Ledia Runnels' "Mysteries of the Orient"

Year of the Water Dragon!

Chapter excerpt from “CHERRY JEWEL” Book Two of Legends of the Hengeyokai November 3, 2012


Chapter One

PROPHETIC DREAMER

He cried, it is both

a blessing and a curse to

know the awful truth…

–Tsuru no Megumi

The bird man flew low beneath stars that crackled like ice chips in the moonless sky. Expanding his wings, he glided on the jet stream, directing his flight a kilometer short of where the sandy embankment stretched on either side of the “Sea of Japan“. Dreading what he would find there, he closed his eyes and drew in a ragged breath while a single wish filled his thoughts.

Tonight, things will be different from all the nights before. Back the way they should be.

His greatest hope sprang from his greatest horror that the terrible revelations he remembered from previous journeys would turn out to be mere dreams dredged up from nightmares. Not a horrific foretelling of the future, as all of his most vivid visions always turned out to be.

Megumi Tsuru landed soft as a leaf blown by the wind. The current blew strong near the ground so it pulled his outstretched wings, snowy white with jet-black tips. The next instant, the fetid stench of dead fish, matted with decayed seaweed, assaulted his senses.

So it remains the same. He shook my head while anxiety washed over him like a dull film.

The voice of the sea thrummed in his ears. The gulls that chattered overhead seemed too loud. Still, he swallowed his sorrow, letting the crash of the waves soothe instead of annoy him while a different, yet familiar sensation burned deep inside his bones. It quickly blazed over and through him to the deepest regions beneath his feathers to the very tips of his claws and beak.

Moments later when he opened his eyes, he peered out from the smooth face–of a man. The warmth of a summer‘s night caressed his human body while an inner chill made him shiver.

He dug his toes into the sand, dry where it should be wet, next to a notched branch shoved into the sand when snow had covered the ground–over six months ago. He had put it there himself to mark the place where high tide used to hit the shoreline.

Now dried seaweed stuck cracked and black to the upper nodes of the branch severed from the sacred Sakai, the same tree that once hung with brightly colored cloth and a mirror to lure Sun from her cave hiding place millennia before.

From the defiled branch, Megumi made his way on foot toward the edge of the sea, his gaze focused on the sand near his feet. He could have flown, but he wanted to feel the tremors when they rumbled beneath him, shooting like a spear up his spine. The terrible sensation reminded him that this was more than a dream.

Megumi shook his head. The quakes grew in intensity each time he ventured to the devastated shore. Nothing could deny that.

He had read about a time, lost in the distant past, when the moon came so close to the Earth that it seemed the two colossal spheres would collide. From the account he had heard, the terrible phenomena caused cascading tons of ocean to eat away the shorelines, drowning everything that stood in the towering water’s path.

Most saw this event as pure mythology. But not Megumi.

The visions he saw now told of a time in the near future when the moon would take an opposite sojourn and slowly pull away from the Earth causing low tides to yank the oceans farther and farther away from the present shoreline. If this happened, the creatures of the sea would lie gasping for breath, helpless on dry land.

A grim smile tugged at Megumi’s lips. The meat eaters would find themselves stalking the shorelines for a mere glimpse of fresh food.

He shook his head in dismay. If things did not change for the better and soon, all of creation would face a slow agonizing death of starvation and worse. The Tribe of Crane included. But that was not the worst to come.

Pressure. Pressure.

His chest ached with frustration. The weight of what he knew, of what he must do squeezed like an invisible hand trying to crush out his existence–before the coming atrocities ever could.

He stopped at the edge of the sea, staring into the endless darkness beyond while cool salted water lapped around his ankles. Like a cold slap in his face, he could not get the image of the dried branch he had stuck in the ground or the heaps of dead fish piled up on the sand, reminding him that he must never give up his search for a way to stop it any of it from happening.

Megumi spun toward a mound of sand littered with decayed seaweed and fish carcasses. For one night, this bird had seen enough to make him miserable for eternity.

Head ducked low in determination; he trudged to the top of one rotten heap. Lifting his arms a wingspan apart the wind beat against his back, whipping his white hair, with jet black tips, into stiff, damp swirls. Nose tilted eastward toward the Brother Mountains, he took a running start. By the time he reached the edge of the dune his arms became wings spread open in flight…

***

In the Northern Province of Yamagata JapanMount Haguro stood the smallest of the three Brother Mountains. Nestled atop the summit the monastery slept. Tsuru no Megumi woke drenched in sweat. He felt the chill in the room as he slipped from beneath the covered sleeping mat.

