UDC 391

Novosibirsk State University

2 Pirogova str., Novosibirsk, 630090, Russia;

Institute of Archeology and Ethnography SB RAS

17 Akademika Lavrentieva Ave., Novosibirsk, 630090, Russia

E-mail: orient@lab.nsu.ru

The game is the original driving force of civilization.

Roger Caillois

The article considers the Japanese gaming culture as the most significant and stable element of national specifics. Within the framework of existing classifications and concepts, an attempt is made to typologize this phenomenon. At the same time, the emphasis is placed on the analysis of intellectual competitions characteristic of the Eastern mentality, competitions in knowledge and wisdom, skill and skill. The paper discusses in detail some types of intellectual games, rituals and entertainment formed in the traditional art of composing incense ko: do:, gives a brief excursion into the history of the formation of this art, emphasizes the close connection of intellectual entertainment with various aspects of written and gaming culture of the Japanese.

Introduction

It seems that the most significant and stable element of national specifics is the game culture, which is a set of mythological views, traditions, moral beliefs, family and marriage relations of a particular society. Law and order, communication and entrepreneurship, craft and art, poetry, scholarship, and science "are rooted in the same soil of game actions "[Huizinga, 1997, p. 24]. Therefore, it is in

This work was supported by the Russian Foundation for Basic Research (project 06 - 06 - 80022a) and Rosobrazovanie (RIL 2.2.1.1.2183). Special thanks to Ms. Yoshikawa Chiyo for providing the photos used in the article and valuable advice when working with sources.

I would like to express my special gratitude to the Japan Foundation, which supported a research trip to Japan in October-December 2006. As a result, it was possible not only to record information on the gaming behavior of modern Japanese people and conduct a number of sociological observations, but also to get acquainted with valuable expositions in the Miike Historical Museum of Playing Cards (Omuta), the Kyushu State Historical Museum (Fukuoka), the Seido and Yamada-matsukobokuten Incense art galleries, the Center for the Study of Art Sado-shirekan (Kyoto) and the City History Museum (Sendai), as well as rare publications on the topic in the libraries of Sapporo, Hokkaido-Gakuen (Sapporo, Hokkaido), Hosei (Tokyo) and Tohoku (Sendai) universities. In addition, many thanks to our colleagues from the Center for Northeast Asian Studies at Tohoku University (Sendai), who helped organize a number of valuable consultations in the sado and kodo art clubs, as well as to implement several joint research projects in the fall and winter of 2007-2008.

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in the context of the game activity of a particular nation, it is possible to assess the specifics of its spiritual culture.

In general, the theme of the game in ancient and traditional societies, which, of course, can be recognized as Far Eastern civilizations, is extremely interesting and multifaceted. Since the presence of games is recorded in almost all historical periods and in all regions of the world, it is fair to say that the game is one of the signs of culture in general.

The number of games invented by mankind during its existence is huge. Accordingly, the typology of this phenomenon is very difficult; it seems impossible to develop a perfect classification: the number of features that can be used to classify games is too large.

One of the most accepted in the scientific world is a classification related to the nature of the information needed during the game. In this case, the most important boundary is between games with complete (for example, chess, checkers, go) and incomplete (for example, backgammon, playing cards) information. Its incompleteness often stems from an external factor present in the game (for example, taking a random card from the deck). This not only does not allow you to accurately calculate the consequences of actions, but also brings excitement and a certain amount of risk to the game. In real life, this is exactly what happens, so we can assume that games where there is a random factor are closer to life than checkers or chess [Owen, 1971, p. 7; Musikhin, 1990, p.5]. This fully applies to many Eastern intellectual games.

Games can also be classified according to a variety of other criteria. Apparently, the most important factors in any of them are the composition of participants, the game space (a board for playing, a set of cards or dice) and the rules. By the number of players, you can distinguish games with one participant (it is more correct to call them puzzles), two or more; depending on the game space-games on a chess (checkers) board, on a piece of paper, card games, etc.

The difficulty of classifying games also lies in the fact that they, like any cultural phenomenon, are seriously influenced by the dynamics of the historical process of any new formation, the ideology of different social groups. In addition, games differ from one another not only in content and form, time and location, composition and number of participants, the degree of regulation and management, the presence or absence of necessary accessories, a set of rules, but also in goals (for teaching students, as training for decision-making in simulated situations, for entertainment etc.).

