マイブログ リスト

2026年9月2日水曜日

Haibun (15)

 

天長地震後1200年(5

世界物語遺産(English Version

 

The Tencho Earthquake was a massive tremor that struck on the morning of January 3, 830 (the seventh year of the Tencho era); its epicenter was located approximately 5 kilometers northeast of Akita Castle.

In an instant, the castle fortifications collapsed, and buildings within the complex toppled, resulting in both deaths and injuries. Disasters also struck the Omono River flowing near the castle, as well as the upstream sections of the Asahi and Taihei Rivers. Furthermore, nearby Mount Katsuhira was affected, and the settlements established at its foot were completely destroyed. This catastrophe unfolded amidst heavy snowfall.

Although some 1,200 years have passed since the Tencho Earthquake, it continues to exert a profound influence on the lives and culture of the local people in numerous ways.

This series shows the English version of "World Story Heritage" and explores an aftermath of the earthquake. In particular, it takes up the sacred site of Ishiyama as a background of the story.

 

733

秋田城

世界地図における位置 

 

Akita Castle

Location on the world map

 


 

出羽国における位置

秋田城

Location within Dewa Province

Akita Castle

 


 

現代における模型

Scale Models in the Modern Era

 


 

2011

世界物語遺産

World Story Heritage

 

Today, about 1,200 years after the Tencho Earthquake, a story passed down among the residents living near the sacred site of Ishiyama—located at the foot of Mount Katsuhira, close to the Akita Castle ruins—has been compiled as part of the "World Story Heritage." This story takes the form of a picture book titled *Omusubi Jizo-san, Pulled out of the Sea*.

 

Here is the English version of the story.

 


 

世界物語遺産

「海から上がったおむすび地蔵さん」

えいご

 


 



 

 

 




 
 

Another Meaning of *Omusubi* (rice balls)

*Omusubi* (rice balls) are a food that sustains our lives. Yet, they hold another significant meaning: the word *musubi* signifies the birth of something new—something that did not exist before.

In ancient Japanese culture, the concept of "life" was referred to as *hi*; when written in kanji, it was represented by the character for "spirit" () and expressed as *musuhi* (産霊). In other words, *musubi* also embodies the meaning of a new spirit—or life—coming into existence.

When the old woman offered an *omusubi* to the Jizo statue, it was simply because, on an unconscious level, she perceived the statue as a living spirit. Viewing all things as possessing life—in this perspective, we can see the richness of Japanese culture.

A story like this has been handed down at Shohei-ji Temple, and it is truly a wonderful folktale. Incidentally, the "younger sister" Jizo who appeared in the old woman's dream is the Enmei Jizo (Jizo of Longevity) standing at the sacred site of Ishiyama. In short, the Enmei Jizo is the heroine of the story.

The Jizo lives on the story forever. 

 


 

延命地蔵

Enmei Jizo

Enmei Jizo—venerated as a guardian deity of children—is depicted with a small, endearing figure, holding a wish-granting jewel in the left hand and a staff for warding off evil in the right.

To ensure the children's healthy growth, the statue is adorned with a red hood and a red bib, both of which serve as talismans against evil.

 

背景

Backgrounds

 

19171938

雄物川放水路

Omono River Flood Bypass

 



Before the completion of the Omono River flood bypass, the lower reaches of the Omono River meandered significantly, causing annual flood damage during heavy rains. In 1886, as a measure to protect the region from such disasters, a plan was adopted to block the river at a point 10 kilometers upstream from its mouth and construct a new 2-kilometer channel—excavated through the hills from Araya—to divert the water into the Sea of ​​Japan. Construction began in 1917 and was completed in 1938, requiring 22 years, enormous expense, and a vast amount of labor.

 

2024

雄物川放水路

Omono River Flood Bypass

 



1930

新屋浜古墳

Burial Mound of Araya Beach

 

In 1930, during the excavation work for the Omono River flood bypass, Jomon-period pottery was discovered beneath a sand dune approximately 33 meters high. Furthermore, a composite wooden coffin and human skeletal remains were unearthed from a layer about two meters below that point. A convex roof tile (*marugawara*) was also found nearby; as it appeared to be a type used at Akita Castle, the wooden coffin is presumed to date from the Akita Castle era.

At that time, the area was not yet plagued by sand dunes but was instead a wilderness overgrown with broad-leaved trees. The 33-meter-high dune is believed to have formed later through the accumulation of windblown sand that gradually shifted into the area after the Akita Castle period.

The burial method—placing a coffin in a pit dug approximately two meters down from the surface layer where Jomon pottery was scattered—was a practice common during the Nara or Heian periods.