Soft snoring drifted toward him. He paused, watching the sleeper beneath the colorful quilt. He wanted to wake his friend and tell him about the latest, terrible dream. Shojika would know how to ease the ache in Megumi’s heart even in the dark, cold hours before dawn. But courtesy would not allow him to disturb his friend’s precious sleep.

Head bowed in deep concentration, he turned and made his way through the darkened corridor of the living quarters. In his human form, man‘s feet pattered softly against the rice rush floors.

Situated at the backside of the monastery, Megumi stepped into the library where he spent long hours poring over ancient manuscripts of Nippon history and what others would call folklore. A place of profound peace, Megumi knew the library as a refuge from the insanity and chaos that the visions brought. Today, he went to there, desperate to find answers.

Tsuru no Megumi, “Crane of Mercy”, was the meaning of his name. And for the most part, he lived up to the title. With the abilities of a powerful seer since a very young age, he had grown accustom to knowing the future before it happened.

The outside world held in great demand one with such a “talent” as he possessed. But the over stimulation of attention he received in the past had almost driven him mad. It was the reason he now hid in the Mountains of Dewa where he had lived a quiet life—until the recent visions came to bombard his peace of mind.

He made his way toward cubbyholes that covered every wall, filled with rice paper scrolls. He stopped at a familiar niche.

A gentle slick gave way as he pulled a paper scroll loose from its slot and then made his way to a low-standing tea table. He knelt on a floor pillow tucked beside a tea table that sat beneath a round skylight, like a perfect full moon, that hung near the top of the high-beamed ceiling. Outside the window, the branches of a towering cryptomeria spruce scritch-scratched against the glass pane where the sun’s light had yet to rise.

Continued…

Enjoy!

 

The Future of Washi (Paper) January 17, 2012


Washi paper

Washi cufflinks

Image by craftapalooza via Flickr

Washi paper brooch
Image by craftapalooza via Flickr

Here is the last installment from the article entitled: World Papers and Washi. In the reference section of this blog post, you can find the link to the parent site from which this article was printed in full.

Located below, find other sections under this title posts previously under the blog, Mysterious Japan.

The Discovery of Paper: http://lediarunnels27221219.wordpress.com/2012/01/14/the-discovery-of-paper/

The Development of Japanese Washi: http://lediarunnels27221219.wordpress.com/2012/01/15/the-development-of-japanese-washi/

Washi and Its Reputation: http://lediarunnels27221219.wordpress.com/2012/01/16/washi-and-its-reputation/

■Old yet new: the future of washi
 Today’s information society has raised a number of issues relating to the future of paper. Despite the growth of new electronic media, the consumption of paper is increasing, which in turn has led to such environmental problems as reductions in forest resources and increased waste. Washi has also had to face the power of economics. Having been replaced in many households by plastic utensils, it retains its unique raison d’ere largely in traditional events and in the hobbies that enrich people’s spiritual lives. Fortunately, there has been renewed interest in the aesthetic values of washi. Paper’s versatility has been highlighted by the increased popularity of the material as a new art medium. Originating in the United States and quickly spreading to the rest of the world, this type of art regards paper as more than a flat surface to be worked upon. Instead, paper fiber is considered an art material in itself and a catalyst for the creative process. Other materials may be integrated with the pulp to form three-dimensional shapes that may be further folded, dyed or torn. Techniques such as collage, assemblage, flottage and papier-colle(the pasting of newspaper or wallpaper) are also used. Combining paper with fabric, leather, metals, and other materials in new and uninhibited ways has been accepted by artists worldwide as a new field of plastic art, and through this, washi has once again become a focus of attention. The plastic art of paper has deep roots in Japan, where paper itself is appreciated as a work of art. Dyed paper in a range of colors, sukimoyo-gami (where the pattern is an internal part of the paper itself and is created during the formation process), paper  incorporating flowers and plants, paper folded or cut into shapes, crumpled paper, and paper strings – wide variety of paper products are made into both furniture and furnishings to add convenience and beauty to life. It might also be noted that Japan’s recycling of waste paper began in the eighth century. As people rediscover the beauty of antique folding fans, round fans, paper lanterns, paper-shaded table lamps, bamboo and paper umbrellas, papered sliding doors and screens, standing screens, and other paper products, these articles serve as a source of modern motifs for interior decoration and installations. Washi is a highly suitable material for these projects because of its strength, and the paper used can be recycled. Some have even named this new trend of paper art “the renaissance of paper” Plants thrive as long as water, carbon dioxide, nutrients and sunlight are available. They also provide all living things with the oxygen needed for life. After being consumed, they revert to their origins, water and carbon dioxide. With this cycle in mind, we should change our way of thinking from one of casually using paper because it is available to one of using paper for purposes only paper can meet. Furthermore, in addition to promoting forestation projects, research must be conducted into the use of such non-wood materials as kenaf, an annual plant native to India and other parts of the world, and how to deal with lignin, a natural substance contained in plants that breaks down paper and thus is an unneeded byproduct. Japan’s history of respect for paper and artistic use of paper offers suggestions for the future.