In a certain sense, the development of one of the most widespread classifications, according to which games are divided into competitive and imitation games (Musikhin, 1990, p.5), can be considered the original classification developed by the French anthropologist, sociologist and ethnographer of the XX century R. Caillois. On the basis of the presented typology of game principles, he distinguishes competitive, gambling, imitative and "dizzying" games [Kayua, 2007, p. 15]. At the same time, R. Cailloua notes the disparity of their socio-political role in any real society: somewhere the main regulatory process is competition and drawing lots, in some cases there are contemplative and imitative instincts. In any case, according to the researcher, it seems justified to contrast gambling and competitive games [Ibid., p. 50]. At the same time, R. Kayua puts forward the thesis that in the East, simple entertainment tends to turn into competitive ones [Ibid., pp. 72-73].

According to the classification presented in the Japanese "Encyclopedia of Games", games can be divided into competitive; theatrical (mimetic); risk-related; based on world perception, feelings or" five senses"; construction and technical; collectible [Asobi - no..., 1989, vol.1, pp. 4-12].

As for this work, the selection of intellectual competitive games from all Japanese entertainment is based on the classification, in which games are divided into competitive and imitation. At the same time, the main part of Japanese games should be attributed to absolutely competitive and only some (for example, those related to the rituals of the traditional art of composing compositions from different types of tea and incense) - to imitation, since they contain a significant element of ritual and theatrical action. Intellectual competitions, competitions in knowledge and wisdom, skill and skill, which are so characteristic of the Eastern mentality, are very revealing. As an example, let's take a look at some of the games, rituals, and amusements that were formed in the traditional art of composing incense.

A brief excursion into the history of the formation of the art of composing incense ko: do:*

Elite art of composing incense ko: - do: (dosl. "the way of fragrance"), along with the Noh theater, painting, tea ceremony, creating flower compositions and other elegant entertainment, are-

* A colon in Russian Japanese studies is usually used to denote a long sound.

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Figure 1. Art accessories to: before:.

Fig. 2. Tournament on matching stems and roots of iris se: bune-awase.

It is one of the types of traditional Japanese culture that appeared almost simultaneously in the Muromachi era (1392-1573). It is not an oversimplification to say that it was born on the basis of observing the properties of aromatic trees, as a result of which a special refined system of "listening to aromas" was developed, a perfect technique was developed, and a lot of special highly artistic tools were invented (Figure 1).

The art of ko: do:, like many other phenomena of East Asian civilization, originates in the culture of China, where, unlike Western Europe, "listening to aromas" at first was reduced to experiments with aquileia wood. For a long time, the concept of "fragrance" was associated only with this evergreen tree or the aromatic substance from its bark. It is quite natural that the art of ko: do: i in Japan has long developed under the influence of traditional ideas.

Over time, a whole system of evaluating the merits and scope of a particular fragrance has been developed. Thus, through the stages associated with the use of kuko incense: for sacrifices in the Nara era (710-794) and ku: ko incense: for fumigating rooms and clothing for sanitary purposes in the Heian era (794-1185), gradually the art of ko: do: began to actively develop in line with such methods. traditional entertainment of the Heian aristocracy, such as various tournaments associated with the concept of mono-awase - "comparison of things", when similar things and objects were compared with each other according to certain criteria (Voitishek, 2003, p.128-129). Among the many similar tournaments, the following ones had a special historical and cultural significance: uta-awase - "comparison of songs"; ne-awase - "comparison of roots", associated with a special competition during the boys 'holiday on the fifth day of the fifth moon (one of the names of which is "Holiday of Irises"), when the stems of the se iris were measured:bu and composed poems (Fig. 2); e-awase - "matching pictures"; kai-awase - " adding clam shells "( playing with hamaguri shells, which later served as a prototype of the uta-karuta poetic maps, which, by analogy with the shell doors, also consisted of two halves that made up the whole poem); so: si-awase - "comparison of notes" (participants presented literary notes and short notes).-

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special judges evaluated the paper, handwriting, binding, and overall performance); hana-awase - "matching flowers"; o: gi-awase - "matching fans"; kiku-awase - "matching chrysanthemums", etc.

