Ukigumo Mon-iri Yaegaki Itomagoi Suegiri Suodori Suodori Suodori Suodori Suodori Sonkyo Men Tsuki Men-nuki-doh Hiki-men TEMAE TEMAE TEMAE TEMAE TEMAE Shaho Shaho Shaho Shaho Shaho Tekki Shodan Bassai Dai Kanku Dai Enpi Jion Shun-Ka-Shuu-Toh Dou Sora Aoi no Ue Aoi no Ue Aoi no Ue Aoi no Ue Aoi no Ue

Effective counterattack skill (ouji-waza) when a swordsman (“you”) is besieged in a weak fighting position. With many comrades tightly packed into a small space, one fighter who sits on your right side, separated from you by a friend, betrays you and attempts to strike you with his sword. As the attacker sneaks in and tries to grab your sword handle from the front, you prevent this by standing up, leaving your opponent hidden behind your friend. Using your sword handle to push your friend to safety while unsheathing your sword, you strike the attacker’s shoulder with your weapon, slashing him toward your right knee, and deliver the coup de grâce. (Description by Mr. Machii.)

Situation in which a swordsman (“you”) is sandwiched between various adversaries while passing through a gate (mon). Unsheathing your sword, you stab an adversary from the front in his chest, then pivot to the rear, holding your sword aloft, and cut down another adversary from behind. Then you spin forward again and cut down the adversary in front to finish him off.

This kata teaches you to unsheathe your sword and prevent it from striking the beam of the gate above you, as well as use your hip joint to extend your stride and keep your body lower in level, so you can hold your sword as low as possible while keeping it aloft. (Description by Mr. Machii.)

Situation in which a swordsman (“you”) kills an adversary seated before you. First, you attack your opponent on the temple with your sword tip. However, your opponent quickly dodges your first blow and retreats. Then, you chase and attack him. You sheathe your sword while expecting your adversary to strike back. As foreseen, your opponent tries to strike your left leg with his sword while he is lying down. You maneuver your body in sune-gakoi form to block this leg attack and position your sword before your body. You turn your sword in the correct direction to parry your opponent’s sword thrust, and then hold your sword aloft, swing it downwards, and deliver the coup de grâce. (Description by Mr. Machii.)

In this situation, a retainer who disobeyed his lord sits facing a seated messenger, who must be his executioner. The situation is tense since the retainer understands that the messenger has come to kill him. When the messenger delivers his greeting, he instantly unsheathes his sword and kills the disobedient retainer. If the retainer is lower in social rank, the messenger unsheathes his sword immediately after a silent bow; if their ranks are equal, the messenger places his left hand and then his right hand on the floor before unsheathing his sword; if the retainer’s rank is higher, the messenger places both hands on the floor before unsheathing his sword. Thus, there are three different patterns in this kata. (Description by Mr. Machii.)

This technique (batto-jutu) uses a real sword (shinken) to cut bundled straw (a rolled tatami mat) standing unsupported on the floor without knocking it over. If a sword swing achieves sufficient speed and power, the blade can slice through a bamboo tree or a sheaf of straw. However, unless the sword edge is properly controlled, the blade can be bent or the edge nicked. Since it is virtually impossible to cut sheaves without support while keeping them standing still, the swordsman must simultaneously fulfill three technical requirements in body action (karada-sabaki), swift sword motion, and subtle 0.1° adjustment of the sword edge. The purpose of suegiri is not to cut objects but to provide training in correct sword grip and motion. (Description by Mr. Machii.)

A masterpiece of Nihon buyo, Kyoganoko Musume Dojoji is a sequel to The Legend of Anchin and Kiyohime. The original drama depicted beautiful Kiyohime, who loved the ascetic monk Anchin so much that she transformed into a giant fire-breathing serpent, burning Anchin to death when he hid in the bell of Dojoji temple. As the sequel begins, Dojoji temple determines at last to dedicate a new bell. A beautiful court dancer (shirabyoshi) called Hanako appears, seeking to worship the bell although women are forbidden to enter the temple. After much discussion, the young monks agree to let her perform in honor of the bell and admit Hanako to the temple. The monks eventually realize their mistake — but too late. Gliding close to the bell in a dance that reveals her changing form and feelings, Hanako finally stands atop the bell, disclosing her identity as the incarnation of Kiyohime. Cherry blossoms adorn the scene and the “Mari-uta” song accompanies the pretty young woman as she gathers sakura petals and dances like a child playing with a temari ball. If the play is in full stage regalia, watching costume changes is a highlight of the event; if presented in suodori, dance roles are shown in movements of hands, fingertips, and facial angles. Kyoganoko Musume Dojoji is performed on the kabuki stage as shosagoto (dance-style play), and a noh program called Dojoji covers a similar story.