Enjoy!

References: 

Old Yet New: The Future of Washi:  http://www.kippo.or.jp/e/culture/washi/world/06.html

 

Washi and Its Reputation January 16, 2012


Nederlands: Kusumoto Taki (1807-1865), alias S...

Image via Wikipedia

Washi paper is interesting, beautiful, fun to make and an art form with many possibilities.

Here is the third installment of “Living with Washi”. Links to the other two posts are here:

“The Development of Washi”: http://lediarunnels27221219.wordpress.com/

The Discovery of Paper”:  http://lediarunnels27221219.wordpress.com/2012/01/14/the-discovery-of-paper/

In the Reference section (below) of this blog post, you can find the link to the parent site from which this article was printed in full.

Robert C. Williams Paper Museum A tool for mak...

Image via Wikipedia

Robert C. Williams Paper Museum A tool for mak...
Image via Wikipedia
■Washi and its reputation
 Towards the middle of the 16th century, Luis FROIS, a Portuguese missionary, lived in Japan and later published a book about Japanese history based on his experience. In 1590, the first Japanese book using movable type, the Christian Edition, was published on gampi paper. This paper was more beautiful and durable than any paper Europeans had known and they called it “plant parchment”. A Japanese-Portuguese dictionary of this period includes the names of many kinds of Japanese paper, demonstrating the extent of its interest to westerners. The Netherlands gained independence in the late 16th century and at the same time began trading with Japan. After the Edo (Tokugawa) shogunate adopted its policy of isolation, only the Netherlands was allowed contact with the country, and the offices of Dutch merchants in Nagasaki were Japan’s only window of trade with the outside world. When the Dutch painter Rembrandt harmensz VAN RIJN noticed that the paper wrapping lacquerware from Japan was both durable and beautiful, he immediately placed an order for washi, using it to create many masterpieces of etching. These works received great acclaim, and through this attention Japanese paper became widely known.  Engelbert KAEMPFER, a German doctor on a Dutch ship, came to Japan in 1690 and observed Japan from the point of view of a natural historian. After returning home, he wrote the Amoennitalum Exoticarum. One chapter of this account, entitled “History of Japan”, served as a guide to Japan and Japanese paper. Carl Peter THUNBERG, a Swedish botanist who came to Japan in 1774, gave a detailed account of Japanese papermaking and its raw materials in his book on the flora of Japan. Philipp Franz VON SIEBOLD, a German doctor who came to Japan in the early 19th century, disseminated information on Japan upon his return to Europe. He also brought back with him a great deal of Japanese paper and numerous paper products. When Japan opened its borders in 1852, European nations sent delegates to establish diplomatic relations. Rutherford ALCOCK, the first British minister to Japan, praised washi when describing Japanese arts and crafts in his famous work, The Capital of the Tycoon. He encouraged the exhibition of Japanese products, including washi, at the World Exposition in London in 1862. Washi also attracted the attention of the world at the Paris Expo in 1867.

Enjoy!

References: 

Washi and its Reputation:   http://www.kippo.or.jp/e/culture/washi/world/04.html

 

The Development of Japanese Washi January 15, 2012


English: Cranes made by Origami (Washi paper)....

