76 haiku out of 9486
year unknown
.春風や芦の丸屋の一つ口
harukaze ya ashi no maruya no hitotsu-guchi
spring breeze--
the round reed hut's
one door
year unknown
.若草で足拭ふなり這入口
wakakusa de ashi nuguu nari hairiguchi
wiping their feet
on the baby grass...
doorway
year unknown
.そっと鳴け隣は武士ぞ時鳥
sotto nake tonari wa bushi zo hototogisu
sing soft!
a samurai lives next door
cuckoo
year unknown
.虫の声しばし障子を離れざる
mushi no koe shibashi shôji wo hanarezaru
the insect's song
on the paper door
lingers
At first I visualized an insect's shadow on a sliding paper door (shôji), but Shinji Ogawa suggests that we should not read mushi no koe figuratively to mean "a singing insect" but literally as "an insect's voice." The voice or song of the insect stays on the paper door "for a while" (shibashi). This phrasing intensifies the poetic focus on sound.
This is an early haiku written in the 1790s.
year unknown
.かけがねの真赤に錆びて時雨哉
kake-gane no makka [ni] sabite shigure kana
the door latch
rusting scarlet...
winter rain
1794
.暁の霜に風呂屋が門をたたく哉
ake no shimo ni furoya ga kado wo tataku kana
in dawn frost
at the bathhouse door
knocking
1795
.梅がかに障子ひらけば月夜哉
ume ga ka ni shôji hirakeba tsuki yo kana
plum blossom scent--
when I open my paper door
a bright moon
1798
.苗代の雨を見て居る戸口哉
nawashiro no ame wo mite iru toguchi kana
watching rain fall
on the rice seedlings...
from the doorway
This haiku has the prescript, "Third Month, third day." The rain is a blessing for the rice-seedling bed.
1803
.炭の火のふくぶくしさよ藪隣
sumi no hi no fukubukushisa yo yabu tonari
a charcoal fire
happy and well...
the thicket next door
Is Issa envious of his neighbor's fire? This is a reordering of another haiku: "through the thicket/ happy and well.../ little charcoal fire." He wrote both of these haiku, back to back, on the 28th day of Tenth Month, 1803.
1804
.髪虱ひねる戸口も春野哉
kami-jirami hineru toguchi mo haru no kana
pinching head lice
in a doorway...
spring fields
1804
.きりぎりす隣に居ても聞へけり
kirigirisu tonari ni itte mo kikoe keri
the katydid next door
clear
as a bell
A katydid (kirigirisu) is a green or light brown insect, a cousin of crickets and grasshoppers. The males possess special organs on the wings with which they produce shrill calls. Although katydid is the closest English equivalent, many translators (such as R. H. Blyth) use the more familiar "grasshopper" and "cricket." See Haiku (Tokyo: Hokuseido, 1949-1952; rpt. 1981-1982/reset paperback edition) 4.1068-69.
1805
.戸口迄秋の野らなる雨日哉
toguchi made aki no nora naru ame hi kana
up to my doorway
the autumn field blooms...
rainy day
1809
.草萩の咲ふさげけり這入口
kusa hagi no saki fusage keri hairiguchi
grasses and bush clover
clog it with blooms...
doorway
1810
.夏の夜やうらから見ても亦打山
natsu no yo ya ura kara mite mo matchi yama
in the summer night
out the back door too...
Mount Matchi
1810
.うら口やすすき三本雁夫婦
ura-guchi ya susuki sambon kari fûfu
back door--
three spears of pampas grass
and Mr. and Mrs. Goose
1811
.夕立に打任せたりせどの不二
yûdachi ni uchi makasetari sedo no fuji
trusting the cloudburst
to water it...
backdoor Fuji
In one text Issa copies this haiku with a prescript, "In Asano's rice fields." There is a village named Asano near Issa's home village of Kashiwabara in Shinano, present-day Nagano Prefecture. In this haiku of perspective, Mount Fuji is viewed at a great distance from someone's back door.
1811
.秋の夜やしょうじの穴が笛を吹
aki no yo ya shôji no ana ga fue wo fuku
autumn evening--
the hole in the paper door
blows flute
1811
.木の股の人は罪なし辻角力
ki no mata no hito wa tsuminashi tsuji sumô
the man in the tree
can't be blamed...
outdoor sumo match
Literally, the "sinless man" (hito wa tsuminashi) is in the tree's crotch (mata): the place where branches diverge. He has climbed there for a better view--or, as Shinji Ogawa suggests, to avoid buying a ticket.