By analogy with the mentioned tournaments, the entertainment takimono-awase - "matching of ignited objects" was invented, which is considered one of the competitions of ko: - awase - "matching of aromas". In the takimono-awase competitions, special neriko incense was lit: "mixed flavor"), made from various types of aromatic substances. Since the Nara period, in addition to aquilaria wood, various aromatic resins, myrrh, musk, amber and other natural components were used, which were crushed and kneaded together with honey or sugar into a homogeneous mass; and since the beginning of the Heian era, plum blossoms and pulp, chrysanthemum flowers, lotus leaves, fallen autumn foliage. Nevertheless, for a long time, the Chinese point of view about the dominance of the aquilaria fragrance prevailed. But gradually developed and specific Japanese culture of flavors. Along with the flourishing of the literary genre of renga during the Muromachi period, various types of renga became popular.taki-awase - " comparisons of lit [objects]" (up to the burning of vegetables and fish or cooking them separately and then putting them in one vessel to combine flavors), during which criteria for evaluating odors were developed.

Gradually, with the development of ko:-awase, various types of aromatic trees used were given literary names, and later the technique of composing kumiko: (lit. "combining flavors in groups"). In the Edo period (1600 - 1867), a great variety of kumiko: combinations appeared, most of which were somehow connected with classical literature. So, the connection with the novel "Genji-monogatari "(created at the turn of the X-XI centuries by the court lady Murasaki Shikibu), recognized as a masterpiece not only of Japanese, but also of world literature, is revealed by the names of utsusemi-ko rituals: (lit. "scents of an empty cicada shell") - allusion to the title of Chapter 3, "The empty shell of a cicada"; miotsukushi-ko: (lit. "aroma of coastal buoys") is an allusion to the title of Chapter 14"Near coastal buoys".

Participants in ko:-awase competitions often prepared two or more types of incense, placing them on the tatami, divided into two teams and alternately lit the prepared samples. In this entertainment, the game moment was extremely strong: in addition to the dignity of aromas and the qualities of the composition itself, the ability to choose a suitable name for it, associated with ancient literary works, famous legends or poems in the waka genre, was extremely highly valued. By the middle of the Edo period (the turn of the XVII-XVIII centuries), many variants of such techniques (more than 300) were formed. Traditionally, such topics as "seasons", "holidays-wishes", "miscellaneous", etc. were chosen as the main topics [Tsunogawa..., 1991, vol. 1, pp. 420-459].

The art of ko: do: from the Edo period to the present day uses a variety of aromatic trees. Over the centuries, new types of kumiko entertainment have been constantly being invented:. This was due to the long-standing tradition of creating a special atmosphere at each ko: - awase competition meeting, for which a theme related to a famous literary work was chosen, which ultimately created additional conditions for extreme aestheticization and deliberate poetization of the incense burning process.

Kumiko Activities: on the bammono board

In the art of ko: do:, several hundred combinations of kumiko: were invented, the advantages of which served as the basis for comparison and conducting a kind of competition. The results of such competitions were initially recorded on paper, but in the Edo period, many competitive games were invented, where players ' achievements were recorded by rules based on the principle of moving special pieces on a special bammono stand (lit. "board" or "item on the board"). In addition to this term, such names as bantatemono ("object standing on the board") and tatemono ("standing object") are often used, although they mainly mean figures that are moved on the board when one of the participants in the game guesses a certain flavor. Players (two people or two teams) move doll figures, horses, tree branches and flowers depending on luck or failure in guessing a particular fragrance. The one whose pieces reach the goal first becomes the winner. In the case of team competitions, the results of each team member are taken into account. According to Japanese researchers, this entertainment was born as one of the types of competitionskumiko games, held with the participation of women in order to increase the competitive factor of the whole action [Jimbo Hiroyuki, 2003, p. 409] (Fig. 3).

Since the games on the bammono board enjoyed the patronage of To: Fuku-manyin-wako, the mother of Emperor Meisho: - tenno: (early Edo era), they became particularly popular among women in the first half of the Tokugawa era; the daughters of feudal daimyo and all their female entourage were fond of them [Ibid.; Ko: do:nu:mon..., 2003, p. 95].

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Figure 3. Games on the bammono board: the so-called set of three mitsukumiban games ("scents of throwing arrows", "scents of running horses", "scents of glorious places").