 

石山の高台

High Ground of Ishiyama

 

The hills, wild fields, and riverbanks surrounding Akita Castle served as burial grounds for the common people. Specifically, the area known as Ishiyama—situated on high ground at the foot of nearby Mount Katsuhira—was a place where mourners would gather after a burial to pray for the repose of the deceased’s soul and bid them a final farewell.

Then as now, the view from this high ground is magnificent, offering a setting that could provide at least some solace for one's grief.

In later years, the site became a place for memorial services and prayer; statues were erected not only of Prince Shotoku and various Buddhas associated with Akita Castle but also of Buddhist figures dedicated to those who lost their lives in natural or man-made disasters.

In ancient Japanese culture, the concept of "life" (*inochi*) was referred to as "*hi*" and represented by the kanji character for "spirit" (*rei*). In this sense, a Buddhist statue is viewed as the embodiment of a new spirit—a new life. It is from this perspective that the high ground of Ishiyama is known as a "sacred site" (*reichi*).

Furthermore, a statue of the *Miroku Bosatsu Hanka Shii-zo* (Maitreya Bodhisattva in the posture of contemplative meditation)—depicting the figure deep in thought about creating a bright future—is enshrined here, representing salvation yet to come.

 



石山の東―太平山―

East of Ishiyama — Mount Taihei —

 


 

Mount Taihei is a 1,170-meter-high mountain, located northeast of Akita City. Mount Taihei, a high and beautiful mountain, became an object of worship as a god-like being for local residents. Fascinated with the beauty and glory of the mountain in the rising sun or in the setting sun, the people in the area worshipped the mountain’s divinity as the food for the mind.

The summit of Mount Taihei found the first climber in its mountain history in May, 673. It was En no Gyōja who successfully reached the top. He appeared at the foot of Mount Taihei from Kimpusen-ji temple in Mount Yoshino, Nara Prefecture. He tried to climb Mount Taihei by himself and then founded a small temple to get spiritual power through discipline.

En no Gyōja practiced asceticism of shugendō. And they enshrined the Healing Buddha for those suffering from illness in the Taihei area, worshipped there and prayed for their healing.

 

石山の南―鳥海山―

South of Ishiyama — Mount Chokai —

 



Mount Chokai (Chokai-san) is an active volcano located on the border of 

Akita and Yamagata in Dewa Province, and is 2,236 meters high. Because of its (roughly) symmetrical shape and massive size, it is also variously known as Dewa Fuji or Akita Fuji depending on the location of the viewer.

In 680, Emperor Tenmu sent En no Gyōja to Ryūzanji Temple at Kodaki at the foot of Mount Chokai, Kisakata-machi, Nikaho City. En no Gyōja was asked to stamp out the epidemic which was prevalent all over the country, reaching there on March 17.

Gyōja prayed for 21 days for their recovery of those who suffered from illness. In that way, Gyōja’s prayer, or his supernatural power, suppressed the epidemic here and there in Japan those days.

Emperor Tenmu also built temples here and there all over the country, worshiping Yakushi-botoke, the Medicine Buddha.

 

石山の北西―男鹿三山―

Northwest of Ishiyama — The Three Mountains of Oga Peninsula —

 



These beautiful mountains on the Oga Peninsula—comprising Mt. Shinzan, Mt. Kenashi, and a third peak, Mt. Honzan—are collectively known as the "Three Mountains of Oga." Revered since ancient times as a site dedicated to the deity Akagami Gongen, the area flourished as a training ground for * shugendō * ascetics starting in the late Heian period.

Shinzan Shrine, located at the northern trailhead, is a site closely associated with the "Namahage", a traditional festival.

At the southern trailhead stands Akagami Shrine Goshado, featuring a stone staircase of 999 steps said to have been built by demons in a single night.

 

石山の西―日本海―

West of Ishiyama — The Sea of Japan—

 


 

Exchange with Bohai started in 739, when Akita Castle in Dewa Province served as a diplomatic facility.

 

830

天長地震と石仏

The Tencho Earthquake and Stone Buddhas

 

An earthquake in 830 caused the collapse of Akita Castle—a fortification established to guard the northern frontier and serve as a bulwark against the state of Balhae. Structures within the complex, including the Shitenno-do Hall and its *joroku* (sixteen-foot-tall) Buddha statue, also toppled, while ground fissures and landslides scarred the landscape. Fifteen people lost their lives within the castle grounds alone.

It is also said that Shohei-ji Temple and its stone Buddha images, located at the foot of Mount Katsuhira, were buried in sand.