1812
.わか草や町のせどのふじの山
waka-gusa ya machi no sedo no fuji no yama
new grass--
at the town's back door
Mount Fuji
1812
.梅さくや乞食の花もつい隣
ume sake ya kojiki no hana mo tsui tonari
plum in bloom--
a beggar's blossoms too
next door
This is a recurring theme for Issa: even a poor person (a beggar or even an outcast) can be "rich" with Nature's gifts.
1813
.うつくしやしょうじの穴の天の川
utsukushi ya shôji no ana no ama [no] kawa
looking pretty
in a hole in the paper door...
Milky Way
Issa's phrase, "Heaven's River" (ama no kawa) refers to the Milky Way.
Shinji Ogawa comments, "There are many haiku composed on the Milky Way. Most of them are of sublimity with grand scenery. Issa's Milky Way, on the other hand, is in a hole in the paper screen, which is a symbol of poor living. Issa simply states, 'It's looking pretty,' instead of self-pitying. I believe that Issa might regard not only the Milky Way but also the torn paper screen as pretty; to Issa everything is pretty as it is."
This haiku is one of the "essential" 188 picked by the translator. back next
1813
.しぐるるや迎に出たる庵の猫
shigururu ya mukae ni detaru io no neko
winter rain--
I meet my hut's cat
at the door
1813
.戸口迄ついと枯込野原哉
toguchi made tsui to kare komu no hara kana
up to my doorway
so quickly the fields
have withered
Or: "the doorway." Issa doesn't say it is his doorway, but this can be inferred.
Tsui to can mean satto ("suddenly") or migaru ni ("with agility"); Kogo dai jiten (Shogakukan 1983) 1075. Here, the first meaning fits.
1813
.かくれ家や歯のない口で福は内
kakurega ya ha no nai kuchi de fuku wa uchi
secluded house--
a toothless mouth cries
"Luck indoors!"
During the end-of-year bean-scattering ritual, it is a custom to shout, "Luck indoors, demons begone!"
1814
.かすむ夜やうらから見ても吉原ぞ
kasumu yo ya ura kara mite mo yoshiwara zo
misty evening--
out the back door too
Yoshiwara
Yoshiwara was the licensed brothel district near Edo (today's Tokyo).
1814
.辻番の窓をせうじをわか葉哉
tsuji ban no mado wo shôji wo wakaba kana
at the crossroads guard's
window and paper door...
fresh leaves
1814
.野歌舞伎や秋の夕の真中に
no kabuki ya aki no yû no mannaka ni
outdoor kabuki
in the autumn evening's
dead center
A performance of Japanese popular drama (kabuki) is taking place in a field.
1814
.梟が笑ふ目つきや辻角力
fukurô ga warau metsuki ya tsuji sumô
seems like the owl
is laughing!
outdoor sumo match
1815
.日本は這入口からさくらかな
nippon wa hairiguchi kara sakura kana
from Japan's
front door on...
cherry blossoms!
French translator Jean Cholley reads the first two characters as hi no moto ("The Land of the Rising Sun" = Japan); En village de miséreux: Choix de poèmes de Kobayashi Issa (Paris: Gallimard, 1996) 134. The editors of Issa zenshû read it as nippon (Nagano: Shinano Mainichi Shimbunsha, 1976-79) Index 77.
1815
.柴門や錠のかはりのかたつぶり
shiba no to ya jô no kawari no katatsuburi
the brushwood door's
substitute lock...
a snail
Shinji Ogawa explains that shiba no to (brushwood door) is an idiom for a "hut" or "my humble house." It does not mean that Issa's door is literally made of brushwood. He adds, "It is safe to say that Issa did not have any brushwood door nor lock. Issa used two unrealistic things, 'brushwood door' and 'lock' to make the haiku comical."