Image via Wikipedia

Wittig.collection.manuscript.01.japanese.art.s...
Washi paper (Sugihara paper)

Image via Wikipedia

Image via Wikipedia

Here is the second installment from the Washi Paper series. If you read the first post, “The Discovery of Paper” at http://lediarunnels27221219.wordpress.com/2012/01/14/the-discovery-of-paper/ .

In the reference section of this blog post, you can find the link to the parent site from which this article was printed in full.

Washi paper is not only an ancient art in Japan, but many beautiful art forms have come out of its use, such as creative wrappings for gifts, origami paper folding and intricate, paper dolls.

Making washi-paper-like projects are as easy as placing pieces of torn paper and water in a blender and then laying the wet pulp on a piece of screening and adding bits of flowers or other things as decoration. Here is a video to help you through the entire process. http://video.about.com/familycrafts/How-to-Make-Paper-With-Kids.htm

Enjoy!

World Papers and Washi

写真 Kozo楮
Kozo
写真 Gampi雁皮
Gampi
写真 Tororoaoi黄濁葵
Tororoaoi
写真 Noriutsugi糊空木
Noriutsugi

■The development of Japanese washi
Because of its location across the sea east of the coast of the Asian continent, Japan was influenced by China mainly by way of the Korean peninsula. Scripts and paper were first introduced to Japan in the fourth to fifth century, and these symbols of advanced civilization greatly influenced the thinking of the Japanese people. The subsequent introduction of Buddhism to Japan in the sixth century had a major impact. As part of its efforts to disseminate Buddhism, the government increased paper production for the transcription of sutras. People were encouraged to grow kozo, paper mulberry, as a raw material for paper, and Buddhist priests were invited from the Korean peninsula to introduce the new technology. During the high culture of the Tempyo period (eighth century), techniques to manufacture and process paper developed, and papermaking spread nationwide. As demands for paper grew, manufacturers looked for raw materials other than kozo to produce it and discovered gampi, a plant indigenous to Japan. This prompted the transition from the imitation of Chinese paper to the creation of washi, Japan’s own paper. Gampi fibers are delicate and have a natural viscosity, so although forming them into paper requires sophisticated techniques, the finished product is both beautiful and durable. A new method to make paper from hemp and kozo was invented in which the viscous mucilage of tororo-aoi (the root of a hibiscus plant) or noriutsugi bark was added. This method, established in the late eighth century to the ninth century, is today known as nagashizuki. In the Heian period (794-1185), a government – owned paper mill, or kamiyain, was established in Heiankyo (Kyoto), then the capital of Japan, to make paper for official use. The mill also dyed and processed paper and trained technicians. In addition to being used for sutras and official documents, the paper was also used for private correspondence and poetry, helping to promote the development of literature. Kana, or the Japanese syllabary, was invented from kanji, Chinese characters. A unique Japanese culture flourished, becoming free from the influence of the once predominant Chinese culture. With its abundant forests and clear streams, the Japanese environment was highly suited to papermaking, and the Japanese people, who respected nature and its cyclical changing of seasons, took pleasure in making fine papers and using them beautifully. By the time the government moved to Edo (now Tokyo), paper mills around the country were producing papers characteristic of each region. The common people used these papers widely and in this way paper became part of daily life, adding both convenience and beauty, and washi reached its zenith around the 17th century.
 

Furoshiki November 26, 2011


See filename. Size of the piece of cloth is 90...

Image via Wikipedia

Furoshiki is a Japanese custom, also called tsutsumi, that uses paper and large pieces of cloth to wrap gifts, presents and packages.

               Japanese Gift-wrapping and Furoshiki http://relache.hubpages.com/hub/art-of-japanese-gift-wrap

http://www.google.com/imgres?q=furoshiki+images&hl=en&nord=1&biw=1600&bih=775&tbm=isch&tbnid=fkr1jK2UuBSfRM:&imgrefurl=http://kyotofoodie.com/kyoto-furoshiki-karakusaya/&docid=CxaMrMfWjsrPpM&imgurl

http://www.google.com/imgres?q=furoshiki+images&hl=en&nord=1&biw=1600&bih=775&tbm=isch&tbnid=TQgvwtIF9edEKM:&imgrefurl=http://pingmag.jp/2006/04/04/furoshiki-preventing-garbage-through-traditional-wrapping/&docid=GTQ2D

imagehttp://greenupgrader.com/867/our-mottainai-furoshiki-video-turn-a-shawl-into-a-bag/