A masterpiece of Nihon buyo, Kyoganoko Musume Dojoji is a sequel to The Legend of Anchin and Kiyohime. The original drama depicted beautiful Kiyohime, who loved the ascetic monk Anchin so much that she transformed into a giant fire-breathing serpent, burning Anchin to death when he hid in the bell of Dojoji temple. As the sequel begins, Dojoji temple determines at last to dedicate a new bell. A beautiful court dancer (shirabyoshi) called Hanako appears, seeking to worship the bell although women are forbidden to enter the temple. After much discussion, the young monks agree to let her perform in honor of the bell and admit Hanako to the temple. The monks eventually realize their mistake — but too late. Gliding close to the bell in a dance that reveals her changing form and feelings, Hanako finally stands atop the bell, disclosing her identity as the incarnation of Kiyohime. Cherry blossoms adorn the scene and the “Mari-uta” song accompanies the pretty young woman as she gathers sakura petals and dances like a child playing with a temari ball. If the play is in full stage regalia, watching costume changes is a highlight of the event; if presented in suodori, dance roles are shown in movements of hands, fingertips, and facial angles. Kyoganoko Musume Dojoji is performed on the kabuki stage as shosagoto (dance-style play), and a noh program called Dojoji covers a similar story.

A masterpiece of Nihon buyo, Kyoganoko Musume Dojoji is a sequel to The Legend of Anchin and Kiyohime. The original drama depicted beautiful Kiyohime, who loved the ascetic monk Anchin so much that she transformed into a giant fire-breathing serpent, burning Anchin to death when he hid in the bell of Dojoji temple. As the sequel begins, Dojoji temple determines at last to dedicate a new bell. A beautiful court dancer (shirabyoshi) called Hanako appears, seeking to worship the bell although women are forbidden to enter the temple. After much discussion, the young monks agree to let her perform in honor of the bell and admit Hanako to the temple. The monks eventually realize their mistake — but too late. Gliding close to the bell in a dance that reveals her changing form and feelings, Hanako finally stands atop the bell, disclosing her identity as the incarnation of Kiyohime. Cherry blossoms adorn the scene and the “Mari-uta” song accompanies the pretty young woman as she gathers sakura petals and dances like a child playing with a temari ball. If the play is in full stage regalia, watching costume changes is a highlight of the event; if presented in suodori, dance roles are shown in movements of hands, fingertips, and facial angles. Kyoganoko Musume Dojoji is performed on the kabuki stage as shosagoto (dance-style play), and a noh program called Dojoji covers a similar story.

A masterpiece of Nihon buyo, Kyoganoko Musume Dojoji is a sequel to The Legend of Anchin and Kiyohime. The original drama depicted beautiful Kiyohime, who loved the ascetic monk Anchin so much that she transformed into a giant fire-breathing serpent, burning Anchin to death when he hid in the bell of Dojoji temple. As the sequel begins, Dojoji temple determines at last to dedicate a new bell. A beautiful court dancer (shirabyoshi) called Hanako appears, seeking to worship the bell although women are forbidden to enter the temple. After much discussion, the young monks agree to let her perform in honor of the bell and admit Hanako to the temple. The monks eventually realize their mistake — but too late. Gliding close to the bell in a dance that reveals her changing form and feelings, Hanako finally stands atop the bell, disclosing her identity as the incarnation of Kiyohime. Cherry blossoms adorn the scene and the “Mari-uta” song accompanies the pretty young woman as she gathers sakura petals and dances like a child playing with a temari ball. If the play is in full stage regalia, watching costume changes is a highlight of the event; if presented in suodori, dance roles are shown in movements of hands, fingertips, and facial angles. Kyoganoko Musume Dojoji is performed on the kabuki stage as shosagoto (dance-style play), and a noh program called Dojoji covers a similar story.

