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Johana Hikiyama Festival

The Johana Hikiyama Festival takes place annually on May 4 and 5 in the town of Johana, now part of the city of Nanto. It features a procession of six large floats carrying sacred statues through the streets. The Johana Hikiyama Festival is registered as one of the “Yama, Hoko, Yatai float festivals in Japan” on the UNESCO Intangible Cultural Heritage list.

The town of Johana was founded after Zentokuji, a Jodo Shinshu (True Pure Land) temple in Fukumitsu, was relocated to the area in 1559. Markets and other businesses soon sprang up around the temple, and Johana became a temple town. By 1693, the population of Johana had reached over 3,000 people and a proper town had been established. During the Edo period (1603–1868), the silk textile business in Johana developed under the patronage of the Kaga domain, and sales of high-quality silk were expanded into other regions, including Kyoto and present-day Tokyo. Cultural exchange also took place with these cities, bringing a new focus to Johana’s literary works, scholarship, and visual art.

The Johana Hikiyama Festival is held at Johana Shinmeigu Shrine, which was relocated from a nearby village in 1574. The shrine first celebrated the festival in 1685, but its current form came about while Johana was going through an economic recession during the early eighteenth century. To turn the economy around, the people of Johana began using the festival to pay their respects to deities in the hope of good fortune. A festival was held in 1717 that included a portable shrine, a kasaboko (object that summons divine spirits from the heavens), and a lion dance. A few years later in 1724, hikiyama floats, which carried the statues of the gods, joined the festival. In the first half of the 1800s, iori-uta music and iori-yatai were incorporated into the festival. These floats were designed in the style of structures such as ochaya (establishments where guests were entertained by geisha in Kyoto). Iori-uta showcased the influence of music popular in the city of Edo (present-day Tokyo). Musicians inside the iori-yatai walk along with the parade while playing traditional songs with bamboo flutes and shamisen (three-stringed instruments). The hikiyama floats also became more extravagant, with much effort placed on the production of new statues and decorative ornaments.

The festivities begin on the eve of the festival on May 4 with a viewing of its guardian deities (Gyouo, Ebisu, Daikokuten, Hotei, Kanu and Shuso, and Juro) at yamayado, homes where the statues of the deities are housed on the eve of the festival. The statues are brought out of their respective yamayado in the early morning of May 5 and placed on the hikiyama floats. The parade is led by a lion dance, followed by a kenboko apparatus used to appease evil spirits, affixed with a long, vertical banner; eight kasaboko; shijinki (flags representing the deities that govern the cardinal directions and corresponding constellations), and three portable shrines. Following this procession, the hikiyama floats and the musical iori-yatai floats complete the parade. During the evening, the floats from the festival are illuminated by lanterns.

The hikiyama floats crafted by local artisans are 6 meters high. They are rolled through the streets of Johana by groups of men who guide and turn the large wheels. The wheels are made of Japanese zelkova (keyaki), and they make a distinctive screeching noise—said to ward off evil spirits—as they move through the streets.

城端曳山祭

每年5月4日、5日，南礪市城端町將會舉辦祭典，名為城端曳山祭。祭典上最引人注目之處，莫過於遊行隊伍中的六輛載有神像的巨型曳山（日本祭典時使用的一種神轎）。該慶典作為「日本之山、鉾、屋台行事」之一，被聯合國教科文組織錄入為非物質文化遺產。

福光的淨土真宗派寺廟善德寺於1559年遷至該地區，城端町也隨之設立。此後不久，圍繞著善德寺，市場及其他業務於周邊應運而生，城端則逐漸發展為「門前町（於寺廟、神社等宗教建築周邊形成的市街、聚落）」。1693年，城端人口突破3000人，成為一座名副其實的城市。江戶時代（1603-1867年），在加賀藩的庇護下，城端的絲綢產業高度發達，高品質絲綢的銷售甚至擴展至京都及今東京等其他地區。這些城市間的文化交流，也令城端的文學作品、學問、藝術等更受萬眾矚目。