Figure 4. Co:do: art accessories used in games. 1-storage box for "ten incense" (jusuko:- bako); 2 - ceramic vessel for burning incense (kiki-go: ro); 3-pocket box for incense (ko: - bako); 4-composite box for storing pieces of fragrant wood, mica plates and other small items (jujo:go:): 5 - box for coal briquettes (tadon-ire); 6-incense bags (ko: - zutsumi) and an accordion book with tables of "Genji aromas" (genjiko:- no-zu); 7 - mica plate stand (ginye:-ban); 8 - box with ko cards:fuda (co:fuda-bako); 9-hido tool stand:gu (kiyoji-tate); 10-hido tools:gu (from left to right: ginye mica plate tweezers: basami-letters. "scissors for silver leaves" ; broom habo:ki-lit. "feather duster"; spoon co:saji-letters. "incense spoon"; kiyo sticks:ji-lit. "fragrance veins"; a metal rod for adjusting the fire of uguisu; a pair of thin spokes-sticks of koji letters. "veins of fire" ; spatula for smoothing the ashes of hayosae-letters. "crush ashes"); 11-envelopes for ko cards:fuda (orisue).

In the program work of the beginning of the XVIII century " Orchid Garden of ko Art: before:"(Ko: do: ran-no sono, 10 books, 1737) 234 types of kumiko were recorded, of which 44 were related to games on the bammono board. The 15-volume work "Plums of the Modest Dwelling of ko:do Art" was recognized as the second main set, which describes in detail the rules and accessories of elegant entertainment used in the rituals of ko: do::"("Ko: do: shizugaya-no ume", 1748), as well as the first, richly illustrated [Ko:before:nu: - mon..., 2003, p. 37-38].

Decorated with exquisite ornaments, the elegant bammono boards quickly gained popularity among the nobility. It is not possible to list all known types of entertainment using them. We will mention only a few that are of particular interest in the historical and ethnographic aspect.

The following ten flavors were included in the group of so-called ju: kumiban - "kumiko's ten amusements: on the bammono board": hanaikusako: (lit. "scents of flower battles"); genji-bugaku-ko: (lit. "aromas of dancing to the music of Gagaku of the Minamoto family"); yoshinoko: (lit. "flavors of Yoshino"); sumo:- co: (lit. "flavors of sumo wrestling:"); takagari-ko: (lit. "aromas of falconry"); tatsuta-ko: (lit. "flavors of Tatsuta"); rikugi-ko: (lit. "aromas of six poetic techniques"); shukukiku-ko: (lit. "flavors of foot ball games"); to: kei-ko: (lit. "aromas of cockfighting"); goetsu-ko: (lit. "aromas of the Chinese warring kingdoms of Wu and Yue").

Despite the fact that, in principle, a large number of games on the bammono board are known, only four main types of such entertainment have been preserved to date (Figure 3): keiba-ko: (lit. "aromas of running horses"); yakazu-ko: (lit. "aromas of throwing arrows"); genpei-ko: (lit. "Minamoto and Taira flavors"); meisho-ko: (lit. "aromas of glorious places"). Before considering each of them, you should give a description of the main accessories of these games.

Kumiko entertainment: is based not only on the pleasure of smelling rare scents, but also on the pleasure of looking at elegant game accessories that are particularly refined (Figure 4). For each combination of kumiko: accessories were invented

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and tools. First of all, we must mention the bammono boards. They could be in the form of square stands in terms of boxes and long rectangular boards with applied cells-cells in which holes are made for figures.

The figures themselves are extremely diverse: images of people in different social roles (high dignitaries, officials, dancers, musicians, warriors, monks, sumo wrestlers, sports judges, horsemen, hunters, etc.) (Fig. 5); various animals (horses, birds, etc.); symbols of plants, tools, various objects (sakura branches, red maple, spears, arrows, banners, drums) and much more. It should be noted that with all the undoubted aesthetic and artistic value of these accessories, they were purely utilitarian in nature: with the help of figures and symbols, they indicated the success of the participants in guessing a particular ignited fragrance.

As for the accessories directly related to the burning of aromas, in addition to bags (Fig. 6), in which incense is placed according to special rules, the traditional ko:do: toolkit - hido is used:gu (lit. "tools of fire"), a total of seven items (see figs. 4, 10). The spokes, spatula, and broom are used to prepare ashes, while the rest are used to burn incense.:before:nu:mon..., 2003, p. 68].