A masterpiece of Nihon buyo, Kyoganoko Musume Dojoji is a sequel to The Legend of Anchin and Kiyohime. The original drama depicted beautiful Kiyohime, who loved the ascetic monk Anchin so much that she transformed into a giant fire-breathing serpent, burning Anchin to death when he hid in the bell of Dojoji temple. As the sequel begins, Dojoji temple determines at last to dedicate a new bell. A beautiful court dancer (shirabyoshi) called Hanako appears, seeking to worship the bell although women are forbidden to enter the temple. After much discussion, the young monks agree to let her perform in honor of the bell and admit Hanako to the temple. The monks eventually realize their mistake — but too late. Gliding close to the bell in a dance that reveals her changing form and feelings, Hanako finally stands atop the bell, disclosing her identity as the incarnation of Kiyohime. Cherry blossoms adorn the scene and the “Mari-uta” song accompanies the pretty young woman as she gathers sakura petals and dances like a child playing with a temari ball. If the play is in full stage regalia, watching costume changes is a highlight of the event; if presented in suodori, dance roles are shown in movements of hands, fingertips, and facial angles. Kyoganoko Musume Dojoji is performed on the kabuki stage as shosagoto (dance-style play), and a noh program called Dojoji covers a similar story.

As shown in its kanji, sonkyo means “to crouch by bending the knee joints to lower the body center” — a form of salute in kendo and sumo. Sonkyo allows a fighter to amplify ki (spiritual force) and adjust ki (flow of awareness) to that of an opponent at the beginning of a bout. The fighter starts in chudan-no-kamae (mid-level position), displays sonkyo in a crouching posture, and then rises to a standing position.

This term for a protective helmet face guard also refers to a basic technique of striking the men (head) above the temples.

Tsuki-tare (throat protector) hangs from the men (helmet face guard). Tsuki is a basic technique of stabbing the center of the tsuki-tare. (This move is barred for those younger than senior-high-school age.)

When an opponent attempts to strike a fighter’s men (head) with the shinai, the fighter dodges without using the shinai and strikes the opponent’s doh (torso).

When fighters are in tsuba-zeriai position (closely deadlocked), one fighter pulls back and quickly strikes the opponent’s men (head).

In a tearoom where guests wait, water is boiled in a kama (kettle) placed on the furo (brazier), which makes the sound of shorai (winds passing through pine trees) to entertain the waiting visitors. The teishu (host) brings tea ceremony utensils into the tearoom — a natsume (small lidded tea caddy) in which matcha (powered green tea) is stored, a chawan (teabowl) holding a chakin (small linen teacloth) and a chasen (tea whisk), with a chashaku (tea scoop) placed on the right side of the top. The teishu leaves the set of tea utensils, exits the room once, and reenters with the kensui (waste water receptacle).

The teishu who sits in place begins cleaning utensils. The host takes a fukusa (silk cloth / crepe wrapper) from his/her obi (belt) and uses it to formally wipe and clean the natsume and chashaku, and then takes the hishaku (bamboo ladle) to pour a scoop of hot water into a chawan for cleaning the chawan and chasen. The teishu now picks up the natsume of matcha and opens the lid. Two scoops of matcha are put into the chawan. The host places the lid back on the natsume and replaces the chashaku on top of the natsume. The teishu uses the hishaku to draw a full-ladle scoop of hot water and then pour about a half-ladle scoop into the chawan, then picks up the chasen, and performs o-cha o tateru (whisking matcha powder in the hot water) to transform it into a frothy beverage. Ultimately, the teishu serves the chawan of tea to the shokyaku (guest of honor) sitting at the right side of the host.

In a tearoom where guests wait, water is boiled in a kama (kettle) placed on the furo (brazier), which makes the sound of shorai (winds passing through pine trees) to entertain the waiting visitors. The teishu (host) brings tea ceremony utensils into the tearoom — a natsume (small lidded tea caddy) in which matcha (powered green tea) is stored, a chawan (teabowl) holding a chakin (small linen teacloth) and a chasen (tea whisk), with a chashaku (tea scoop) placed on the right side of the top. The teishu leaves the set of tea utensils, exits the room once, and reenters with the kensui (waste water receptacle).

The teishu who sits in place begins cleaning utensils. The host takes a fukusa (silk cloth / crepe wrapper) from his/her obi (belt) and uses it to formally wipe and clean the natsume and chashaku, and then takes the hishaku (bamboo ladle) to pour a scoop of hot water into a chawan for cleaning the chawan and chasen. The teishu now picks up the natsume of matcha and opens the lid. Two scoops of matcha are put into the chawan. The host places the lid back on the natsume and replaces the chashaku on top of the natsume. The teishu uses the hishaku to draw a full-ladle scoop of hot water and then pour about a half-ladle scoop into the chawan, then picks up the chasen, and performs o-cha o tateru (whisking matcha powder in the hot water) to transform it into a frothy beverage. Ultimately, the teishu serves the chawan of tea to the shokyaku (guest of honor) sitting at the right side of the host.

