The Seven Patrons of Happiness & the Japanese Treasure Ship.

The Japanese Treasure Ship Takarabune. A favourite theme of Japanese art, depicting the Seven Gods (or rather six gods and one Goddess) of fortune. Woodcut in the British Museum.

JAPANESE FAIRY WORLD

THE SEVEN PATRONS OF HAPPINESS.

EVERY child knows who the Shi chi fuku Jin (七福神 shichifukujin) or seven Patrons of Happiness are. They have charge of Long Life, Riches, Daily Food, Contentment, Talents, Glory, and Love. Their images carved in ivory, wood, stone, or cast in bronze are found in every house or sold in the stores or are painted on shop signs or found in picture books. They are a jolly company and make a happy family.

On New Year’s eve a picture of the Treasure-ship (Takarébuné) laden with shippō (the seven jewels) and all the good things of life which men most desire is hung up in houses. The ship is coming into port and the passengers are the seven happy fairies who will make gifts to the people. These seven jewels are the same as those which Momotaro *) brought hack from the oni’s island.

*) THE PEACH-PRINCE, AND THE TREASURE ISLAND. Momotarō (momo, peach, taro, eldest son) is a hero of Japanese folklore whose name is usually rendered in English as “Little Peachling”. He is known in folk-stories as a slayer of demons—a veritable Jack the Giant-Killer. His legend is particularly well known in Japan and East Asia.

The name means “peach boy”, Tarō is a suffix applied to boys’ names in Japan, and Momo means peach. In the tale, a boy goes to Devil’s Island in search of treasure and is accompanied by a monkey, a dog and a pheasant. He is successful in his endeavour. The trophy of his endeavour consisted of the precious symbols of coveted human power. PEACH, emblem of Longevity.

First there is Fukoruku Jin the patron of Long Life or Length of Days.

He has an enormously high forehead rounded at the top which makes his head look like a sugarloaf. It is bald and shiny. A few stray white hairs sometimes sprout up, and the barber to reach them has to prop a ladder against his head to climb up and apply his razor. This big head comes from thinking so much. His eyebrows are cotton-white, and a long snowy beard falls down over his breast.

Once in a while in a good humour he ties a handkerchief over his high slippery crown and allows little boys to climb up on top- that is if they are good and can write well. When he wants to show how strong and lively lie is even though so old, he lets Daikoku the fat fellow ride on top of his head, while he smokes his pipe and wades across a river. Daikoku has to hold on tightly or he will slip down and get a ducking.

Usually the old shiny head is a very solemn gentleman, and Walks slowly along with his staff in one hand while with the other he strokes his long eyebrows. The tortoise and the crane are always with him, for these are his pets. Sometimes a stag with hair white with age, walks behind him, Every body likes Fukoruku Jin because every one wants to get his favour and live long; until, like a lobster, their backs are bent with age. At a wedding you will always see a picture of white-bearded and shiny-pated Fukoruku Jin.

DAIKOKU. [The God of Wealth] is a short chubby fellow with eyes half sunk in fat but twinkling with fun.

This stalwart being may be identified either by his bales of rice or his capacious treasure bag. Many suppose that the hammer in Daikoku’s uplifted hand is filled with treasures for his supplicants, while others believe that wealth and happiness come only to those who wield it with care and diligence.

Daikoku is pictured here as shaking coins from his magic hammer, while the child at his feet is trying to catch them, illustrating the generosity of the god in his distribution of wealth and bounty. With the Japanese, rice is almost always representative of wealth, and the rat that is often shown nibbling at the rice bags of Daikoku is very appropriately introduced as wealth’s destroyer.

He has a flat cap set on his head like the kind which babies wear, a loose sack over his shoulders, and big boots on his feet. His throne is two straw bags of rice, and his badge of office is a mallet or hammer, which makes people rich when he shakes it. The hammer is the symbol of labor, showing that people may expect to get rich only by hard work. One end of it is carved to represent the jewel of the ebbing and the flowing tides, because merchants get rich by commerce on the sea and must watch the tides. He is often seen holding the arithmetic frame on which you can count, do sums, subtract, multiply, or divide, by sliding balls up and down a row of sticks set in a frame, instead of writing figures. Beside him is a ledger and day-book.

His favourite animal is the rat, which like some rich men’s eats or runs away with his wealth. The great silver-white radish called daikon, two feet long and as big as a man’s calf is always seen near him because it signifies flourishing prosperity.

He keeps his bag tightly shut, for money easily runs away when the purse is once opened. He never lets go his hammer, for it is only by constant care that any one can keep money after he gets it. Even when he frolics with Fukuroku Jin, and rides on his head, he keeps his hammer ready swinging at his belt. He has huge lop ears.

Once in a while, when he wishes to take exercise, and Fukuroku Jin wants to show how frisky he can be even if he is old, they have a wrestling match together.

