The Wish of Danjuro I, the Leading Kabuki Actor in the Edo Period

Danjuro I gained popularity by incorporating the rough Aragoto style into his kabuki performance, of which Shibaraku and Narukami are the most well-known. However, as he had yet to be blessed with an heir, he prayed fervently within Yakushido Hall, the main hall at Naritasan Temple at the time, that he be blessed with a child. Whereupon it is said his wife successfully became pregnant with their long-awaited first son.

"Tsuwamono Kongen Soga," in which He and His Son Played for Repaying the Divine Blessings from the Deity O-Fudo-sama

Danjuro I performed in Tsuwamono Kongen Soga at Nakamura-za together with his son. The performance is an expression of gratitude that his prayers to O-Fudo-sama for a son came true, and this was the first Kabuki performance based on the deity Fudo-Myoo. The performance was a big hit, and as a way of expressing his gratitude for that, he presented Naritasan Temple with a large sacred mirror. Also, as they appeared in the performance together, the Ichikawa family began using the Yago (house name) of "Naritaya."

The Beginnings of Naritasan Temple’s Exhibitions of Buddhist Images in Edo, and the Lauded "Funjin Fudo"

During the same period that Naritasan Temple was holding the first public exhibitions of Buddhist images in the Fukagawa area of Edo, the Kabuki play "Naritasan Funjin Fudo" was enjoying great popularity, with Danjuro I performing Taizokai Fudo and Danjuro II performing Kongokai Fudo. This was the point in time that all of Edo learned of the deep religious devotion of Ichikawa Danjuro, also known as Naritaya, as well as the miracles he received from O-Fudo-sama.

Danjuro II was said to have been "Born in Response to Prayers to Narita Fudo"

Danjuro II took the stage for the first time at the age of ten, and created the foundation for children's roles. Due to the death of his father, he succeeded the stage name of Danjuro at the young age of seventeen. He superbly performed everything from the rough Aragoto style to the gentler Wagoto style as in Sukeroku, and he was lauded as "Narita Fudo no Moshigo (A Child Born in Response to Prayers to Narita Fudo)."

Recovery from Illness due to Praying to O-Fudo-sama at Naritasan Temple

Danjuro II was no less faithful to the deity Fudo than his father, and in the same year that he succeeded the stage name Danjuro, he fasted at Naritasan Temple and prayed that his skills would improve. There are also many miraculous stories in which he was healed by praying in front of the main effigy whenever he had eye troubles and serious illnesses.

Danjuro VII, the Biggest Star in Edo Period Kabuki, Prays that He be Granted a Child

Danjuro VII succeeded the stage name Danjuro at the age of ten, and attained great popularity as the best actor of the time. He established the famous Kabuki Juhachiban (the 18 greatest plays in Kabuki), and he rejuvenated the family. Although he had many children, he had no sons, and so he prayed to O-Fudo-sama at Naritasan Temple that he be granted a child.

The Last Danjuro of the Edo Period was Born Thanks to a Divine Blessing from O-Fudo-sama

The wish of Danjuro VII to be granted a child came true, and a long-awaited heir was born. He was so happy that he introduced the child on stage a month after his birth. The son succeeded the stage name Danjuro at the age of ten, and became the last Danjuro of the Edo period. He was also widely considered a handsome man.

Danjuro VIII Prays to O-Fudo-sama to Save his Father, who had been Exiled from Edo

The extravagant lifestyle of Danjuro VII violated bans put in place by the Tenpo Reforms, and he was banished from Edo and its outskirts. The Naritasan Temple sheltered the exiled Danjuro VII for the next eight years in Enmeiin, one of Naritasan Temple’s branch temples. Danjuro VIII prayed to O-Fudo-sama that his father be acquitted, and in December of 1849, his father’s exile was lifted. This act of filial piety became known far and wide, and it led to an increase in popularity for Danjuro VIII.

The "Reception Area" Where He Entertained Visitors Himself

Danjuro VII dedicated 1,000 ryo, a large sum of money at the time, and donated the Mimasu to the temple. At the front of the Gakudo (display hall), he hung a self-written plaque that read, "Reception Area," and he entertained visitors himself and provided them with teacakes.

The Stone Statue of Danjuro VII that He Dedicated Himself

Danjuro VII had a life-sized stone statue of himself carved, and then he dedicated the statue to the temple to show his gratitude for being able to return to Edo after the exile order was lifted because it was a miracle from O-Fudo-sama.

Deep Faith in O-Fudo-sama

The faith that Danjuro VII had in O-Fudo-sama was particularly deep, and in addition to the Gakudo and stone statue, he dedicated a number of other items to the temple as well. This was his way of expressing his gratitude to O-Fudo-sama.

Fudo no Mie

In Kabuki, there is a technique called "Mie (posing)." When the actor's performance has reached its peak, the actor freezes his facial expression and posture for a period of time. This is called "Mie," and it is the expression within Kabuki of O-Fudo-sama's unshakable will. The "Fudo no Mie" performed in the Kabuki play "Fudo," written by Danjuro II, is truly one of the best examples of Mie to be seen.

The Performance of "Fudo" by Ichikawa Danjuro II

The stage performance of O-Fudo-sama by Danjuro II was famous for his expression of "Fudo no Mie." It was so popular that a rumor circulated that it would cure any illness if he stared at you while in his "Fudo no Mie" pose, and this caused belief in the deity Fudo to spread throughout Edo.

The Tradition of Iegei (Family Specialties) Continues to this Day

Within the world of Kabuki, "Fudo no Mie" is a technique allowed only to the Ichikawa family. It is said that the spirit of O-Fudo-sama resides within the Mie pose. In addition, "Nirami (Glare)," a technique also passed down through the Ichikawa family, represents the divine virtue of O-Fudo-sama dispelling evil. The facial expression in "Nirami" is a sign of the deep faith in O-Fudo-sama held by the successive generations of Danjuro.

The Sanskrit Word for O-Fudo-sama is used as a Design in Benkei's Costume

Danjuro IX wears a mizugoromo covered in Sanskrit when he plays Benkei in the Kabuki play "Kanjincho." The Sanskrit word for O-Fudo-sama is stitched into the costume with gold thread.

"Kanjincho no Benkei" as the embodiment of O-Fudo-sama

One picture remains of Kabuki performances during the Edo period. It is a picture of the deity Fudo-Myoo and Benkei drawn as one. Benkei, who is dressed as a Buddhist monk, has long been believed to be the figure of O-Fudo-sama. Many of the techniques seen in Kabuki performances were born from the Ichikawa family's faith in the deity Fudo.