In a tearoom where guests wait, water is boiled in a kama (kettle) placed on the furo (brazier), which makes the sound of shorai (winds passing through pine trees) to entertain the waiting visitors. The teishu (host) brings tea ceremony utensils into the tearoom — a natsume (small lidded tea caddy) in which matcha (powered green tea) is stored, a chawan (teabowl) holding a chakin (small linen teacloth) and a chasen (tea whisk), with a chashaku (tea scoop) placed on the right side of the top. The teishu leaves the set of tea utensils, exits the room once, and reenters with the kensui (waste water receptacle).

The teishu who sits in place begins cleaning utensils. The host takes a fukusa (silk cloth / crepe wrapper) from his/her obi (belt) and uses it to formally wipe and clean the natsume and chashaku, and then takes the hishaku (bamboo ladle) to pour a scoop of hot water into a chawan for cleaning the chawan and chasen. The teishu now picks up the natsume of matcha and opens the lid. Two scoops of matcha are put into the chawan. The host places the lid back on the natsume and replaces the chashaku on top of the natsume. The teishu uses the hishaku to draw a full-ladle scoop of hot water and then pour about a half-ladle scoop into the chawan, then picks up the chasen, and performs o-cha o tateru (whisking matcha powder in the hot water) to transform it into a frothy beverage. Ultimately, the teishu serves the chawan of tea to the shokyaku (guest of honor) sitting at the right side of the host.

In a tearoom where guests wait, water is boiled in a kama (kettle) placed on the furo (brazier), which makes the sound of shorai (winds passing through pine trees) to entertain the waiting visitors. The teishu (host) brings tea ceremony utensils into the tearoom — a natsume (small lidded tea caddy) in which matcha (powered green tea) is stored, a chawan (teabowl) holding a chakin (small linen teacloth) and a chasen (tea whisk), with a chashaku (tea scoop) placed on the right side of the top. The teishu leaves the set of tea utensils, exits the room once, and reenters with the kensui (waste water receptacle).

The teishu who sits in place begins cleaning utensils. The host takes a fukusa (silk cloth / crepe wrapper) from his/her obi (belt) and uses it to formally wipe and clean the natsume and chashaku, and then takes the hishaku (bamboo ladle) to pour a scoop of hot water into a chawan for cleaning the chawan and chasen. The teishu now picks up the natsume of matcha and opens the lid. Two scoops of matcha are put into the chawan. The host places the lid back on the natsume and replaces the chashaku on top of the natsume. The teishu uses the hishaku to draw a full-ladle scoop of hot water and then pour about a half-ladle scoop into the chawan, then picks up the chasen, and performs o-cha o tateru (whisking matcha powder in the hot water) to transform it into a frothy beverage. Ultimately, the teishu serves the chawan of tea to the shokyaku (guest of honor) sitting at the right side of the host.

In a tearoom where guests wait, water is boiled in a kama (kettle) placed on the furo (brazier), which makes the sound of shorai (winds passing through pine trees) to entertain the waiting visitors. The teishu (host) brings tea ceremony utensils into the tearoom — a natsume (small lidded tea caddy) in which matcha (powered green tea) is stored, a chawan (teabowl) holding a chakin (small linen teacloth) and a chasen (tea whisk), with a chashaku (tea scoop) placed on the right side of the top. The teishu leaves the set of tea utensils, exits the room once, and reenters with the kensui (waste water receptacle).

The teishu who sits in place begins cleaning utensils. The host takes a fukusa (silk cloth / crepe wrapper) from his/her obi (belt) and uses it to formally wipe and clean the natsume and chashaku, and then takes the hishaku (bamboo ladle) to pour a scoop of hot water into a chawan for cleaning the chawan and chasen. The teishu now picks up the natsume of matcha and opens the lid. Two scoops of matcha are put into the chawan. The host places the lid back on the natsume and replaces the chashaku on top of the natsume. The teishu uses the hishaku to draw a full-ladle scoop of hot water and then pour about a half-ladle scoop into the chawan, then picks up the chasen, and performs o-cha o tateru (whisking matcha powder in the hot water) to transform it into a frothy beverage. Ultimately, the teishu serves the chawan of tea to the shokyaku (guest of honor) sitting at the right side of the host.