城端曳山祭於城端神明宮舉辦。這座神社於1574年由鄰村搬遷至此，而慶典則始於1685年。18世紀初期，城端遭到經濟衰退的衝擊，為使經濟恢復，當地居民開始舉辦慶典祭祀神靈，以此祈禱好運，昔日的神明宮慶典則逐漸演化為如今的城端曳山祭。1717年的慶典初次採用神輿、傘鋒（用以招天神）、舞獅等形式。而曳山載神像項目則於數年後的1724年被引入慶典。19世紀前半，庵歌與庵屋台（以京都祇園藝伎招待顧客時使用的御茶屋為藍本設計的花車）也被相繼編入慶典。端歌於江戶（今東京）地區曾風靡一時，而在庵歌中不難窺得端歌所帶來的影響。以竹笛與三味線（日本傳統三弦樂器）演奏庵歌的演奏者們，與庵屋台一同遊行。隨著愈加巧奪天工的新雕像、裝飾相繼問世，曳山也愈加精緻華麗。

祭典活動始於5月4日的前夜。屆時，六尊守護神像於山宿（公開展示用房屋）展出，分別為堯帝、惠比壽、大黑天、布袋和尚、關羽與周倉，以及壽星等。而5月5日清晨，神像從山宿移出至曳山之上。遊行隊伍以獅子舞為開路先鋒，可鎮壓惡靈的劍車飾以長幡，緊隨其後。接著是八輛傘車、四神旗（四方四神之旗）、三座神輿並列前行。而壓軸登場的則是曳山與演奏著庵歌的庵屋台，遊行也於此落下帷幕。夜間，曳山上比比皆是的燈籠將祭典的氣氛推向最高潮。

曳山由當地工匠製作，高達6公尺，由男性們牽引著巨輪，操縱方向，在城端的街道上巡遊。車輪由櫸木製成，碾過道路時會發出獨特的嘎吱聲。此聲音擁有祓除邪祟的力量，且唯有城端曳山祭上方可聽到，可謂絕無僅有。

城端曳山祭

城端曳山祭是南砺市城端町于每年5月4日、5日举办的祭典。祭典上最引人注目之处，当属游行队伍中的六辆载有神像的巨型曳山（日本祭典时使用的一种神轿）。该庆典作为“日本之山、鉾、屋台行事”之一，被联合国教科文组织录入为非物质文化遗产。

1559年，福光的净土真宗派寺庙善德寺迁至该地区，城端町也随之设立。此后不久，围绕着善德寺，市场及其他业务于周边应运而生，城端则逐渐发展为“门前町（于寺庙、神社等宗教建筑周边形成的市街、村落）”。1693年，城端人口突破3000人，成为一座名副其实的城市。江户时代（1603-1867年），在加贺藩的庇护下，城端的丝绸产业极度发达，高品质丝绸的销售甚至扩展至京都及今东京等其他地区。这些城市间的文化交流，也令城端的文学作品、学问、艺术等成为新的焦点。

举办城端曳山祭的城端神明宫，1574年由邻村搬迁至此。这座神社的庆典始于1685年。18世纪初期，城端遭到经济衰退的冲击，为使经济恢复，当地居民开始举办庆典祭祀神灵，以此祈祷好运，昔日的神明宫庆典则逐渐演化为如今的城端曳山祭。1717年的庆典首度采用神舆、伞锋（用于招天神之物）、舞狮等形式。而曳山载神像项目则于数年后的1724年被引入庆典。19世纪上半叶，庵歌与庵屋台（以京都祇园艺伎招待顾客时使用的御茶屋为蓝本设计的花车）被相继编入庆典。端歌于江户（今东京）地区曾风靡一时，而在庵歌中不难窥得端歌所带来的影响。以竹笛与三味线（日本传统三弦乐器）演奏庵歌的演奏者们，与庵屋台一同游行。随着愈加精致的新雕像、装饰相继问世，曳山也愈加豪华绚丽。

祭典活动始于5月4日的前夜。六尊守护神像在山宿（公开展示用房屋）展出，分别为尧帝、惠比寿、大黑天、布袋和尚、关羽与周仓，以及寿星等。5月5日清晨，神像从山宿移出至曳山之上。游行队伍以狮子舞为开路先锋，可镇压恶灵的剑车饰以长幡，紧随其后。接着是八辆伞车、四神旗（四方四神之旗）、三座神舆并列前行。之后，曳山与演奏着庵歌的庵屋台压轴登场，结束游行。夜间，曳山上不可胜数的灯笼将祭典的气氛推向最高潮。

由当地工匠制作的曳山，可高达6米，由男性们牵引着巨轮，掌控方向，在城端的街道上巡游。车轮由榉木制成，碾过道路时会发出独特的嘎吱声。此声音独一无二，拥有祓除邪祟的力量，且唯有城端曳山祭上方可听到。