082806furoshiki.jpghttp://www.apartmenttherapy.com/chicago/how-to/how-tobe-a-furoshiki-expert-011994

More Images and Sites  http://www.google.com/search?q=fudoshiki+images&hl=en&nord=1&site=webhp&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=UnjRTrfpHYXisQLm4dnMDg&sqi=2&ved=0CB8QsAQ&biw=1600&bih=775#hl=en&nord=1&site=w

Image of Red Wolf Lunch Wrap Set (+ Napkin) http://www.luluwraps.com/

Instructional Videos for Clothe Furoshiki

Folded Flat Furoshiki http://www.youtube.com/watch?v=4Jgzst1SSdE

How to Tie a Furoshiki for a box( the video is in Japanese, but the directions are still easy to follow.  http://www.youtube.com/watch?v=Q41yzi8HZv0

Fudoshiki Wrapping Techniques http://www.youtube.com/watch?v=pQof_-tUNtY

Fudoshiki 1 Basic Knot and Wrapping http://www.youtube.com/watch?v=F74Dwe2BDFw&feature=related

Fudoshiki – Reusable Grocery Bag http://www.youtube.com/watch?v=QcqeeUur50k

Fudoshiki Purse http://www.youtube.com/watch?v=MPNr3ADd2uA

Fudoshiki Purse 2 http://www.youtube.com/watch?v=X8eYi8lLYyU

Related Links:

Inner Pacific: Fabulous Furoshiki  http://innerpacific.com/?p=810

 

Kanzashi July 3, 2011


Tea ceremony before Kamogawa Odori.

Kanzashi worn during Tea Ceremony

Kanzashi, hair ornaments, long hair pins are used in traditional Japanese hairstyles while wearing a kimono and as weapons in feudal times. Women of Samurai families used the 6 inch pins, easily concealed in their long hair that not only keep their long hair up, but also as a means of protection from assaults in times of war or from street thugs. The women were trained to use the long, sharp pins as a weapon. They could easily and swiftly remove them from their bundled hair, useful as an element of surprise to pierce an enemy’s throat or other vital organ. Typically used by women, a male samurai with long hair might also use the kansashi to hold his hair in place.

They first appeared during the Jomon Period as a single thin rod or stick. Kanzashi were considered to have mystical powers which could ward off evil spirits. During the Edo period, artisans began to produce more finely crafted products, including some hair ornaments which could also be used as defensive weapons. The craftsmanship reached a high point, with many different styles and designs being created. The most common uses of kanzashi in modern times are in Shinto weddings and use by geisha and maiko, apprentice geisha, and masters in the Japanese tea ceremony. They can also be found in ornmanta flower arrangement such as ikebana or used as an elegant touch to a business suit.

A geisha wears her kanzashi in different ways to indicate her status. Maiko usually wear more numerous and elaborate kanzashi than full-fledged geisha and progress through several hairstyles where the kanzashi must be worn in a fixed pattern.

Typical materials used to make kanzashi are lacquered wood, gold and silver-plated metal,  tortoiseshell, silk, and recently plastic. Early bakelite kanzashi are extremely collectible. Basic styles are complex hana (flower) and seasonal arrangements.

kanzashi 225x300 Kanzashi (Hair Ornaments)

File:Geisha-kyoto-2004-11-21.jpgFile:Maiko serving tea at Kitano Tenmangū 2011-02-25.jpg

Related Articles

Kanzashi     http://en.wikipedia.org/wiki/Kanzashi

Barbaraanne’s Hair Comb Blog     http://barbaraanneshaircombblog.com/2011/06/27/tortoiseshell-kanzashi/

Miriam Slater Kanzashi Collection:     http://kanzashicollector.com/home.html

Miriam Slater Collection: Tortoiseshell Kanzashi   http://barbaraanneshaircombblog.com/2011/06/27/tortoiseshell-kanzashi/

Kanzashi Core     http://www.vivcore.com/kanzashi_core.