The majority of the local population consisted of *fushu* (subjugated Emishi people). Later, Yamato settlers arrived to oversee them; these residents engaged in fishing and hunting, yet took up arms to defend Akita Castle whenever conflict arose. Subsequently, the area prospered as people moved in to practice agriculture and salt production.

However, this peaceful community was devastated by the earthquake, which brought about its total ruin. It is estimated that a significant number of residents perished in the disaster.

 

聖徳太子

在位 593622

Prince Shotoku

Reign: 593-622

 

Dewa Shitenno-ji—one of the forty-six temples associated with Prince Shotoku—was once established at Akita Castle. With Kannon as its principal deity and the Four Heavenly Kings as its guardian deities, it served as a place of prayer for the protection of the nation and its people.

Although the Shitenno-ji temple complex and its Shiō-dō hall collapsed due to earthquakes, Prince Shotoku remains revered for his Buddhist virtues and spirit of universal benevolence, and he is enshrined at the sacred site of Ishiyama.

The phrase "Harmony is to be valued above all else" appears in Article 1 of the *Seventeen-Article Constitution*, enacted in the early seventh century. The "spirit of harmony" advocated by Prince Shotoku serves as a fundamental principle for world peace—transcending time and place, and enduring for all eternity.

 




 

和を以て天下統一夢の跡      

 

Through harmony

unifying the country—

the traces of His dream

 

1185

石山観音

Ishiyama Kannon



 

In 1185, about 355 years after the Tencho earthquake, a stone statue was caught in the net of fishermen who were fishing offshore and pulled from the sea.

The surprised fishermen quickly took it back and built a small shrine on the hill of Katsuhira, which offered a magnificent view, and worshiped it as "Ishiyama Kannon-sama."

Afterward, miraculously, the fishing continued to be bountiful, and it is said that the light of the small shrine lights offered as thanks served as a guide for navigation, ensuring safe fishing.

Even now, 840 years after the discovery of the stone statue, the gentle and endearing face of Ishiyama Kannon continues to soothe visitors. The stone statue is a temple treasure of Shohei-ji. 

 

1952

石山平和観音

Ishiyama Peace Kannon

 






1964

勝平寺

Shohei-ji Temple

 




Shohei-ji Temple has a long history; situated at the foot of Mount Katsuhira since ancient times, it was a focal point of faith for local residents.

    However, a massive earthquake on January 3rd of Tencho 7 (733)—during the early Heian period—devastated Akita Castle and buried Shohei-ji and stone Buddha images in sand, causing it to become a "phantom temple" for over 1,400 years.

In July 1964 (Showa 39), the temple was revived and re-established through the efforts of the priest Takayanagi Kojo and the local community; since then, known as Sekiryu-zan Shohei-ji, it has served as a spiritual sanctuary for the people. Subsequently, the sacred site of Ishiyama became the temple's holy ground.

Construction of the current temple complex began in 2001 (Heisei 13) and was completed four years later, in 2005 (Heisei 17).

 

9.24

石山平和観音例大祭

Ishiyama Peace Kannon Annual Grand Festival

 



Every year on September 24, a memorial service for world peace and a memorial service for the war dead of the Araya and Katsuhira districts are held in front of the Peace Kannon statue next to Shohei-ji Temple.

These services are dedicated to praying for world peace and the fulfillment of the worshippers' wishes, as well as to honoring those who lost their lives in the war.

 




 

The worship of the Thirty-Three Kannon is based on the teaching that Kannon Bodhisattva transforms into thirty-three different forms to respond to people's suffering and prayers.

Kannon Bodhisattva is revered as a compassionate figure who perceives the hearts of people and extends a helping hand; the deity has long been affectionately known simply as "Kannon-sama."

The number thirty-three is symbolic, representing the various forms of salvation offered to suit different situations and individuals.

 

2011

弥勒菩薩半跏思惟像

“Maitreya Bodhisattva sitting in Half-Lotus Position”

 


 

Maitreya Bodhisattva embodies the spirit of loving-kindness and is revered as a figure of exceptional compassion among all the bodhisattvas.

    Shakyamuni Buddha foretold that, approximately two and a half thousand years after his passing, an era of great turmoil would arrive; he charged     Maitreya with the mission of saving the people and illuminating the future during that time.

The iconic *hanka shiyui* posture—seated with one leg crossed and a hand touching the cheek in contemplation—is said to represent Maitreya deep in thought, contemplating how to create a bright future.

Maitreya has long been worshipped as the bodhisattva who will save our future.

It is said that when the appointed time arrives, Maitreya will descend to this world and, beneath the *Ryuge-ju* (Dragon Flower Tree), preach the Dharma to the people on three separate occasions.