To determine the order of ignition and perception of each fragrance, players use special cards-dies.:fuda ("flavor map"). Using the same cards, players interpret the incense being lit one after the other - they are lowered into a special box (Fig. 7). Ko: fuda cards symbolically depict ten trees and flowers that represent a kind of "plant code" of Japan: plum (ume), willow (yanagi), iris (se: buJapanese cherry (sakura), peony (bo: tan), bamboo (take), chrysanthemum (kiku), pine (matsu), lespedetz (hagi), peacock (kiri). It is no coincidence that the flower maps of the 19th century khan-fuda, which correspond to the four seasons of the year, show almost the same set of plants (Voitishek, 2004, pp. 78-87) (Fig. 8). There are 12 cards depicting each of the ten plants. (series), i.e. there are 120 of them in total.

5. New Year's games on the bammono board.

a-komatsu-hiki (lit. "pull a young pine tree"); b-karako-tsunahiki (lit. "Chinese boys tug of war").

Fig. 6. Incense bags.

Fig. 7. A card box with a lid.

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On the reverse side, the characters 1, 2 and 3 are applied. Each of the three cards in the series, and two of them are also marked with signs: on one the character with the meaning "moon", on the other - "flower". In addition, in all series there are three cards with the sign "guest", which means a special (new for the participants of the action) aroma of y (Fig. 9). The size of the cards is 1.2 x 2.7 cm; the most expensive and refined (called nara-fuda) are made of red sandalwood, black ebony and iron wood, from melia atsedarah, but simpler ones are usually made of bamboo or plastic [Jimbo Hiroyuki, 2003, p. 343; Ko: do:nu:mon..., 2003, p. 90].

It should be particularly noted that the cards of co:fuda is also used in many intellectual activities, including games related to another traditional ceremony-the tea art of sado: (lit. "the way of tea"). Moreover, a centuries-old tradition has formulated rules for their use in a special ritual of giving ratings to participants in the action when guessing a particular type of tea [Tsunogawa..., 1991, vol. 1, p. 477].

In addition to the traditional set of tools described, kumiko rituals use special accessories that are characteristic of each of the types of games on the bammono board.

Keiba-ko game: ("flavors of running horses"). This is one of the characteristic types of entertainment kumiko: on the bammono board, adopted in the schools of Shino-ryu:, Enekawa-ryu: and Oie-ryu: [Jimbo Hiroyuki, 2003, p. 324]. Keiba-ko ritual: Originally related to Shinto festivals at the Kamo-jinja Shrine in Kyoto, associated with cross-country horse racing. They are still held annually on May 5 (the competition is called kurabe-uma - "competing horses").

This combination of kumiko: includes four flavors. Preparation for the action begins with the packaging of three types of incense, each of which is placed in four bags, and three "guest" bags marked y are prepared separately (meaning bags with a new fragrance that has not yet been tested by the game participants), i.e. a total of 15 are obtained. For ignition, take one bag with each type of incense, the remaining 12 are mixed well, after which two bags are removed at random. Use the incense remaining in ten bags, which corresponds to the amount of incense in a special combination of ju:Syuko: ("ten types of scents"). In fact, if you add the two bags that have been set aside, the difficulty of the game increases much more [Ibid.; Tsunogawa..., 1991, vol. 1, p. 436].

Players are divided into teams of left ("red", or dze: dza - letters. "place of honor") and right ("black", or suedza - letters. "last place", "place at the end") and compete in guessing flavors. In this ceremony, techniques such as fuda-giki (lit. "listen to cards") and ittu:- biraki (lit. "open one batch of incense"), which are specially developed ways of burning incense and subsequent incense burning.-

Figure 8. Maps of ten flavors.

1-plum; 2-willow; 3-iris; 4-sakura; 5-peony; 6-bamboo; 7 - chrysanthemum; 8 - pine; 9 - lespedecia; 10-peacock.

Fig. 9. Reverse side of ko cards:fuda ("flavor map").

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Figure 10. Games on the bammono board: yakazu-ko: ("aromas of throwing arrows") - stands with arrows and pommels; genpei-ko: ("aromas of Minamoto and Taira") - stand with banners; keibako: ("scents of running horses") - in the foreground.

- enjoy the aromas. In this case, ko:fuda cards are used [Tsunogawa..., 1991, vol.1, pp. 436-437].

