Laughing Monkey

@laughingmonkey0.bsky.social

aka Paul Engel - published in: Frogpond, Modern Haiku, The Heron's Nest , Red Moon Anthology, Failed Haiku, chapbook "The Dance of The Ému" Bainbridge Island Press - Namu Amida Butsu

Farm workers: there's a heat advisory across much of CA. Please be careful. Your life comes first. If your worksite is not offering WATER, SHADE, and REST - call the farm worker heat safety hotline at 1-877-881-8281. Reporting heat safety violations saves workers' lives.

Red-orange poster with a sun symbol, UFW eagle logo and text reading "Your life comes first, beat the heat," and a vibrant, colorful bird below. Energetic and warm tone.

in love with myself I crunch shards of ice --Shinko Tokizane 自己愛の中氷片を噛み砕く 時実新子 Notes: more literally "within self-love, crunching ice shards"; could also be translated as something like "in my narcissism, I crunch on ice chips" #senryu #translation

At 2:30 pm Bakersfield CA temps had reached 101°F. That didn't stop the farm workers who are hard at work harvesting table grapes. This demanding work requires constant bending, lifting the full boxes and carefully harvesting the fruit. #WeFeedYou

Farm workers harvesting and packing table grapes

This rare cotton palanquin-bearer hanten showcases a large family crest, stripes, and rain-dragon motifs using the tsutsugaki technique. Late Edo (1825-1868), Japan. During the Edo period, this type of jacket, associated with a 'norimono', was used to carry territorial lords or 'daimyo'.

This rare cotton palanquin-bearer hanten showcases a large family crest, stripes, and rain-dragon motifs using the tsutsugaki technique. It's in very good condition, evidently seldom worn, with minor fraying where one sleeve attaches to the main garment and two discreet small holes near the bottom rear. It measures 42 inches (107 cm) from sleeve-end to sleeve-end and stands at 48 inches (122 cm) in height.

The family crest, the wisteria, carries significance within Japanese aristocracy. At the waist-level of this hanten, the two facing dragons specifically represent the rain-dragon, 'amaryu', symbolizing wisdom and strength.

During the Edo period, this type of jacket, associated with a 'norimono', was used to carry territorial lords or 'daimyo'. It served as a uniform displaying the lord's family crest. As the population increased, land availability for horses decreased, making human-powered transport more prevalent. Norimono were vital for transporting the warrior class and nobility, notably during the Tokugawa period's migrations to and from Edo (Tokyo) along Japan's central road.

Historical accounts, such as those from Kaempfer and Hildreths, describe these processions involving norimono. These were carried by uniformed men, each wearing the lord's family crest. The norimono-bearers displayed specific postures and movements, highlighting their strength and uniformity. Felice Beato, an Italian-American photographer in the early 1860s, noted the careful selection and training of these bearers for their symmetry, muscular development, and uniform height, akin to the care given to favored European State Carriage horses.

Created in 1918 during the Taishō era, Village in Shūgakuin (Shūgakuin-mura) by Hayami Gyoshū (速水御舟, 1894–1935) is an extraordinary Nihonga masterpiece that exemplifies the artist’s early fusion of meticulous realism, classical Northern Song landscape perspective, and mystical atmospheric tone.

Nestled near the base of Mount Hiei northeast of Kyoto, the rural hamlet is depicted from a high, bird's-eye perspective and bathed in a luminous indigo and malachite haze that evokes the quiet stillness of dawn or twilight. Gyoshū’s masterful application of natural mineral pigments—predominantly azurite (gunjō) and malachite (rokushō)—saturates the thatched-roof farmhouses (kayabuki-yane), bamboo groves, and dense pine stands in a cool, dreamlike blue hue, which contrasts gently with the subtle gold leaf band gleaming along the mountain horizon. Scattered among the winding pathways, small figures of local women carrying bundles on their heads bring a gentle human pulse to the vast landscape. Executed on silk with exquisite brush precision and delicate tonal layering, the work stands as a landmark in Gyoshū's oeuvre, capturing both the timeless rural spirit of old Japan and his revolutionary approach to modernizing traditional landscape art.