Sumo is a competitive contact sport where a wrestler (rikishi) attempts to force another wrestler out of a circular ring (dohyō) or to touch the ground with anything other than the soles of the feet. The sport originated in Japan, the only country where it is practiced professionally. The Japanese consider sumo a gendai budō(a modern Japanese martial art), though the sport has a history spanning many centuries. The sumo tradition is very ancient, and even today the sport includes many ritual elements, such as the use of salt for purification, from the days sumo was used in the Shinto religion. Life as a rikishi is highly regimented, with rules laid down by the Sumo Association. Professional sumo wrestlers are required to live in communal "sumo training stables" known in Japanese as heya where all aspects of their daily lives—from meals to their manner of dress—are dictated by strict tradition. Mawashi are worn by rikishi during their trainings or competitions.
For top, sekitori, a sumo wrestler who is ranked in one of the top two professional divisions: makuuchi and juryo.Currently there are 70 rikishi in these divisions...., ranked professional rikishi, Mawashi is made of silk.It is approximately in length when unwrapped, about two feet wide and weighs between eight and eleven pounds. It is wrapped several times around the rikishi and fastened in the back by a large knot. A series of matching colour, stiffened silk fronds, called sagari are inserted into the front of the mawashi. If these fall out during competition the gyoji, a Gyoji is a referee in professional sumo wrestling in Japan.
Sometimes, a rikishi may wear his mawashi in such a way as to give him some advantage over his opponent. He may wear it loosely to make it more difficult to be thrown or he may wrap it tightly and splash a little water on it to help prevent his opponent from getting a good grip on it. His choice will depend on the type of techniques he prefers to employ in his bouts. Thus a wrestler preferring belt sumo will usually wear it more loosely, while those preferring pushing techniques will tend to wear the mawashi more tightly.Many rikishi are superstitious and they will change the color of their mawashi to change their luck. Sometimes a poor performance will cause them to change colors for the next tournament, or even during a tournament, in an attempt to change their luck for the better.The rikishi only wear the silk mawashi during competitive bouts either during ranking tournaments or touring displays. During training a heavy cotton mawashi is worn.
For senior rikishi in the top two divisions (the so-called sekitori) this belt is coloured white, and it is worn with one end distinctively looped at the front. Sagari are not worn during training.Rikishi ranked in the lower divisions wear a black cotton mawashi both for training in and in competition. In competition cotton sagari are inserted into the belt, but these are not stiffened.Amateur sumo wrestlers are expected to wear a white cotton mawashi, without the looping accorded to the senior professional's training garb.If a wrestler's mawashi comes off during a tournament bout, he is automatically disqualified. This is of course extremely rare, but did occur in May 2000 when sandanme wrestler Asanokiri was embarrassed during a match with Chiyohakuho.
Showing posts with label Japanese art. Show all posts
Showing posts with label Japanese art. Show all posts
What's Japan Without Its' Pottery?
Most likely there is no country in the world with such a vibrant, rich, exciting and diverse ceramic culture than Japan. Literally the flames have been burning in Japan for more than 10,000 years from the very first ceramics ever made in the world, that being known as Jomon.
Today the potters of Japan turn out a myriad of styles and forms that run the gamut of lowly chopstick rests to high-end porcelain and stoneware sculptures that are highly sought after by private collectors and museums the world over. Looking at such works in books is a good way to learn about the styles, yet nothing can hold a flame to actually visiting the studios and kilns of the artists themselves.
Most traditional Japanese styles, such as Bizen, Karatsu or Mashiko, are located away from major cities and often in rural areas, such as Tamba. The journey to these areas is often filled with wonderful scenery, as the drive to Hagi is, and one’s imagination runs wild thinking of all the history that each potting center has rooted there. Often pottery towns have ceramic museums displaying the proud history of the area and these are often a good place to start a journey. One can see masterpieces and learn about processes that define what each style is, for all of the great ceramic traditions in Japan are defined by region and more specific the indigenous materials found only in that area. A Bizen jar, for example, is defined by the very specific clay of that area as can be said for all ancient potting centers. And that is one of the greatest aspects of the beauty of Japanese ceramic art, the way that materials—as well as the human hand-consciousness–create the uniqueness of each style.
Meeting the creators of Japan’s finest pottery is also a treasured encounter. One can see firsthand the studios and kilns as well as ask questions about inspirations, goals and technique. Often works are bought and sent back home as a daily reminder of the meeting and the great joy such works bring to the home is never-ending. And thus a visit to Japan’s magical kilns is a dream come true for any ceramic lover, whether one be a potter or a collector; so much to see, so much to experience with all the senses, so much to learn and appreciate, and so much to treasure as part of life’s journey.
Today the potters of Japan turn out a myriad of styles and forms that run the gamut of lowly chopstick rests to high-end porcelain and stoneware sculptures that are highly sought after by private collectors and museums the world over. Looking at such works in books is a good way to learn about the styles, yet nothing can hold a flame to actually visiting the studios and kilns of the artists themselves.
Most traditional Japanese styles, such as Bizen, Karatsu or Mashiko, are located away from major cities and often in rural areas, such as Tamba. The journey to these areas is often filled with wonderful scenery, as the drive to Hagi is, and one’s imagination runs wild thinking of all the history that each potting center has rooted there. Often pottery towns have ceramic museums displaying the proud history of the area and these are often a good place to start a journey. One can see masterpieces and learn about processes that define what each style is, for all of the great ceramic traditions in Japan are defined by region and more specific the indigenous materials found only in that area. A Bizen jar, for example, is defined by the very specific clay of that area as can be said for all ancient potting centers. And that is one of the greatest aspects of the beauty of Japanese ceramic art, the way that materials—as well as the human hand-consciousness–create the uniqueness of each style.
Meeting the creators of Japan’s finest pottery is also a treasured encounter. One can see firsthand the studios and kilns as well as ask questions about inspirations, goals and technique. Often works are bought and sent back home as a daily reminder of the meeting and the great joy such works bring to the home is never-ending. And thus a visit to Japan’s magical kilns is a dream come true for any ceramic lover, whether one be a potter or a collector; so much to see, so much to experience with all the senses, so much to learn and appreciate, and so much to treasure as part of life’s journey.
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