A special feature of this type of kumiko is its unusual accessories (Fig. 10). First of all, these are figurines of horses (one black, one red) and two rider dolls. The dolls ' clothing is made in the style of dancers of the ancient syncretic genre of court music and dance of the VIII-X centuries gagaku. Red-colored doll (so-called left sabu dancer) - a performer in the to style:gaku ("Chinese music of the Tang era"); black doll (so - called right ubu dancer) - performer in the style of komagaku ("Korean music of the Koma kingdom"). This refers to song and dance genres borrowed from China and Korea before the beginning of the Heian Era. Red clothing was worn by performers of tagyu dances:raku (lit. "music for hitting the ball"), one of the Chinese varieties of gagaku (dance for four people), and black-for performers of the Korean variety of komaboko dance (lit. "lion's spear") for two or four people [Ibid.].

The game uses two long boards, which are like running tracks for horses, and therefore in the middle part of them there are two grooves, each of which is divided into 12 sectors with holes. The number of such sectors may vary by agreement, as it depends on the number of players and their skills. The finish line on the board is marked by an artificial branch of the blue ao-kaede maple inserted in the extreme hole (this tree is called sho: bu-no ki - "the tree of the winner and the defeated"). As for how to move the pieces on the board, it depends on the traditions of different schools, which differ to one degree or another. For an example, let's describe the game method adopted at the Enekawa School. Each team consists of four people. Horse figures are placed on the board in the first sector: a red one is placed in the groove on the right, and a black one is placed on the left. Horsemen dolls are placed in the holes on these figures. If four " red "and two" black "players guess the first time a portion of incense is lit, the" red "players move their rider by three divisions, and the" black " players move only one. Then only those players who guess a particular flavor advance their figures. If you manage to do this in one attempt, the figure moves up three divisions. If one figure falls five divisions behind the other, the rider doll is dropped from the lagging figure. Each round, all ten incense items are lit one by one. The results are recorded in detail, and points are added up for intermediate rounds. The player whose piece reached the finish line on the board first and who scored the maximum number of points wins [Ibid., p. 437].

Yakazu-ko game: ("aromas of throwing arrows"). This most representative type of kumiko is also characteristic of all three schools of ko:do art (Shino-ryu, Enekawa-ryu, and Oie-ryu). The ritual was performed on the bammono board as a copy of the real tooshiya or yadoori arrow throwing tournament, which was held in the fourth or fifth month of the lunar calendar in the Sanju:sangendo temple in Kyoto, more precisely, in its Kyo:torengeooin chapel, as well as in the Sanju:sangendo temple in Asakusa near Edo [Ibid., p. 1359].

In the game yakazu-ko: use four types of incense, packed in 16 bags (four of each type, including "guest" bags at). There are four of them

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(one of each type) are "test": before starting the guessing ritual, participants are given the opportunity to try and remember the aroma of each type of incense that will be lit in the game. Then, incense is alternately lit from the remaining 12 sachets. In this ceremony, as well as in the previous game, food geek techniques are used (lit. "listen to cards") and ittu:- biraki (lit. "open one batch of incense"). Tatemono implements use arrows-banners: with a" silver plumage "ginkie and with a "golden" kinki. This refers to removable" silver "and" gold " pommels, which are a kind of tassels of banners that are attached to arrows, each type of 10 pcs. The bammono board is divided into squares (16 longitudinal and 10 transverse lines). The starting position-a sector of five columns-is indicated in red. The next five are the" silver sector "of ginkai, and the remaining six are the" golden sector " of kinkai (Figure 10).

Players, guessing the flavor, move the arrows forward. As soon as the arrows hit the ginkai sector, they are put on banners-pommels with "silver plumage", and when they reach the kinkai zone, they are changed to pommels with"golden plumage". If at least one contestant overcomes 16 columns, the contest ends. All incense must be used up. If the player guessed all the flavors of the" 12 kindles "of ju: nishu or was three columns ahead of the others (in the Shino-ryu school: - four), he was allowed to place his arrows on the edge of the"golden sector". When fixing the results on the form, the player who guessed all the flavors of the" 12 kindles " of ju: nishi was indicated by a special icon and ("boar"), symbolizing the last animal of the 12 signs of the zodiac of ju: nishi of the traditional 60-year system of chronology (lit. "12 branches"). There is no doubt that the compilers of the rules used not only the semantic analogy of passing through all 12 stages in turn, but also a play on words: the phonetic consonance was symbolic [Ibid.].