In a later haiku (1818), Issa suggests that he indeed has a padlock for his front door (only it's broken):
sora-jô to hito ni wa tsuge yo ume no hana
tell passers-by
my door lock's broken!
plum blossoms
This haiku is one of the "essential" 188 picked by the translator. back next
1815
.うら口や曲げ小便もはつ氷
uraguchi ya mage shôben mo hatsu kôri
back door--
pissing scribbles
in the first ice
1815
.しぐれ込角から二軒目の庵
shigure kome kado kara ni ken me no io
come in, winter rain--
from the corner two doors down
my hut
This haiku has the prescript, "At Bashô's grave." The great haiku poet Matsuo Bashô was associated with winter rain. His death anniversary, which falls on the 12th day of Tenth Month, is also called "Winter Rain Anniversary" (shigure ki). Note the musical alliteration of kome kado kara ni ken.
1815
.炭竈のけぶりに陰るせうじ哉
sumigama no keburi ni kageru shôji kana
darkened by smoke
from the charcoal kiln...
paper door
Charcoal is being made in a kiln.
1816
.虻出よせうじの破の五月晴
abu ide yo shôji no yare no satsuki-bare
go, horsefly
through the ripped paper door!
Fifth Month rains are over
According to the editors of Issa zenshû, yabure ("rip") should be pronounced yare in this haiku, thus keeping the 5-7-5 pattern of sound-units; (Nagano: Shinano Mainichi Shimbunsha, 1976-79) 1.262.
Shinji Ogawa notes that abu ide yo is a command: "Go out, horsefly!"
1816
.夕顔の次其次が我家かな
yûgao no tsugi sono tsugi ga waga ya kana
two doors down
from the moonflowers...
my house
According to Yoshida Miwako, the late-blooming flowers are an image for Issa's own late-blooming family; see Issa burai (Nagano: Shinano Mainichi Shimbunsha, 1996) 202. Two years previously, at the age of 52, the poet married. This haiku was written in Sixth Month, 1816. The previous month, Issa and Kiku's firstborn, the boy Sentarô, died.
The phrase, tsugi sono tsugi, refers to space, not time, according to Shinji Ogawa. He paraphrases: "next to the next to / the moonflowers / my house," and wonders: "Does this mean to say in Issa's way that the moonflowers do not belong to him?"
1817
.うらの戸や北より三が明の方
ura no to ya kita yori san ga aki no hô
back door facing south--
three directions
for my New Year's walk
This haiku refers to the New Year's custom of visiting a shrine or temple located in a lucky direction. Literally, Issa is starting "from the north" (kita kara), which leaves him with east, south, or west for his walk.
1817
.それ虻に世話をやかすなせうじ窓
sore abu ni sewa wo yakasu na shôji mado
don't be mean
to that horsefly
paper door!
1817
.秋風や戸を明残すうら座敷
akikaze ya to wo akenokosu ura zashiki
autumn wind--
the back sitting room's door
half open
Shinji Ogawa notes that to wo akenokosu means "the door is left half open." Inferring from the mention of autumn wind, he believes the main meaning of the haiku is: "Since the back sitting room's door is half open, the chill of the autumn wind is felt."
1817
.朝顔にをしつぶされし扉かな
asagao ni oshitsubusareshi tobira kana
crushed under
the morning-glories...
my door
Or: "the door"; Issa doesn't identify it as his.
Sakuo Nakamura asks, "Why was the door crushed by the morning-glories?" Why did Issa let the morning-glory vines cover his door, without removing them? Sakuo answers, "Yes, he wanted to take them off, but he couldn't do it, because for those days he had been thinking about the haiku of morning-glories that he would be writing. At last, the flowers had grown and crushed the door. Is this true?"
I suppose not. I imagine that Issa's expression here is hyperbolical. The flowers are blooming in such lush profusion, the weight of their beauty seems enough to crush the door they have engulfed--much to the poet's delight.
1818
.鶯や折戸半分明の方
uguisu ya orido hambun ake no hô
nightingale--
through a half-folded folding door
my New Year's walk
This haiku refers to the New Year's custom of visiting a shrine or temple located in a lucky direction.
1818
.春雨や髭を並べるせうじ紙
harusame ya hige wo naraberu shôji-gami
spring rain--
beards in a row
at the paper door
Is Issa looking at shadowy outlines of the people outside?