On April 8, Buddha’s birthday, 2011, the eye-opening ceremony for the Maitreya Bodhisattva statue was conducted, with Reverend Chiten Shunsai—the second head priest of Sekiryuzan Shohei-ji Temple—officiating as the presiding master.

The construction was carried out by Mr. Tomiyuki Sato, head of Sato Stone Industry.

 


 

乱世に無言の弥勒八重桜  

 

In troubled times

in silence does Maitreya think

double cherry blossoms

 

2026

秋田城「眺望の復活プロジェクト」

クラウドファンデング

Akita Castle “Restoring the View” Project

Crowdfunding

 

On July 8, 2026, Akita City History Museum of Akita Fort Ruins launched a crowdfunding campaign for the Akita Castle Site Landscape Restoration Project, centered on the motto "Reviving the Ancient View!"

Built in 733 on the Takashimizu Hills—at an elevation of approximately 50 meters—Akita Castle served as a boundary between Japan and foreign lands. It was a facility of immense importance, demonstrating Japan's advanced technological prowess and prestige to the outside world, and acting as a landmark that offered commanding views of both the land and the sea.

However, the site is currently overgrown with invasive tree species, completely obscuring the vistas that the people of ancient times held in such high regard.

This project aims to clear the overgrown vegetation and restore the very views that were considered most vital by the people who inhabited this area over a millennium ago.

 

2030

天長地震後1200

秋田城―眺望復活記念祭―

1200 years after the Tencho Earthquake

Akita Castle:

Commemorative Festival

for the Restoration of the View

 

On August 23, 2026, the following announcement was posted on the website of Akita City History Museum of Akita Fort Ruins: "We have reached our fundraising goal, so applications for the 2026 fiscal year are now closed. Thank you very much for your generous support!"

The project for the 2026 fiscal year aims to restore the view of Mount Chokai from the Government Office—the most important facility within the Akita Castle complex. On clear days, Mount Chokai, located on the border between Akita and Yamagata prefectures, is visible from this Government Office; it is the only spot within the castle grounds offering such a view.

It is surmised that there was a specific intent behind positioning the Government Office—where vital administrative duties and ceremonies were conducted—in a location that directly faces Mount Chokai, a peak revered as sacred since ancient times.

However, overgrown trees currently completely block this view; therefore, the trees will be cleared to restore the vista of the majestic Mount Chokai.

Their ultimate goal is to restore all the vistas from locations that the people of ancient times would have valued. However, the Akita Castle ruins cover a vast area of ​​approximately 90 hectaresequivalent to 1.7 times the size of Tokyo Disneylandand include significant tracts of privately owned land within the designated historic site; consequently, completing this entire undertaking in a short period is impossible.

Given these circumstances, we earnestly hope that the year 2030—marking the 1,200th anniversary of the Tencho Earthquake—will see the restoration of the views from Akita Castle, and we eagerly look forward to the realization of this historic achievement.

In closing, we would like to present a photograph of the view to the northwest from Akita Castle.

 



秋田国際俳句ネットワーク

蛭田秀法

Hidenori Hiruta

Akita International Haiku Network

 

参考資料

 

・『海から上がったおむすび地蔵さん』

      世界物語遺産

 絵・文 秋田市立勝平小学校図書委員会

 題字 さいとうみつこ

 えいご

 英語翻訳 平川恵美子

・秋田城とは?

・秋田城・眺望復活プロジェクト

秋田市観光文化スポーツ部

秋田城跡歴史資料館

・石龍山 勝平寺 ―千年時空―より

・雄物川放水路について  国土交通省

・新屋浜古墳について  新屋町郷土史

・写真&俳句

 秋田国際俳句ネットワーク 蛭田秀法

2026年8月19日水曜日

Haibun (14)

 

8.19

PJCA’s First International Haiku Anthology

2026

Sakura Fubuki

 桜吹雪

 

8.19  

PJCA1回国際俳句アンソロジー

2026

Sakura Fubuki

桜吹雪

 

8.19

Haiku Day

 

"Haiku Day" is a commemorative day dedicated to haiku. In Japan, there have been various initiatives to designate August 19th as Haiku Day, based on a wordplay where the numbers 8 and 19 can be read as "ha" and "iku," respectively.

 

Today, August 19, marks this special occasion. It is a truly groundbreaking and deeply honorable moment for me to introduce and share the First International Multilingual Haiku Anthology: "Sakura Fubuki", organized by the Pakistan Japan Cultural Association.

