Introduction of the floats for Ato Matsuri.
In Ato Matsuri, comparing with the super gigantic Saki Matsuri, the participating Floats are less than half, so the scale is rather small. But that is why it is recommended as the original traditional flavor of the festival is remain more.
Hashibenkei Yama
The figures on this float depict a very famous story from Japanese history. Benkei, a monk-warrior in armor, and Ushiwakamaru, a young boy in everyday dress, had a fight on the Gojo Bridge in Kyoto. Ushiwakamaru won, despite the fact that Benkei was a very powerful warrior, who had never been defeated by anyone before.
The figure of Ushiwakamaru standing on one foot and supporting the rest of his body, is considered to be a masterpiece of design and workmanship. The tapestries were produced during the Ming dynasty in China.
The description was referenced from Gion Masturi Rengokai.
KitaKannon Yama
This Yama Float is very big and can be mistaken for Hoko, but it is called Yama because it has a pine tree on the center pillar. (Most Yama is raising pine trees, which is the rule)
Because this float is dedicated to Yoryu Kannon (a merciful goddess) and Idaten (a guardian deity), their figures are on the float. The originals were carved by a famous Buddhist priest, but unfortunately these were destroyed in one of the many fires which have plagued Kyoto throughout its history. The metallic decorations located around the transoms of the float are especially beautiful, and make this float much more gorgeous and magnificent.
The description was referenced from Gion Masturi Rengokai.
Kuronushi Yama
The figure on this float is Otomo no Kuronushi, an outstanding tenth century Japanese poet. The scene depicts this poet looking up at the beautiful cherry blossoms. The railing decorations on this float are made of metal in the shape of cherry, peony, chrysanthemum flowers and maple leaves, signifying the four seasons. According to Japanese legend, if one puts cherry blossoms from this float on the front door, evil can never get into the house.
The description was referenced from Gion Masturi Rengokai.
Koi Yama
The theme of this float comes from a Chinese legend that if a carp (koi in Japanese) could swim up ryumon (a waterfall), it would become a dragon. The figure of the carp on this float is quite realistic, vivid and beautiful, as if a living carp is jumping up the waterfall. The shrine on this float is dedicated to Susano-o no Mikoto”, a powerful deity in Japanese mythology. The designs of most of the tapestries describe stories of the Trojan War in Greek literature. They were produced in the 16th century in Brussels, Belgium.
The description was referenced from Gion Masturi Rengokai.
Suzuka Yama
According to a Japanese legend, a demon threatened the peaceful life of a small village by attacking its inhabitants and passing travelers every night. The Goddess Suzuka, to whom this float is dedicated, encountered and defeated this demon.
The Goddess Suzuka has a halberd in her left hand. She is dressed in female attire and capped by a gold hat, and is, therefore, said to protect travelers from robberies and harm.
The description was referenced from Gion Masturi Rengokai.
Minami Kannon Yama
This float is dedicated to Yoryu Kannon (a merciful goddess), and her image is placed together with a figure of a Saint. These figures are said to protect people from all forms of sickness. Also, the large willow branch which protrudes from the float is believed to chase all sickness away. The decorated ball at each corner of the float represents incense, the symbol of the goddess of medicine.
The description was referenced from Gion Masturi Rengokai.
En no Gyoja Yama
This is the only float bearing three different figures . En no Gyoja, who sits in the middle, is a very high ranking ascetic. Hitokoto nushi, who stands on the left, is a man who built a long stone bridge by order of En no Gyoja. The Goddess Katsuragi stands on the right. This scene depicts a Japanese fable. En no Gyoja gained his power through his severe ascetic practices, and he could control both gods and human beings.
The description was referenced from Gion Masturi Rengokai.
Jomyo Yama
How sweet and modern ! Air battle scene.
The scene on this float depicts the story of a famous battle that occurred in the 12th century, between the Heike and Genji clans, at the Uji River near Kyoto. Ichirai, a monk warrior, jumped over his fellow monk warrior Jomyo to rush headfirst into the enemy ranks. The figure of Ichirai jumping in the air is supported by a wooden wedge.
The description was referenced from Gion Masturi Rengokai.
Hachiman Yama
The object of worship of the small Shinto shrine which located on this float is Hachiman, one of the most famous Japanese gods.
The miniature shrine on the float is decorated with gold foil, and it is said to have been made in the Tenmei period, between 1781 and 1788.
The description was referenced from Gion Masturi Rengokai.
Ofune Hoko
ŌFUNE HOKO performed the role of the final position in the procession of the last festival, exempted from the lottery, called Gaisen Funehoko‐returning in triumph, while FUNE HOKO in the first festival called Shutsujin Funehoko‐going into battle. The float has its origin more than 500 years ago. It has been absent from the procession since losing its house frame, wooden structure, wheels and so forth in the Hamaguri Gomon Incident in 1864, although it had been revived several times against suffering from the big fires through the Edo period.
After passing many years, in 1997, hayashi - the float orchestra revived and Ōfune Hoko resumed as “Imatsuri”, not joining the procession, displaying with the figure of Empress Jingū which had escaped from the fire, the big gold strips decorating at the bow, and the great steering wheel, mizuhiki, maekake, ushirokake and others produced by using high technique of fabric and embroidery. That brought a great opportunity for revival. In 2012 Ōfune Hoko “Karabitsu” style procession began, and finally in 2014, with the enthusiasm of Shijo-cho residents and the support of many people, it joined the procession after 150 years’ absence.
The description was referenced from Gion Masturi Rengokai.