Kanzashi: The Deadly Hairpin of the Samurai  htmlhttp://www.samuraiweapons.org/Kansashi_Samurai.php

Barbara’s Hair Comb Blog     http://www.google.com/imgres?imgurl=http://www.barbarasdreams.com/images/ebayblog/NovEbay/Nov-SilverKanzashi.jpg&imgrefurl=http://barbaraanneshaircombblog.com/2009/10/04/some-lo

Japanese Antiques/Japanese (Hair Ornaments) http://kagutou.com/2008/02/kanzashi-hair-ornaments.html

Kaboodle/Grand Sakura Kanzashi    http://www.kaboodle.com/reviews/grand-sakura-kanzashi

Forest Love/Memoirs of a Chinese Actress  http://forrestlove.blogspot.com/2011/05/memoirs-of-chinese-actress.html

Geisha     http://en.wikipedia.org/wiki/Geisha

 

Katsushika Hokusai Part IV “Kachô-e” June 26, 2011


Hokusai kacho-e

Katsushika Hokusai‘s studies of birds and flowers, an artistic genre called kachô-e, are the lesser known of all his works. Kachô-e were popular in the early eighteenth century (1720s-1750s) with the Torii school of print makers. Hokusai was the first to develop kachô-e as a truly independent theme for the single-sheet print format.

Hibiscus and Sparrow

Lilies - Katsushika Hokusai - www.katsushikahokusai.org

Lilies

Bell-Flower and Dragonfly - Katsushika Hokusai - www.katsushikahokusai.orgBell Flower and Dragonfly

Orange Orchids - Katsushika Hokusai - www.katsushikahokusai.org

Orange Orchids

Mount Fuji with Cherry Trees in Bloom - Katsushika Hokusai - www.katsushikahokusai.org

Mount Fuji with Cherry Tree

Plum Blossom and the Moon - Katsushika Hokusai - www.katsushikahokusai.org

Plum Blossom and the Moon

Cranes on a Snowy Pine - Katsushika Hokusai - www.katsushikahokusai.org

Cranes on a Snowy Pine

Peonies and Butterfly - Katsushika Hokusai - www.katsushikahokusai.org

Peonies and Butterfly

Poppies - Katsushika Hokusai - www.katsushikahokusai.org

Poppies

Branch of Plum - Katsushika Hokusai - www.katsushikahokusai.org

Branch of Plum

MORE

Attribution of Hokusai’s Kacho-e   http://www.viewingjapaneseprints.net/texts/topictexts/artist_varia_topics/hokusai3.html

 

The Art of Katsushika Hokusai Part II “Journey to the Waterfalls in All the Provinces” June 12, 2011


Hokusai, self portrait from 1839.

Hokusai, Self Portrait 1839 Image via Wikipedia

“Shokoku taki meguri” are woodblock prints created from views of the most famous waterfalls in Japan and published in 1832. These “Oban yoko-e prints are fluid and alive, contrasting the breathtaking  majesty of nature with the small and fragile human forms nearby. The idealistic images take the viewer to a place found in the vivid imagination of Katsushika Hokusai. So exquisite are the details that one can almost hear the tumbling water crash and roar as its foaming mass sprays the air and crawls over the rocks below .

Oban  is one of three popular print sizes, oban being 10 by 15 inches/25.4 by 38 centimeters in size. Yoko-e is used for a print in the landscape format. Other popular print sizes are  Chuban yoko-e, 7.5 inches by 10/19 centimeters by 25.5, and Aiban yoko-e, 9 by 3inches/22.5 by 34.5 centimeters.

“Kiyo Waterfall by the Kannon Shrine at Sakanoshita, Tokaido Road

“Roben at Oyama in Sagami Province

“Yoro Waterfall in Mino Province

“Amida Waterfall on the Kiso Road”

“Aoigaoka Waterfall in Edo

“The Falls at Ono on the Kiso Road”

“The Waterfall at Yoshino Where Yoshitsune Washed His Horse”

“Kirifuri Waterfall on Mount Kurokami in Shimotsuke Province

MORE

Visipix: A world center for visual inspiration  http://visipix.dynalias.com/search/search.php?u=2&userid=2082431059&searchmethod=tree&startsearch1=go

Viewing Japanese Prints/Katsushika Hokusai (1760-1849)  http://www.viewingjapaneseprints.net/texts/ukiyoetexts/ukiyoe_pages/hokusai_3falls.html

Artelino Japanese Prints     http://www.artelino.com/articles/japanese_print_sizes.asp

Fuji Arts/A Tour of Japanese Waterfalls (Shokoku taki meguri)     http://www.fujiarts.com/cgi-bin/encyclopedia.pl?page=hokusai_a_tour_of_japanese_waterfalls

Minamoto no Yoshitune     http://en.wikipedia.org/wiki/Minamoto_no_Yoshitsune

 

Dragons of the Orient “Hengeyokai” Shape-shifters April 9, 2011


Japanese Dragon shrine in Fujiyoshida.

