami Kan'ami Kiyotsugu ( 観阿弥 清次 , 1333 – June 8, 1384) was

1665-470: The troupe after his death, so he paid special attention to Onnami's development. Motomasa, however, began to lead the troupe in 1429. That year, though Motomasa and Onnami each performed for Yoshinori during a 10-day festival Yoshinori forbade Zeami to appear at the Sentō Imperial Palace , possibly due to his refusal to provide Onnami with his complete writings. The next year, the music directorship of

1710-412: The troupes were traditionally hereditary. Zeami initially opposed Onnami's leadership of the troupe, but he eventually acquiesced. Zeami believed that his line had died with Motomasa, but Onnami felt that he continued the line. Zeami gave his completed works to Konparu Zenchiku , rather than to Onnami. In 1434, Zeami was exiled to Sado Island. He completed his last recorded work two years later, providing

1755-403: Was indifferent to Zeami and preferred the dengaku work of Zoami, Zeami's career remained strong due to his connections with the urban commercial class. Due to his status as a well respected public figure, he had access to a number of patrons. He eventually reached the stature of a celebrity and wrote a significant amount between 1418 and 1428. Authorship of noh plays is a complex issue and often

1800-525: Was introduced to Yoshimitsu's court and was provided with an education in classical literature and philosophy while continuing to act. In 1374, Zeami received patronage and made acting his career. After the death of his father in 1385, he led the family troupe, a role in which he found greater success. Zeami mixed a variety of Classical and Modern themes in his writing, and made use of Japanese and Chinese traditions. He incorporated numerous themes of Zen Buddhism into his works and later commentators have debated

1845-473: Was less favorable to Zeami's drama. Zeami successfully sought out patronage from wealthy merchants and continued his career under their support. He became well-known and well-respected in Japanese society. Ashikaga Yoshinori became hostile toward Zeami after becoming Shōgun in 1429. Yoshinori held Zeami's nephew Onnami in high regard, and disagreed with Zeami's refusal to declare Onnami his successor as leader of his troupe. Possibly due to this disagreement, though

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1890-430: Was then an uncommon honor for an actor. Patronage allowed him to become a vocational artist and he began to lead the troupe after his father's death in 1385. The troupe became successful during his tenure as a leader. While leading the troupe, he wrote the first Japanese treatises on pragmatic aesthetics. Zeami adhered to a formalist writing process: he began with a topic, determined the structure, and finished by writing

1935-564: Was traditionally passed down between generations. He desired to facilitate this process to ensure continued patronage for the troupe. Zeami wrote several treatises on drama, the first of which was the Fūshikaden ( 風姿花伝 , "The Transmission of the Flower Through (a Mastery of) the Forms", more loosely "Style and the Flower") , known colloquially as Kadensho ( 花伝書 , "The Book of Transmission of

1980-540: Was very powerful politically and was a patron of the arts. He was impressed by the troupe, and patronized Kanami. The troupe began to focus on the entertainment value of performance, rather than its religious significance. It had been a form of entertainment associated with the country, but with Yoshimitsu's support it became associated with the upper class. The Shōgun was highly attracted to Zeami, which proved controversial among aristocrats because of Zeami's lower-class background. Yoshimitsu regularly invited Kanami and Zeami to

2025-417: Was written later and describes Zeami's personal views. Though Fushikaden discusses flowers at length, Kakyo deals with spiritual beauty and contains discourses on the voice of the actor and the actors' minds. A possible interest in Zen has been credited with this shift by some scholars. The change in his age between his first and last works also appears to have significantly affected his perspective. He spent

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