Ashibumi - After bowing to the kamiza (upper seats), the kyudoka enters the shooting area (shai). At the start, both feet are together, the bow is kept vertical, and the arrow, held horizontally at the level of the eyes, is nocked on the bowstring (tsuru). The kyudoka faces the target (mato) while carefully holding the upper body steady and opening a space between the feet. The angle between the two big toes pointing outward is approx. 60°, and standard distance between the feet is about half of body height.



Dozukuri - The lines of the shoulders, hips, and feet should be adjusted to be in parallel position while maintaining body posture so these three horizontal lines cross the vertical center line of the body at right angles. Tsurushirabe and noshirabe actions are then performed to calm the heart.

Yugamae - This stage includes three actions: first, torikake (hooking the right-hand thumb onto the bowstring while holding the arrow in place); second, tenouchi (holding the bow with the left hand and steadily maintaining the correct position); and third, monomi (facing the target and concentrating on the center).

Uchiokoshi - Positioning and adjusting both arms holding arrow and bow. While the arrow is grasped horizontally and the bow vertically, both fists are raised at a height over the head.

Hikiwake - The way of opening the bow. Rather than pulling the bowstring (tsuru), the bow is “opened” to the right and left with equal force by pushing and spreading the arms from the chest.



Kai - Correct form at the moment immediately before releasing the arrow, when the bow is firmly opened to one’s draw length (yazuka). The kyudoka aims at the target, placing the arrow on the cheek, and makes the string touch the chest. Once the form is established, the aim is held on the target, and waiting continues for the moment when the power of ki is stored deeply within the abdomen while breathing is quietly stabilized.

Hanare - This is the moment of arrow release from the state of kai.



Zanshin - The kyudoka stands watching the landing point of the arrow while holding the body motionless, without collapsing the posture. This is the end of Shaho-Hassetsu. Afterwards, the bow is lowered (yudaoshi), the face is turned back forward (monomigaeshi), and the space between the feet is closed. The kyudoka bows to the kamiza (upper seats) and leaves.

Kata characterized by lateral motion. The force generated by the sole of the foot treading on the ground is transferred to the upper body via the use of thighs and lower body. This kata teaches the most basic elements of karate.

Kata (written as “breaking a fortress”) noted for powerful force. Karateka learn to amplify body power through reactive energy from twisting and elastic motion using the whole body.

Kata begins with unique “sky observation” action. This kata teaches a stable sense of balance throughout a series of waza while changing body action in upper, lower, left, and right directions.

Kata (written as “swallow flight”) features swift nimble action — lowering and raising body level, and making turns while jumping. This kata teaches how to move the body lightly and airily while holding strong power within.

Kata featuring tranquil motion compared to Buddha. This appears simple but requires speed and power throughout a series of movements, which is extremely difficult.

This four-character-kanji signifies the four seasons. Over the years, Mr. Kakinuma has written this phrase thousands of times.

This character is the theme of the latest “Is Japan Cool? — Dou” issue. It has basic meanings of street, passage, route, etc., and also implies teaching, guidance, and principle. Moreover, it can signify a particular professional field.

Written in usu-zumi (thin ink), this character creates a bluish tone like the sky while showing beautiful gradations of ink bleed.

This noh drama borrows its theme from Genji Monogatari, the monumental-length Japanese novel about the princely hero Hikaru Genji, written in the early 11th century. The noh play features a former mistress of the lord Genji, called Rokujo no Miyasundokoro, in the main role (shite). The drama begins with a scene in which Hikaru Genji’s lawful wife called Aoi no Ue lies ill because she is haunted by a mononoke (evil spirit). In fact, this mononoke is Rokujo no Miyasundokoro, who became a monstrous onryo (living spirit) through jealousy for the lady Aoi no Ue.

Highlight of this drama is a one-on-one combat between the onryo Rokujo no Miyasundokoro and an ascetic monk who seeks to exorcise the onryo. The shite, who depicts the role of onryo in a terrifying mask, attacks the monk as he prays desperately, but is eventually defeated by the divine force of prayer, and the soul of the onryo goes to rest in peace. Once a beautiful high-ranking woman, Rokujo no Miyasundokoro went mad with jealousy, and is so miserable that the audience cannot help but pity her sadness and tears, expressed through the han’nya mask worn by the shite.