1818
.梅咲やせうじに猫の影法師
ume saku ya shôji ni neko no kagebôshi
plum blossoms--
in the paper door
a cat's shadow
1818
.そら錠と人には告よ梅の花
sora-jô to hito ni wa tsuge yo ume no hana
tell passers-by
my door lock's broken!
plum blossoms
This haiku has the prescript, "Priest Issa plans to leave." In a later text, it is prefaced with the phrase, "Off on a journey."
Issa's padlock doesn't work, but he puts it on the door of his house anyway, just for show. See Maruyama Kazuhiko, Issa haiku shû (Tokyo: Iwanami Shoten, 1990; rpt. 1993) 278, note 1485.
1818
.下馬札や是より花の這入口
geba fuda ya kore yori hana no hairiguchi
a "Dismount Your Horse" sign--
the cherry blossoms'
front door
This haiku has the prescript, "Ueno."
The first Tokugawa Shogun, Tokugawa Ieyasu, was enshrined at Ueno (in addition to his more grandiose shrine at Nikko). At the foot of Ueno hill, a "Dismount Your Horse" placard was posted (Maruyama 344, note 1860).
"Blossoms" (hana) can denote cherry blossoms in the shorthand of haiku.
1819
.竃の門に置するわかな哉
hettsui no kado ni okasuru wakana kana
laid out
at the hearth's door...
New Year's herbs
Wakana (young greens or herbs) are picked on the sixth day of First Month--a traditional New Year's observance.
1819
.戸口から青水な月の月夜哉
toguchi kara aomina-zuki no tsuki yo kana
from the doorway on
a Sixth Month night
of moon
1819
.片息に成って逃入る蛍かな
kata iki ni natte nige-iru hotaru kana
his chest heaving
he's chased indoors...
firefly
The firefly is literally down to "one breath" (kata iki): utterly exhausted from its flight; Kogo dai jiten (Shogakukan 1983) 361. In his translation, Nobuyuki Yuasa has the firefly dart off, leaving "its light/ Behind it"--a creative addition not found in Issa's text; The Year of My Life: A Translation of Issa's Oraga Haru (Berkeley: U. of California Press, 1960; 2nd ed. 1972) 64.
1819
.雨の夜やつい隣なる小夜ぎぬた
ame no yo ya tsui tonari naru sayo-ginuta
a rainy night--
my next-door neighbor
pounding cloth
In Japan and Korea, fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded, making a distinctive sound.
In 1824 Issa slightly revises this to:
furu ame ya tsui tonari demo sayo-ginuta
night rain--
my next door neighbor
pounding cloth
1819
.こがらしや隣と云もえちご山
kogarashi ya tonari to iu mo echigo yama
winter wind--
next door, it seems
Echigo mountains
Or: "Echigo mountain." Echigo is one of the old provinces of Japan, today's Niigata Prefecture. A northern land, it is famous for its coldness. In Issa's time "the mountains of Echigo" would have been synonymous with a cold place in the north. For this reason, French translator L. Mabesoone renders the closing phrase, as ("la frontière du nord": "the northern frontier"; Issa to kuhi (Tokyo: Kankohkai 2003) 49. This seems a reasonable solution to the following problem: in Issa's time "the mountains of Echigo" would have been synonymous with a cold place in the north, but for most English readers this connotation is nonexistent.
Hiroshi Kobori comments on the word, kogarashi ("winter wind"). In early Japanese poetry, this refers to the wind that blows through trees, breaking branches and turning the leaves brown. By Issa's time it means "a dry windy day during the late autumn--deep winter season." It is classified as a winter season word.
1819
.初雪や今おろしたる上草り
hatsu yuki ya ima oroshitaru uwazôri
first snowfall--
I take down my indoor
slippers
There is no "I" in the original Japanese. With the first snowfall, the indoor slippers "come down" (oroshitaru), suggesting that the poet will be spending much more time in the house from now on.
1819
.餅搗が隣へ来たと云子哉
mochi tsuki ga tonari e kita to iu ko nari
"The rice cake man
is next door!"
the child announces
Like today's icecream man, the arrival of the rice cake maker was a great occasion for children in Issa's Japan. In his reading of this poem, R. H. Blyth assumes that the child's mother is poor and cannot afford the cakes--a pathetic scene; Haiku (Tokyo: Hokuseido, 1949-1952; rpt. 1981-1982/reset paperback edition) 4.1255. The reader need not see it this way. The child bubbles over with excitement and anticipation--feelings that Issa and his adult readers share, as they remember their own childhoods.
