Kwaidan: Stories and Studies of Strange Things by Colin Kelly

By Colin Kelly


I enjoy Japanese ghost stories and movies. Perhaps the most famous of these are the short stories in the collection Kwaidan by Lafcadio Hearn. I picked three of these ghost stories for my final project in a digital art class I took in the summer of 2008, Art Digital Media 110: Digital Imaging Process & Technique.

This section has the details of the images to go with these particular stories I selected for my project.


Kwaidan: Stories and Studies of Strange Things

I enjoy Japanese ghost stories and movies. Perhaps the most famous of these are the short stories in the collection Kwaidan by Lafcadio Hearn. A book containing seventeen of his stories, and three essays (“Insect-Studies”), was published by Houghton Mifflin & Co. in April, 1904. A film based on four of the stories and directed by Masaki Kobayashi was released in 1965.

I selected three of the stories as the subjects of my final project for ARTDM-110. These are:

I thought about a ghost theme for my project when it was discussed in class. I remembered that we have the Kwaidan DVD, so I watched it when I got home that day. I went on the internet (Google and Wikipedia) and researched Kwaidan to learn more about the stories. I had not read Lafcadio Hearn’s stories, and discovered that there were more than the four included in the film. This research confirmed my decision to use Kwaidan as the theme for my project.


1.  The Story of Mimi-Nashi-Hoichi

The digital image shows the sûtra traced on Hoichi’s face — but it is missing on his ears. The ghost samurai is shown in front of Hoichi’s ear at the right. Excerpts from the story overlay Hoichi’s face. The “Kwaidan 1” logo is at the lower right; above the samurai are the Kanji characters for Kwaidan and below them is the title of the story. The Adobe psd file for the final image has 8 layers and is 202.85 MB; this merged jpg thumbnail image is 39 KB.

Hoichi, a blind musician, lived in a monastery. In return for food and lodging he is required only to gratify the priest with a musical performance on certain evenings. He has a great talent for playing the biwa, a stringed instrument.

One night he is summoned by a samurai to provide a musical performance for a high rank noble. Because one does not turn down the order of a samurai, he is led to a palace and performs as requested. He is told that he will be summoned every night for the next six nights to continue his performance.

When the priest learns of this, he tells Hoichi that those whom he had entertained were ghosts from a nearby cemetery, and that he will be in great danger and come to a bad end if he returns again with the samurai. To protect him, the priest and an acolyte stripped Hoichi and with writing-brushes they traced on all part of his body the text of the holy sûtra Hannya-Shin-Kyō.

“When the samurai returns to fetch you, Hoichi, he cannot see you — the sûtra prevents ghosts from seeing anyone or anything which it covers.”

However, when the samurai returns while he does not see Hoichi, he sees two ears — the acolyte failed to write the sûtra on Hoichi’s ears — and cuts them off and leaves. The priest returns and, with the aid of a good doctor, Hoichi soon recovers from his injuries.

The story of his adventure results in many nobles who come to hear him play the biwa, and he becomes a wealthy man. But he is even better known because of the name he was given as a result of his adventure: Mimi-nashi-Hoichi: Hoichi the Earless.



2.  Ubazakura

The digital image shows the milk-nurse O-Sode and the girl O-Tsuyu. Overlaying them are excerpts from the story and the story title. The “Kwaidan 2” logo is at the right center, and near the upper right corner are the Kanji characters for Kwaidan. The Adobe psd file for the final image has 7 layers and is 123.68 MB; this merged jpg thumbnail image is 34 KB.

A rich man and his wife have been childless for many years. They address many prayers to the divinity Fudo-Myo-O, and finally they are blessed with a daughter, O-Tsuyu, a very pretty child. A milk-nurse, O-Sode, was hired to care for the little girl.

At the age of fifteen O-Tsuyu fell sick, and her parents and nurse were told by the doctors that there was nothing that they could do, that O-Tsuyu was going to die. Every day for twenty-one days O-Sode, who loved O-Tsuyu with a mother’s love, prayed to Fudo-Sama; and at the end of that time O-Tsuyu suddenly recovered. On the following day, O-Sode suddenly fell ill, and the doctors said it was the affliction from which O-Tsuyu had suffered, and that O-Sode would certainly die.

O-Sode told the family that she had made a bargain with Fudo-Sama to take her life instead of the girls’s. She requested only that the parents plant a cherry tree in the gardens of Saihoji. They did so, and the tree grew to be the most beautiful in the gardens. And the people called it Ubazakura, the Cherry Tree of the Milk-Nurse.