 

Hidenori Hiruta

Translator: Japanese translation

August 19, 2026

 

8.19

俳句の日

 

「俳句の日」は、俳句を記念する日です。日本では、数字の「8」と「19」をそれぞれ「は」と「いく」と読む語呂合わせから、819日を「俳句の日」とする様々な取り組みが行われてきました。

 

本日819日は、まさにその特別な日です。この機会に、パキスタン日本文化協会が企画・編集した初の国際多言語俳句アンソロジー『桜吹雪(Sakura Fubuki)』をご紹介し、皆様と分かち合えることは、私にとって極めて画期的であり、大変名誉なことと感じております。


蛭田秀法

和訳者

令和8819


 

SAKURA FUBUKI

桜吹雪

 

PJCA’s First International Multilingual Haiku Anthology

A Collection of Pakistani-Japanese Cultural Exchange Stories

 

Dedicated to the 79th Independence Day of Pakistan

 Through Culture & Creativity

 

PJCA初の国際多言語俳句アンソロジー

パキスタン日本文化交流ストーリー集

 

パキスタン独立79周年を記念して

文化と創造性を紡ぐ

 


 

A poetic journey connecting Pakistan and Japan through global voices, creativity, and cultural exchange. Dedicated to the 79th Independence Day of Pakistan, this anthology reflects the spirit of international friendship and the shared language of poetry.

 

世界の人々の声、創造性、そして文化交流を通じてパキスタンと日本を結ぶ、詩の旅。パキスタン独立79周年を記念するこのアンソロジーは、国際的な友情の精神と、詩という共通言語を映し出しています。

 

Publication Highlights

PJCA Anthology

 

出版のハイライト

PJCAアンソロジー

 

Sakura Fubuki

桜吹雪

 

PJCA’s First International Multilingual Haiku Anthology is a landmark literary initiative bringing together poetic voices from around the world through the timeless art of haiku.

 

This anthology celebrates PJCA’s journey of cultural exchange and its enduring commitment to strengthening Pakistan–Japan friendship through arts, literature, and people-to-people connections.

 

PJCAによる初の国際多言語俳句アンソロジーは、時代を超えて愛される芸術である「俳句」を通じ、世界中の詩的な声を結集させる画期的な文学的試みです。

 

本アンソロジーは、芸術、文学、そして人と人とのつながりを通じてパキスタンと日本の友好関係を深めるという、PJCAのこれまでの文化交流の歩みと、その変わらぬ尽力を称えるものです。

 

Publication Details:


• Publisher: Pakistan Japan Cultural Association, Islamabad (Pakistan)
• Pages: 344
• Language: English, Urdu & Japanese
• Year: Summer 2026
• Free to download

 

Access the Anthology

 

The anthology is available free of charge for readers worldwide at the following international platforms.

 

Also Available on Lulu — Free eBook Edition (Click here)

Also Available on Internet Archive — Free eBook Edition (Click here)

 

Greeting

 

Hifsa Ashraf

Editor & Curator

 

Pakistan Japan Cultural Association (PJCA), Islamabad's first International Multilingual Haiku Anthology 2026 is live now!

 

As an editor and curator, it is a great privilege and honour to announce Pakistan Japan Cultural Association (PJCA), Islamabad's first International Multilingual Haiku Anthology 2026—the first of its kind in Pakistan, published in collaboration with the Embassy of Japan in Pakistan.

 

We received 657 haiku submissions from 335 poets representing 45 countries—a truly inspiring reflection of the global haiku community.

 

Working with poets from around the world was both enriching and humbling. Many were long-time literary colleagues, some became dear friends, and others were wonderful new connections. The editorial process, including suggesting thoughtful revisions wherever possible to preserve the true spirit of haiku and translating the selected poems into Urdu, became a meaningful journey of cultural exchange. It allowed me to explore the beauty of both languages while witnessing how poetry can serve as a bridge of friendship, mutual understanding, and cultural diplomacy across borders.

 

My heartfelt gratitude goes to the Pakistan Japan Cultural Association (PJCA), Islamabad, the Embassy of Japan in Pakistan, the entire executive and editorial teams, all the poets, photographers, and everyone who contributed directly or indirectly to making this historic project a reality.

 

Please find the links below:

 

https://pjca-isb.org/pjca-1st-international-haiku.../

 

May this anthology continue to promote peace, positivity, friendship, and cultural understanding across borders.

In the spirit of peace, positivity, and friendship!

                                                                                                                                — Hifsa 

August 2, 2026

 

ご挨拶

 

ヒフサ・アシュラフ

編集者・キュレーター

 

パキスタン日本文化協会(PJCA)イスラマバードによる初の「国際多言語俳句アンソロジー2026」が公開されました!