Gampei-ko game: ("Minamoto and Taira flavors"). This type of entertainment kumiko: is currently practiced only in the Oie-ryu school: (in the Enekawa-ryu school: there was a division into two subspecies-separate Minamoto and Taira rituals). Game accessories - hata banners and bammono board. Players are divided into two teams - "red" and "white". In this form, kumiko: plays out the fact of the famous century-old confrontation between the two main clans in the history of Japan-Minamoto and Taira, whose symbols were white and red banners, respectively. It lasted from the end of the XI century to the end of the XII century, when warlike samurai clans followed the aristocrats of the Heian era into the historical arena. The decisive battle between the Minamoto and Taira clans at Dannoura in the spring of 1185 ended with the complete victory of the former, which meant, on the one hand, the end of a whole stage in the political history of the Heian period, on the other - the beginning of a new one associated with the formation of the military class of the Busi and a new type of social relations. In addition, the game is associated with the events of a later time, when the powerful Tokugawa family, which united many clans of the Minamoto clan, confiscated, in fact, the imperial residence of Tofuku-mon'in, which belonged to Emperor Gomizuno:, who ruled from 1611 to 1629 [Nihon-no..., 2005, pp. 118-119].

In the game, ten jishu-ko incense is lit in a row, and the players, having guessed the next fragrance and commented on its content, move the banners according to certain rules (Fig. 10).

Game meisho-ko: ("flavors of glorious places"). This entertainment was created by the founder of the Yenekawa-ryu school, Master Mitsuemon Tsunetaka, on orders from the Tofuku-monyin Palace. The military attributes of the game described above, which cause too painful associations, were changed; instead of red and white banners, they began to use softer symbols associated with the beauty of seasonal natural phenomena: sakura branches, the spring symbol of the town of Yoshino, and red momiji maple, the symbol of the Tatsuta Mountain and river, especially beautiful in autumn. However, it cannot be said that there were no historical associations at all. These places in Nara Prefecture are famous not only for the beauty of nature: in the middle of the XIV century, events related to the split of the imperial house took place here and are known as the period of confrontation between the southern ("party of princes") and northern ("party of warriors") courts. In this case, the symbolism of the game's accessories uses artistic and historical images that are repeatedly fixed in the minds of Japanese people by a thousand-year literary and artistic tradition in the form of numerous poetic and prose works, as well as scrolls, paintings and engravings. It should be noted that even now the tourist pilgrimage to these places does not stop all year round, which takes on a truly colossal scale in spring (March - April) and autumn (October - November) (Figs. 11-13).

Before the start of the game, participants are divided into two teams - "spring" (Yoshino) and "autumn" (Tatsuta) - and put their branches on the bammono board opposite each other. Alternately guessing the flavors, they move their branches. The one who quickly "captures" the field in the middle of the board becomes the winner [Ibid.]. The bammono board is divided into several squares formed by 11 longitudinal and 5 transverse lines. At the edges are sectors (5 x 5 cells) with-

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11. Cherry blossoms in Yoshino.

12. Spring pilgrimage to temples.

13. Autumn admiring maple leaves in temples.

14. Games on the bammono board: stand with sakura and maple branches-meisho-ko game: ("aromas of glorious places").

teams are competing, and in the center - a neutral territory (five wide squares). In each cell on the board, two holes are made, where branches of trees are inserted, which are moved depending on the success in guessing a particular fragrance when lighting each of the jishu-ko incense: (lit. "ten ignited aromas") (Fig. 14).

As for the last two variants of kumiko:, often in order to diversify the content of entertainment, examples were taken from well-known literary works (from the earliest poetic anthology of the VIII century "Manyoshu"; the already mentioned novel "Genji-monogatari", etc.), as well as from medieval historical chronicles and the samurai epic, which described in detail certain aspects of the game. other cases of confrontation between the Minamoto and Taira clans ("The Legend of the years of Ho: gen", "The Legend of the Years of Heiji", "The Legend of the House of Taira", "Records of the Rise and Decline of Minamoto and Taira" , etc.). On the basis of these real illustrative precedents, fixed not only in written sources, but also in a rich folk tradition, plots for games on the bammono stand were also developed using appropriate accessories - banners, spears, figures of horsemen, horses, etc.

Conclusions

The specifics of the considered types of entertainment kumiko: using a stand, the bammono is a combination of extremely aesthetically pleasing accessories that have a completely self-sufficient artistic value, with

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the form and content of the game itself, which has a deep historical and literary subtext. Moreover, this conglomerate of ideas and images, outwardly clothed in the form of a social ritual, is undoubtedly marked by the stamp of competition and a kind of orderly, intelligent gambling. Based on the analysis of the described material, it can be assumed that many intellectual games and entertainment that are characteristic of the Eastern mentality are complex, since they contain both elements of competition, risk, theatrical performance, and aesthetic pleasure from contemplation and creation.