Daikoku nearly always beats, because Fukuroku Jin is so tall that he has to bend down to grip Daikoku, who is fat and short, and thus lie becomes top-heavy. Then Daikoku gets- his rival’s long head under his left arm seizes him over his back by the belt, and throws him over his shoulder flat on the ground. But if Fukuroku Jin can only get hold of Daikoku’s lop ears, both fall together Then they laugh heartily and try it again.

Ebisu is the patron of daily food, which is rice and fish, and in old times was chiefly fish.

He is nearly as fat as Daikoku, but wears a court noble’s high cap. He is always fishing or enjoying his game. When very happy, he sits on a rock by the sea, with his right leg bent under him, and a big red fish, called the tai, under his left arm. He carries a straw wallet on his back to hold his fish and keep it fresh. Often he is seen standing knee-deep in the water, pole in hand, watching for a nibble. Some say that Ebisu is the same scamp that goes by the other name of Sosanoō.

Hotei is the patron of contentment, and of course is the father of happiness.

He does not wear much clothing, for the truth is that all his property consists of an old, ragged wrapper, a fan, and a wallet. He is as round as a pudding, and as fat as if rolled out of dough. His body is like a lump of mochi pastry, and his limbs like dango dumplings. He has lop ears that hang down over his shoulders, a tremendous double chin, and a round belly. Though he will not let his beard grow long, the slovenly old fellow never has it shaven when he ought to.

He is a jolly vagabond, and never fit for company; but he is a great friend of the children, who romp over his knees and shoulders, pull his ears and climb up over his shaven head. He always keeps something good for them in his wallet. Sometimes he opens it wide, and then makes them guess what is inside. They try to peep in but are not tall enough to look over the edge. He makes tops, paints pictures or kites for the boys, and is the children’s greatest friend. When the seven patrons meet together, Hotei is apt to drink more wine than is good for him.

Toshitoku is almost the only one of the seven who never lays a side his dignity.

He has a very grave countenance. He is the patron of talents. His pet animal is a spotted fawn. He travels about a good deal to find and reward good boys, who are diligent in their studies, and men who are fitted to rule. In one hand he carries a crooked staff of bamboo, at the top of which is hung a book or roll of manuscript. His dress is like that of a learned doctor, with square cap, stole, and high-toed slippers.

Bishamon is the patron of glory and fame.

He is a mighty soldier, with a golden helmet, breastplate and complete armor. He is the protector of priests and warriors. He gives them skill in fencing, horsemanship and archery. He holds a pagoda in one hand and a dragon sword in the other. His pet animal is the tiger.

Six out of the jolly seven worthies are men. Benten is the only lady.

She is the patron of the family and of the sea. She plays the flute and the guitar for the others, and amuses them at their feasts, sometimes even dancing for them. She is the patron of the family and of the sea. Her real home is in Riu Gu, and she is the Queen of the world under the sea. She often dwells in the sea or ocean caves. Her favourite animal is the snake, and her servants are the dragons.

Once a year the jolly seven meet together to talk over old times, relate their adventures, and have a supper together. Then they proofed to business, which is to arrange all the marriages for the coming year. They have a great many hanks of red and. white silk, which are the threads of fate of those to be married: The while threads are the men, the red are the women. At first they select the threads very carefully, and tie a great many pairs or couples neatly and strongly together, so that the matches are perfect. All such marriages of threads make happy marriages among human beings. But by-and-by they get tired, and lazy, and instead of tying the knots carefully, they hurry up the work and then jumble them carelessly, and finally toss and tangle up all the rest in a muss. This is the reason why so many marriages are unhappy.

Then they begin to frolic like big boys. Benten plays the guitar, and Bishamon lies down on the floor resting with his elbows to hear it. Hotei drinks wine out of a shallow red cup as wide as a dinner plate. Daikoku and Fukuroku Jin begin to wrestle, and when Daikoku gets his man down, be pounds his big head with an empty gourd while Toshitoku and Ebisu begin to eat tai fish.

When the is fun is over, Benten and Fukuroku Jin play a game of checkers, while the others look on and bet; except Hotei the fat fellow, who is asleep. Then they get ashamed of themselves for gambling, and after a few days the party breaks up and each one goes to his regular business again.

Source:

• Japanese fairy world; stories from the wonder-lore of Japan by William Elliot Griffis (1843-1928). London: Trübner & Co., 1887.
• Myths of China and Japan by Donald A. Mackenzie (1873-1936). London, The Gresham publishing company ltd, 1923.
• Legend in Japanese art: a description of historical episodes, legendary characters, folk-lore myths, religious symbolism illustrated in the arts of old Japan, by Henri Joly.
• Mythological Japan: the symbolisms of mythology in relation to Japanese art; by Alexander Francis Otto and Theodore S. Holbrook, with illustrations drawn in Japan, by native artists. Philadelphia: Drexel Biddle, 1902.