 

編集者兼キュレーターとして、在パキスタン日本国大使館との協力により実現した、パキスタン初となる「国際多言語俳句アンソロジー2026」を発表できることを、大変光栄に思います。

 

世界45カ国、335名の俳人から657句もの応募をいただきました。これは、世界の俳句コミュニティの広がりを物語る、実に素晴らしいことだと感じています。

 

世界中の俳人の方々と共に取り組めたことは、私にとって豊かな学びであり、同時に謙虚な気持ちにさせられる貴重な経験でした。長年の文学仲間もいれば、親しい友人となった方、そして新たに素晴らしいご縁をいただいた方もいらっしゃいます。俳句の真髄を大切にしつつ、可能な限り丁寧な推敲を提案したり、選出された句をウルドゥー語に翻訳したりといった編集のプロセスは、意義深い文化交流の旅となりました。その過程で、両言語の美しさを探求すると同時に、詩がいかにして国境を越え、友情や相互理解、そして文化外交の架け橋となり得るかを目の当たりにすることができました。

 

パキスタン日本文化協会(PJCA)イスラマバード、在パキスタン日本国大使館、運営・編集チームの皆様、そして俳人や写真家の皆様、さらにはこの歴史的なプロジェクトの実現に直接的・間接的に貢献してくださったすべての方々に、心より感謝申し上げます。

詳細はこちらのリンクをご覧ください:

 

https://pjca-isb.org/pjca-1st-international-haiku.../

 

このアンソロジーが、国境を越えて平和、前向きな心、友情、そして文化への理解を促進し続けるものとなることを願っています。

平和、前向きな心、そして友情の精神を込めて。


ヒフサ(Hifsa

令和882


 


 

Message

 

H.E. Mr. AKAMATSU Shuichi

Ambassador of Japan to Pakistan

Patron-in-Chief, Pakistan Japan Cultural Association (PJCA)

 

It gives me a great pleasure to extend my sincere greetings on the occasion of the publication of the PJCA 1st International Haiku Anthology 2026, an inspiring initiative of the Pakistan Japan Cultural Association that celebrates one of Japan’s most cherished literary traditions.

 

Haiku, though brief in form, carries a profound depth of expression. It is a traditional form of Japanese poetry consisting of 17 syllables in a 5-7-5 pattern, and its fundamental principle is the incorporation of a “Kigo” (seasonal word). In just a few words, it captures moments of nature, human emotion, and quiet reflection. Rooted in Japanese aesthetics, haiku reminds us of the value of simplicity, mindfulness, and attentiveness to the world around us. It invites us to pause in our busy lives and discover meanings in the smallest of moments.

 

What makes this anthology especially meaningful is the remarkable diversity of its contributors. It brings together voices from across professions and walks of life, including educators, academics, artists, writers, scientists, professionals from public and private sectors, diplomats, students, and

individuals from all segments of society.

 

This remarkable diversity reflects a simple but powerful truth: poetry belongs to everyone. It is not limited by profession, status, or geography. Rather, it is a shared human language that connects us beyond boundaries and backgrounds. In this sense, haiku becomes a bridge between cultures and communities, allowing individual experiences to resonate universally.

 

I would like to commend the Pakistan Japan Cultural Association for its continued efforts in strengthening cultural understanding and people-to-people exchanges between Japan and Pakistan. Initiatives such as this anthology play an important role in deepening mutual appreciation and bringing our societies closer through shared artistic expression.

 

May this collection inspire readers to embrace the spirit of haiku in their daily lives, to observe the world with greater sensitivity, and to find beauty in simplicity.

 

I warmly congratulate all the contributors and all those who

made this publication possible.

 

Shuichi Akamatsu

 

メッセージ

 

赤松秀一駐パキスタン日本国大使閣下

パキスタン日本文化協会(PJCA)名誉総裁

 

パキスタン日本文化協会(PJCA)による素晴らしい取り組みである『PJCA1回国際俳句アンソロジー2026』の刊行にあたり、心よりお祝いの言葉を申し上げます。本アンソロジーは、日本が誇る最も愛される文学的伝統の一つを称えるものです。

 

俳句は、その形式こそ簡潔ですが、表現には深い奥行きが込められています。五・七・五の十七音から成る日本の伝統的な詩歌であり、「季語」を詠み込むことがその基本原則です。わずかな言葉の中に、自然の情景や人の感情、そして静かな内省のひとときが捉えられています。日本の美意識に根差した俳句は、私たちに、簡素であることの価値やマインドフルネス(今この瞬間に心を向けること)、そして周囲の世界へ心を配ることの大切さを思い出させてくれます。多忙な日々の中でふと立ち止まり、何気ない小さな瞬間の中に意味を見出すよう、私たちを誘ってくれるのです。