Japanese Dragon Shrine in Fujiyoshida

The awesome Dragon of the orient is sacred, beautiful, and blessed with infinite wisdom and vast knowledge. They are playful by nature, but also have the capacity to destroy entire cities with one swipe of their mighty claws and terrifying magic. They are associated with wealth, water and wisdom. All humans desire wealth, whether they admit to it or not. Water is necessary to sustain life on Earth, and wisdom is something we all seek after.

The Dragons of the orient have long, thin bodies, covered in rainbow-hued scales that are strong as steel and magnificently beautiful to behold. They have no wings and instead can bound from the Earth to the Heavens in a single leap. Their heads resemble horses with great billowing whiskers, like a mighty tiger’s, sprouting from their lips. They hear through a pair of horns worn atop their heads like crowns.

When a Dragon of the orient speaks, their voice is like the jingling of coins, yet they possess a melodic quality unequaled by mortal musicians. Closely linked to the elements of water and air, they were originally created from the storms that lashed the earth a the beginnings of creation. In fact, these Dragons love storms so much that they play inside great typhoons. Their claws slash the ground along with the lightning that streaks from their eyes. Their breath creates great clouds that sail into the sky while rain is formed from the pressure of their feet squeezing water from the clouds as they climb into the sky. The wind itself comes from the passing of their breath as they move.

They are known for their wealth and their generosity with humans they are fond of. They are also known to pay unfathomable riches for the freedom to rule the skies. They are especially fond of pearls and will go to great lengths to gain possession of these gems of the sea. Many a human, who has gained favor with a Dragon of the orient, has been presented with pearls that possess magical abilities.

Their king is Ryu-Jin, the greatest and wealthiest of all the Dragons of the orient. Ryu-Jin’s palace is located at the bottom of the ocean, made from crystal and held upright by magnificent jade pillars, encompassed by walls laced with coral and, of course, pearls. Every day precious stones wash down into his palace from the mountains near the seashores. The stones are so numerous that they pile up like mounds of sand that mingle with great piles of magical trinkets and artifacts that litter his palace.

High in the mountains of the Orient is a secret place with a waterfall known as the Dragon Gate. This is the birthplace of all, but the first dragons and is said to lead to their magical domain.

Dragons can take human form and often come in the guise of a humble scholar. In this form, they have been known to sire children that may or may not have the capacity to shape-shift from human to dragon form. Though not all are born with this ability, they all are physically perfect with unblemished skin, sparkling green eyes and flowing black hair. And there is within them all some level of the Dragon’s magic.

MORE

File:Dragonn4.jpg

Japanese Dragon fountain in Hakone

 

Kiyohime changes from a Serpent, by Yoshitoshi...

Image via Wikipedia

Kiyohime changes from a Serpent, by Yoshitoshi Tsukioka

 

File:Tamatori being pursued bya dragon.jpgThe ama diver Princess Tamatori steals the Dragon King’s jewel, byUtagawa Kuniyoshi

File:One of the daughters of the dragon king who lives in then bottom of the sea.jpgThe Dragon King’s daughter, by Utagawa Kuniyoshi

File:Kunisada II The Dragon.jpgThe Buddha riding a sea-dragon, by Kunisada.

File:Kuniyoshi Utagawa, Dragon 2.jpgSea-dragon, by Utagawa Kuniyoshi

LINKS

AD&D Character Race:

Hengeyokaihttp://www.mjyoung.net/dungeon/char/race007.html

The World of Darkness Wiki: Hengeyokai

http://wiki.white-wolf.com/worldofdarkness/index.php?title=Hengeyokai

Wikipedia, the Free Encyclopedia: Yōkai

http://en.wikipedia.org/wiki/Y%C5%8Dkai

Wikipedia, the Free Encyclopedia: Japanese Dragon

http://en.wikipedia.org/wiki/Japanese_dragon

 

 
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