In his translation Nobuyuki Yuasa pictures "helpers" arriving next door where "Pounding of the rice cakes/ Has begun"; The Year of My Life: A Translation of Issa's Oraga Haru (Berkeley: U. of California Press, 1960; 2nd ed. 1972) 133.
1821
.恋猫や恐れ入たる這入口
koi neko ya osore-itaru hairiguchi
the lover cat
filled with remorse
at my door
Or: "at the door."
Shinji Ogawa translates the middle phrase, osore-itaru, "remorseful."
What does the cat have to feel guilty about? Is Issa poking fun at nighttime sinners who repent in the morning?
1821
.我宿は蚤捨薮のとなり哉
waga yado wa nomi sute yabu no tonari kana
my home--
next door to a thicket
of fleas
Literally, Issa's house is next door to a thicket where others (people? animals?) have discarded their fleas.
1821
.戸しょうじの洗濯したり盆の月
to shôji no sentaku shitari bon no tsuki
the paper door
gets a scrubbing...
Bon Festival moon
This haiku refers to the Bon Festival. The Bon Festival of the Dead takes place in Eighth Month in the old lunar calendar. At this time, people light lanterns to guide their ancestors' spirits back home.
1821
.朝顔や這入口まであはれ咲
asagao ya hairiguchi made aware-zaki
morning-glories--
even in the doorway
damn blooms
1821
.川向ふ隣と云もえちご山
kawa mukau tonari to iu mo echigo yama
facing the river--
next door, it seems
Echigo mountains
Or: "Echigo mountain." Echigo is one of the old provinces of Japan, today's Niigata Prefecture. A northern land, it is famous for its coldness. In Issa's time "the mountains of Echigo" would have been synonymous with a cold place in the north.
In an earlier version of this haiku (1819) Issa begins with the phrase, "winter wind" (kogarashi ya).
1821
.冬篭る蛇の隣や鼠穴
fuyugomoru hebi no tonari ya nezumi ana
next door to the
hybernating snake...
a mouse's hole
The season word for this haiku is fuyugomori ("winter seclusion").
1821
.霜がれや東海道の這入口
shimogare ya tôkaidô no hairiguchi
frost-killed grass--
the Eastern Sea Road's
front door
The "Eastern Sea Road" (Tôkaidô) ran from Edo (today's Tokyo) to the capital, Kyoto.
1822
.野談義をついととりまく小蝶哉
no dangi wo tsui to torimaku ko chô kana
suddenly circling
the outdoor sermon...
little butterflies
I picture a Buddhist priest giving a sermon in a field--probably about Amida's saving grace. Several "pious" butterflies attend along with the people.
Sakuo Nakamura points out that dangi, in addition to its religious connotation, can mean an ordinary conversation. He pictures villagers talking in a field on some meaningless topic.
I still prefer to imagine that an itinerant preacher is teaching about Amida Buddha's salvation. This makes the circling butterflies a wonderful emblem of natural, innocent piety.
Also, Issa seems to have the religious meaning of dangi in mind in other poems, for example:
tsuji dangi chinpunkan mo nodoka kana
a crossroads sermon
gibberish
spring peace
Here, the impact of the haiku is much stronger if the "gibberish" being spoken is a sermon.
Tsui to can mean satto ("suddenly") or migaru ni ("with agility"); Kogo dai jiten (Shogakukan 1983) 1075. Here, the first meaning fits.
1822
.斯来よと菊の立けり這入口
kô ko yo to kiku no tachi keri hairi-guchi
"Come this way!"
a chrysanthemum stands
in the doorway
In the same year Issa revises this haiku twice, starting it with iza kô to ("Well, come!") and with kô kô to ("Come, come!").
1822
.猫の穴から物をかふ寒さ哉
neko no ana kara mono wo kau samu[sa] kana
buying from the vendor
through the cat's door...
it's cold!
Shinji Ogawa explains, "Issa didn't want to open the door to let the cold wind come in."
Issa writes a similar haiku on the same page of his journal, the second poem after this one:
neko no ana kara mono katte fuyugomori
buying from the vendor
through the cat's door...
winter seclusion
1822
.はつ雪や酒屋幸つひとなり
hatsu yuki ya sakaya saiwai tsui tonari
first snowfall--
I'm so lucky the tavern's
next door
Shinji Ogawa notes that tsui in this context means "just," or "mere." It's fortunate for Issa that the tavern is "just next door."