 

このアンソロジーをとりわけ意義深いものにしているのは、寄稿者の驚くべき多様性です。教育者、研究者、芸術家、作家、科学者、官民の専門職、外交官、学生、そして社会のあらゆる層の人々など、多種多様な職業や背景を持つ人々の声が一堂に会しています。

 

こうした豊かな多様性は、シンプルでありながら力強い真実を映し出しています。それは、「詩はすべての人に開かれたものである」ということです。詩は職業や地位、あるいは地理的な境界に縛られるものではありません。むしろ、国境や背景を超えて私たちを結びつける、人類共通の言葉なのです。その意味において、俳句は文化やコミュニティの架け橋となり、個人の体験を普遍的な響きを持つものへと変えていくのです。

 

日本とパキスタンの間における文化的な相互理解と人的交流の強化に向け、パキスタン日本文化協会が長年にわたり尽力されていることに敬意を表します。本アンソロジーのような取り組みは、芸術表現の共有を通じて相互の理解を深め、両国社会の距離を縮める上で重要な役割を果たしています。

 

この作品集が、読者の皆様にとって、日常生活の中で「俳句の心」に触れ、より豊かな感性で世界を見つめ、簡素さの中に美しさを見出すきっかけとなることを願っております。

 

寄稿者の皆様、ならびに本出版の実現にご尽力されたすべての関係者の皆様に、心よりお祝い申し上げます。

 

赤松 秀一

 

Message

 

Mr. Jamal Shah

President, Pakistan Japan Cultural Association (PJCA), Islamabad

 

Art, in its truest form, does not belong to nations or languages. It belongs to perception, to silence, and to the human capacity to feel beyond words.

 

It is in this spirit that the Pakistan Japan Cultural Association presents the 1st International Haiku Anthology 2026, a modest yet meaningful offering to the shared world of poetry.

 

Haiku, in its distilled essence, reminds us that expression does not require abundance. A moment of light, a shift in wind, or a passing thought is enough to awaken awareness. This anthology gathers such moments from diverse voices across the world, each shaped by individual experience yet united through a shared sensitivity to life’s quiet details.

 

As an artist, I have always believed that creativity is a bridge between the seen and the unseen. This collection becomes that bridge, where words become pauses, and pauses become meaning. It is here that cultures meet gently, without assertion, through observation and feeling.

 

This publication also depicts the deeper spirit of friendship between Pakistan and Japan, a relationship enriched not only through diplomacy, but also through artistic dialogue and mutual respect for aesthetic tradition.

 

I would like to especially acknowledge Mr. Mushtaq Moeeni, Secretary General of PJCA, under whose thoughtful supervision and guidance this idea first took shape and gradually evolved into this meaningful publication.

 

I also extend my sincere appreciation to Ms. Hifsa Ashraf, whose vision, dedication, and tireless leadership played a central role in shaping this anthology. From concept to completion, her commitment ensured the realization of this project, including her valuable contribution to its translation and editorial refinement.

 

In keeping with PJCA’s commitment to accessibility and cultural sharing, this anthology will be freely available for download on the official website of Pakistan Japan Cultural Association upon publication, allowing its reach to extend without boundaries.

 

May these poems invite readers to slow down, to observe, and to rediscover the quiet poetry that already exists in everyday life.

 

Jamal Shah

 

メッセージ

 

ジャマル・シャー氏

パキスタン日本文化協会(PJCA)イスラマバード会長

 

真の意味での芸術は、特定の国や言語に属するものではありません。それは「知覚」や「静寂」、そして言葉を超えて何かを感じ取る人間の感性にこそ属するものです。

 

パキスタン日本文化協会は、こうした精神のもと、『第1回国際俳句アンソロジー2026』を編纂・発表いたします。これは、詩という分かち合われた世界に向けた、ささやかながらも意義深い贈り物です。

 

その本質において、俳句は私たちに教えてくれます――表現に多くの言葉は必要ない、と。一筋の光、風の移ろい、あるいはふとよぎる想い。そうした些細なことでも、私たちの意識を目覚めさせるには十分なのです。本アンソロジーは、世界中の多様な人々から寄せられた、そうした「瞬間」の数々を集めたものです。それぞれが個人の経験から生まれたものでありながら、人生の静かな機微に対する共通の感性によって一つに結ばれています。

 

アーティストとして、私は常に創造性とは見えるものと見えないものをつなぐ架け橋だと信じてきました。この作品集はまさにその架け橋であり、言葉が間となり、間が意味へと昇華する場所です。ここでは、文化が観察と感情を通して、主張することなく、穏やかに出会います。