Since in the games reviewed, participants do not just demonstrate the ability to guess a particular fragrance, but compete in this skill, they record the transition from single entertainment to competitive and spectacular. What happens is what R. Cailloua said: the game, which is individual in nature and purpose, is easily developed, enriched and turns into a social institution [2007, p.72]. Indeed, it is possible to recognize in it a once important element of the social mechanism and historical memory of an entire nation. Moreover, here we can already talk about the psychology of the game. The gaming spirit is a source of diverse and unexpected stimuli that contribute to the development of culture.

Popular national games that reflect certain habits and ways of everyday life of a particular people can simultaneously serve as a source for identifying their specific moral or intellectual traits [Ibid., pp. 103-105]. Japanese entertainment is an integral part of the traditional Far Eastern culture and reflects national specifics, which is expressed in a kind of Oriental mentality based on gaming behavior and intellectual competition. It is obvious that the relationship between culture and play should be sought in the highest forms of social play - where it exists as an ordered activity of the community, since a person lives and manifests himself in an extremely diverse cultural space.

The importance of studying games and holidays is determined by the fact that such studies allow us to establish the origin of festive and game rituals, the oldest origins of many customs, trace the development of folk beliefs and social institutions, outline genetic connections and historical and cultural contacts, solve the problem of the relationship between games and holidays, reveal their compensatory, emotional, psychological and moral-educational role in the everyday life of a person [Calendar customs..., 1989, p. 4].

Thus, taking into account the connection of intellectual entertainment with various aspects of written and gaming culture, it seems fair to consider them not only in the context of the traditions of folk legends, the compilation of historical chronicles and the development of classical literature in Japan, but also in the context of studying such a phenomenon of traditional culture of the countries of the Far Eastern region as gaming behavior and intellectual rivalry.

List of literature

Asobi no daijiten (Encyclopedia of Games) / ed. Masuda Yasuhiro: In 2 volumes - Tokyo: Tokyo seseki, 1989. - Vol. 1. -959 p.; Vol. 2. - 435 p. (in English).

Voitishek E. E. The origin and development of maps in Japan (analysis and interpretation of traditional Japanese card games) / / Archeology, Ethnography and Anthropology of Eurasia. -2003. - N 1 (13). - p. 128-139.

Voitishek E. E. Hanafuda-maps of four seasons / / Vostochnaya kollektsiya, Moscow: Ros. gosudarstvennaya biblioteka, 2004, pp. 78-87.

Jimbo Hiroyuki. Ko: do: - no rekishi jiten (Dictionary of the History of the Art of Incense). - Kyoto: Kashiwa-sebo, 2003. -453 p. (in Japanese).

Kayua R. Games and people: Articles and essays on the sociology of culture, Moscow: Obedin. humanit. publishing house, 2007. - 303 p.

Calendar customs and rituals of the peoples of East Asia: Annual cycle, Moscow: Nauka Publ., 1989, 358 p.

Co:up to:nu: mon (Introduction to the art of ko:do:) / ed. Noah Hirohito. Kyoto; Tokyo: Tankosha Publ., 2003, 175 p. (in Russian) (in English).

Musikhin A. K. Logika ili fortuna?: Igry dlya vsekh [Logic or Fortune?: Games for everyone], Moscow: Chelovek Publ., 1990, 191 p.

Nihon no kaori (Scents of Japan). Tokyo: Heibonxia Publ., 2005. - 126 p. (in English).

Owen G. Teoriya igr [Game Theory] / translated from English by I. N. Vrublevskaya. Moscow: Mir Publ., 1971, 230 p. (in Russian)

Huizinga J. Homo Ludens: Articles on the history of culture. Moscow: Progress-Akademiya Publ., 1997, 413 p.

Tsunogawa sado: daijiten (The Tsunogawa Encyclopedia of Tea Art) / ed. Hayashiya Tatsusaburo: in 2 volumes-Kyoto; Tokyo: Tsunokawa seten, 1991. - Vol. 1. - 1360 p.; Vol. 2. - 547 p. (in English).

The article was submitted to the Editorial Board on 28.06.07.

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