1822
.猫の穴から物買って冬篭り
neko no ana kara mono katte fuyugomori
buying from the vendor
through the cat's door...
winter seclusion
It's too cold outside to open the door. Issa writes a similar haiku on the same page of his journal, the second poem before this one:
neko no ana kara mono wo kau samusa kana
buying from the vendor
through the cat's door...
it's cold!
1823
.七草は隣のおとで置にけり
nanakusa wa tonari no oto de oki ni keri
pounding the seven herbs--
my nextdoor neighbor
in sync
The seven herbs of health (nanakusa) were eaten at New Year's. This haiku refers to the sound of the herbs being pounded into a gruel--at Issa's house and next door.
1823
.から紙のもようになるや蠅の屎
karakami no moyô ni naru ya hae no kuso
the sliding door's
decorative pattern...
fly shit
1823
.唐紙の引手の穴を秋の風
karakami no hikite no ana wo aki no kaze
through the sliding door's
knob hole...
autumn wind
1823
.はつ雪やなどとて内に居る安房
hatsu yuki ya nado tote uchi ni iru ahô
"First snowfall, blah-blah"
they stay indoors
the fools
1823
.雪の戸や押せば開くと寝てていふ
yuki no to ya oseba hiraku to netete iu
snowed-in door--
"Push to open!"
I yell from my bed
Issa is perhaps too warm and cozy to get up and open the door. Shinji Ogawa believes a visitor has arrived and is struggling with the door. From his bed, Issa shouts, "Push it to open!"
1824
.正月や目につく下司の一寸戸
shôgatsu ya me ni tsuku gesu no issun to
First Month--
the fool's half door
an eyesore
My translation underwent major surgery after Shinji Ogawa explained that gesu is not referring to a petty official or a person of humble status, but rather to "a fool." Issunto or "one inch door" is a sliding "half door" that derives its name from the fact that it is often left one-inch open due to bad handling. Finally, Shinji glosses me ni tsuku as "getting obvious." On New Year痴 Day, everything is clean, neat, and nicely decorated, and so the "fool's half door" (Issa's door?) stands out as an eyesore.
1824
.鶏の隣をかりるつばめ哉
niwatori no tonari wo kariru tsubame kana
renting a place
nextdoor to the chickens...
swallows
1824
.みつ蜂や隣に借せばあばれ蜂
mitsu-bachi ya tonari ni kaseba arare-bachi
honeybees--
but right next door
hornets
1824
.隣から叩き出れて来る蚊哉
tonari kara tataki dasarete kuru ka kana
driven from next door
here they come...
mosquitoes
This is a variation of a haiku written in 1814:
hôbô kara tataki dasarete kuru ka kana
driven from all quadrants
here they come...
mosquitoes
1824
.戸を〆てづんづと寝たりかたつむり
to wo shimete zunzu to netari katatsumuri
closing the door
he drops off to sleep...
snail
Or: "she." If Issa wrote in English he certainly wouldn't refer to one of his cousin creatures as an "it."
The snail's body is tucked inside his or her little house of a shell.
1824
.降雨やつい隣でも小夜ぎぬた
furu ame ya tsui tonari demo sayo-ginuta
night rain--
my next door neighbor
pounding cloth
In Japan and Korea, fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded, making a distinctive sound.
This haiku recalls an earlier one written by Issa in 1819:
ame no yo ya tsui tonari naru sayo-ginuta
a rainy night--
my next-door neighbor
pounding cloth
1824
.はつ雪を見かけて張るやせうじ穴
hatsu yuki wo mikakete haru ya shô[ji] ana
watching first snow--
mending holes
in the paper door
Shinji Ogawa notes that haru in this context means "to paste," hence, "to mend."
1825
.元日や庵の玄関の仕拵へ
ganjitsu ya io no genkwan no shigoshirae
New Year's Day--
my hut's front door
all ready
For a change, Issa seems to have adorned his hut with a pine-and-bamboo decoration. Genkwan is the entrance door that adjoins the raised floor entryway in Japanese residential architecture; Kogo dai jiten (Shogakukan 1983) 575.