 

また、この作品集はパキスタンと日本の深い友情の精神を描き出しています。この関係は外交だけでなく、芸術的な対話と美的伝統への相互尊重によっても豊かになっています。

 

特に、PJCA事務総長のムシュタク・モエニ氏に深く感謝申し上げます。彼の思慮深い指導と助言のおかげで、この構想は初めて形になり、徐々にこの意義深い作品集へと発展することができました。

 

また、本アンソロジーの制作において、そのビジョンと献身、そしてたゆまぬリーダーシップで中心的な役割を果たされたヒフサ・アシュラフさんに、心より感謝申し上げます。構想から完成に至るまで、翻訳や編集上の洗練といった多大な貢献を含め、彼女の尽力こそが本プロジェクトの実現を可能にしました。

 

アクセシビリティと文化の共有を重視するPJCA(パキスタン日本文化協会)の方針に基づき、本アンソロジーは出版後、同協会の公式ウェブサイトにて無料でダウンロードが可能となります。これにより、国境や境界を越えて広く届けられることでしょう。

 

これらの詩が、読者の皆様を、立ち止まって周囲を眺め、日常生活の中にすでに息づいている静かな詩情を再発見するひとときへと誘うものとなれば幸いです。

 

ジャマル・シャー

 

Congratulations

 

Ms. Marta Majorka Chociłowska

Moderator of Haiku Group “Buds of Haiku”

 

お祝い

マルタ・マジョルカ・チョチウォフスカさん

俳句グループ「俳句のつぼみ」の管理者

 

Buds of Haiku

 

Marta Majorka Chociłowska 

 

PJCA’s First International Multilingual Haiku Anthology

Sakura Fubuki First Digital Edition Summer 2026. 

 

Congratulations to Editor & Curator Hifsa Ashraf and to our Buds included!

 

編集者兼キュレーターのヒフサ・アシュラフさん、そして選出された私たちの句会「俳句のつぼみ」の皆さん、おめでとうございます!

 

Here are the names of members, whose haiku are selected and published in the anthology.

 

アンソロジーに俳句が取り上げられたメンバーの氏名を紹介します。


Mohammad Azim Khan, Ram Chandran, Kala Ramesh, Bidyutprabha Gàntayat, Natalia Kuznetsova, Lakshmi Iyer, Nalini Shetty, Neena Singh, Alvin Cruz, Milan Rajkumar, Manoj Sharma, Mona Bedi, Pravat Kumar Padhy, Radhika De Silva, Christina Chin, Rupa Anand, Tejendra Sherchan, Srinivas Sambangi, Bipasha Majumder De, Arvinder Kaur, Ram Krishna Singh, Mihai Moldoveanu, Sheila Windsor, Boryana Boteva, Giuliana Ravaglia, Eduard Țară, Ernesto Santiago, Tomislav Maretic, Clive Bennett, Vladislav Hristov, Lori Kiefer, Savova Vessislava, Maria Concetta Conti, Stoianka Boianova Taneva, Valentina Meloni, Mark Zee, Djurdja Vukelic-Rozic, Paul Callus, Alan Summers, Željko Vojković, Małgorzata Formanowska, Seamus Ó Connor, Nadejda Kostadinova, Florin Golban, Angiola Inglese, Vasile Moldovan, Refika Dedić, Ann Smith, Goran Gatalica, Tsanka Shishkova, Beata Czeszejko, Nazarena Rampini, Olivier Schopfer, Robert Kingston, Irena Iris Szewczyk, Daniela Misso, Nina Kovacic, Minko Tanev, Ana Drobot, Nicoletta Ignatti, Melissa Dennison, Keith A. Simmonds, Julie Kelsey, Julie Schwerin, Tom Bierovic, Jackie Chou, Dorna Hainds, Robin Jacobson, Cendrine Marrouat, Nicholas Klacsanzky, Bonnie J Scherer, Ron Scully, Erin Castaldi, Steve Schultz, John Pappas, Kathabela Wilson, Scott Wiggerman, Michael Dudley, Bryan Rickert, Michele L. Harvey, Marilyn Ashbaugh, Sondra J. Byrnes, Rowan Beckett Minor, Wendy Cobourne, Chrissi Villa, Jacquie Pearce, Charlie Smith, Fatma Zohra Hab, Ibrahim Nureni, Tuyet Van Do, Vanessa Proctor, Marilyn Humbert, Ron C. Moss, Hidenori Hiruta (translator Japanese)

 

Thank you for the tag and congratulations to all the featured poets!

 

  返信する

Hifsa Ashraf


Thanks everyone for your kind words of appreciation! It means a lot!