3.  Yuki-Onna

The digital image shows the “woman in all white” in the background at the left, staring at the boy Minokichi who is lying on a pallet. Excerpts from the story and the story title overlay the image from the upper right to the bottom center. The “Kwaidan 3” logo is at the lower left corner, and above it are the Kanji characters for Kwaidan. The Adobe psd file for the final image has 8 layers and is 202.11 MB; this merged jpg thumbnail image is 32 KB.

Two woodcutters, Mosaku who was a very old man, and Minokichi who was his apprentice, a boy of eighteen years, were on their way home one very cold evening when a great snowstorm overtook them. They took refuge in a hut, thinking themselves lucky to find any shelter at all. They fastened the door, and lay down to rest with only their straw raincoats to keep them warm.

The old man immediately fell asleep, but the boy lay awake a long time, listening to the awful wind, and the continual slashing of snow against the hut, and the roaring of the nearby river. He at last fell asleep, but soon awoke when he heard the door of the hut being forced open.

By the snow light, he saw a woman in the room, a woman all in white. She was bending above the old man, blowing her cold breath upon him, freezing him. She turned to the boy and, instead of breathing her frozen breath upon him, she told him he would be spared, but that if he ever told anyone she would return and kill him, and the frightened boy so promised.

Some years later a beautiful girl, O-Yuki, came to the boy’s village, and they fell in love and they had ten children and were very much in love. One night, after the children had gone to sleep, O-Yuki was sewing by the light of a paper lamp.

Minokichi, now a man of middle-age, watching her said, “To see you sewing there, with the light on your face, makes me think of a strange thing that happened when I was a lad of eighteen. I then saw somebody as beautiful and white as you are now — indeed, she was very like you.”

She asked him to tell the tale, and he did, forgetting the promise he had made.

Hearing the story, O-Yuki flung down her sewing and shrieked at him, “It was I who spared you. And I told you then that I would kill you if you ever told one word about it! But for those children asleep there, I would kill you this moment! And now you had better take very, very good care of them; for if ever they have reason to complain of you, I will treat you as you deserve!”

With that, she disappeared, like a wisp of white smoke, up the chimney; never again did anyone see O-Yuki, The Woman of the Snow.




My sources for the images:


1.  The digital version of the book by Lafcadio Hearn from Google Book Search

Each of the three digital images in my project includes screen captures of excerpts of the text from the story that is the subject of that digital image. The text is not intended to be read (though it is possible to read some of the text); it is a design element. In each image the text has been placed in a different manner and orientation, selected so it would contribute as an important design element and to emphasize that the digital image is based on a printed story.

The three story titles and the Kanji characters for kwai and dan are also screen captures from the digital version of the book.

2.  Scans from the Kwaidan DVD cover and booklet

The illustration from the front cover of the DVD is the key image for my first subject, The Story of Mimi-Nashi-Hoichi.

The illustration from the back cover of the DVD is the key image for my second subject, Ubazakura.

I scanned the illustration on the chapter list page of the booklet included with the DVD. I then selected and deleted the word CHAPTERS, made three copies, and to each added the digit 1, 2, or 3. Each of the images was merged to rasterize the text and reduce complexity and file size. These became three logos I used to identify each of the three digital images in my project.

3.  Images I downloaded from the internet

Most are from stock.xchng (www.sxc.hu) and imagebase (imagebase.davidniblack.com). These images are either in the public domain or are royalty free.

4.  Images I took with my digital camera.

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Size of Digital Images Included in the Project

The images vary in size depending on where and how they were obtained. Scans were made at 600 ppi; screen captures were made at 72 ppi; downloaded images vary in resolution depending on the source, from 2048 ppi to 72 ppi. All images were converted, if necessary, to 72 ppi.

All three of the digital images included in my project are 5581 x 5662 pixels, and are 72 ppi. Because all layers are present in the three files, the image file sizes are very large. Smaller images were created for posting on the internet.

The Work as a Series; How the Separate Images Work Together

The three digital images included in my project are a series that relate to several common themes: The Kwaidan stories; ghosts; ghost stories; and common design elements. These digital images work together because they are based on a sequence of ghost stories by one author, and because there is continuity and commonality of the design elements. There is another, underlying, theme: the folly of man when dealing with ghosts, spirits, and magic; anything that is beyond our comprehension.


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This story and the included images are Copyright © 2008-2024 by Colin Kelly (colinian). The original image are copyright by original sources as indentified in this story. They cannot be reproduced without express written consent. Codey's World web site has written permission to publish this story. No other rights are granted.

Disclaimer: All publicly recognizable characters, settings, etc. are the property of their respective owners. The original characters and plot are the property of the author. The author is in no way associated with the owners, creators, or producers of any media franchise. No copyright infringement is intended.