This noh drama borrows its theme from Genji Monogatari, the monumental-length Japanese novel about the princely hero Hikaru Genji, written in the early 11th century. The noh play features a former mistress of the lord Genji, called Rokujo no Miyasundokoro, in the main role (shite). The drama begins with a scene in which Hikaru Genji’s lawful wife called Aoi no Ue lies ill because she is haunted by a mononoke (evil spirit). In fact, this mononoke is Rokujo no Miyasundokoro, who became a monstrous onryo (living spirit) through jealousy for the lady Aoi no Ue.

Highlight of this drama is a one-on-one combat between the onryo Rokujo no Miyasundokoro and an ascetic monk who seeks to exorcise the onryo. The shite, who depicts the role of onryo in a terrifying mask, attacks the monk as he prays desperately, but is eventually defeated by the divine force of prayer, and the soul of the onryo goes to rest in peace. Once a beautiful high-ranking woman, Rokujo no Miyasundokoro went mad with jealousy, and is so miserable that the audience cannot help but pity her sadness and tears, expressed through the han’nya mask worn by the shite.

This noh drama borrows its theme from Genji Monogatari, the monumental-length Japanese novel about the princely hero Hikaru Genji, written in the early 11th century. The noh play features a former mistress of the lord Genji, called Rokujo no Miyasundokoro, in the main role (shite). The drama begins with a scene in which Hikaru Genji’s lawful wife called Aoi no Ue lies ill because she is haunted by a mononoke (evil spirit). In fact, this mononoke is Rokujo no Miyasundokoro, who became a monstrous onryo (living spirit) through jealousy for the lady Aoi no Ue.

Highlight of this drama is a one-on-one combat between the onryo Rokujo no Miyasundokoro and an ascetic monk who seeks to exorcise the onryo. The shite, who depicts the role of onryo in a terrifying mask, attacks the monk as he prays desperately, but is eventually defeated by the divine force of prayer, and the soul of the onryo goes to rest in peace. Once a beautiful high-ranking woman, Rokujo no Miyasundokoro went mad with jealousy, and is so miserable that the audience cannot help but pity her sadness and tears, expressed through the han’nya mask worn by the shite.

This noh drama borrows its theme from Genji Monogatari, the monumental-length Japanese novel about the princely hero Hikaru Genji, written in the early 11th century. The noh play features a former mistress of the lord Genji, called Rokujo no Miyasundokoro, in the main role (shite). The drama begins with a scene in which Hikaru Genji’s lawful wife called Aoi no Ue lies ill because she is haunted by a mononoke (evil spirit). In fact, this mononoke is Rokujo no Miyasundokoro, who became a monstrous onryo (living spirit) through jealousy for the lady Aoi no Ue.

Highlight of this drama is a one-on-one combat between the onryo Rokujo no Miyasundokoro and an ascetic monk who seeks to exorcise the onryo. The shite, who depicts the role of onryo in a terrifying mask, attacks the monk as he prays desperately, but is eventually defeated by the divine force of prayer, and the soul of the onryo goes to rest in peace. Once a beautiful high-ranking woman, Rokujo no Miyasundokoro went mad with jealousy, and is so miserable that the audience cannot help but pity her sadness and tears, expressed through the han’nya mask worn by the shite.

This noh drama borrows its theme from Genji Monogatari, the monumental-length Japanese novel about the princely hero Hikaru Genji, written in the early 11th century. The noh play features a former mistress of the lord Genji, called Rokujo no Miyasundokoro, in the main role (shite). The drama begins with a scene in which Hikaru Genji’s lawful wife called Aoi no Ue lies ill because she is haunted by a mononoke (evil spirit). In fact, this mononoke is Rokujo no Miyasundokoro, who became a monstrous onryo (living spirit) through jealousy for the lady Aoi no Ue.

Highlight of this drama is a one-on-one combat between the onryo Rokujo no Miyasundokoro and an ascetic monk who seeks to exorcise the onryo. The shite, who depicts the role of onryo in a terrifying mask, attacks the monk as he prays desperately, but is eventually defeated by the divine force of prayer, and the soul of the onryo goes to rest in peace. Once a beautiful high-ranking woman, Rokujo no Miyasundokoro went mad with jealousy, and is so miserable that the audience cannot help but pity her sadness and tears, expressed through the han’nya mask worn by the shite.