Kiyomizu-dera

Kiyomizu-dera (清水寺) is a Tendai Buddhist temple in Eastern Kyoto. Its full name is Otowa-san Kiyomizu-dera (音羽山清水寺). The temple is part of the Historic Monuments of Ancient Kyoto (Kyoto, Uji and Otsu Cities) UNESCO World Heritage site. Not one nail is used in the whole temple.

Origin and history
The temple dates back to 798, and its present buildings were constructed in 1633. It takes its name from the waterfall within the complex, which runs off the nearby hills. Kiyomizu means clear water. The main hall has a veranda, supported by tall pillars, that juts out over the hillside and offers impressive views of the city. The popular expression "to jump off the stage at Kiyomizu" is the Japanese equivalent of the English expression "to take the plunge". This refers to an Edo period tradition that held that, if one were to survive a 13 m jump from the stage, one's wish would be granted. Two hundred and thirty-four jumps were recorded in the Edo period and, of those, 85.4% survived. The practice is now prohibited. Beneath the main hall is the Otowa waterfall, where three channels of water drop into a pond. Visitors to the temple collect the water, which is believed to have therapeutic properties, from the waterfall. It is said that drinking the water of the three streams confers wisdom, health, and longevity. However, some Japanese believe that you must choose only two — if you are greedy and drink from all three, you invite misfortune upon yourself. Rear view of Pagoda and adjacent building The temple complex includes several other shrines, among them the Jishu Shrine, dedicated to Ōkuninushi, a god of love and "good matches". Jishu Shrine possesses a pair of "love stones" placed 18 meters apart, which lonely visitors attempt to walk between with their eyes closed. Success in reaching the other stone, eyes closed, is taken as a presage that the pilgrim will find love. One can be assisted in the crossing, but this is taken to mean that an intermediary will be needed. The person's romantic interest can assist them as well. The complex also offers various talismans, incense, and omikuji (paper fortunes). The site is particularly popular during festivals (especially New Year's and obon in the summer) when additional booths fill the grounds selling traditional holiday foodstuffs, among other things, and the crowds are immense.

Byōdō-in

Byōdō-in (平等院) is a Buddhist temple in the city of Uji in Kyoto Prefecture, Japan. It is jointly a temple of the Jodo Shu (Pure Land) and Tendai sects.

History
This temple was originally built in 998 in the Heian period as a rural villa of Fujiwara no Michinaga, one of the most powerful members of the Fujiwara clan. This villa was changed to a Buddhist temple by Fujiwara no Yorimichi in 1052. The most famous building in the temple is the Phoenix Hall (鳳凰堂 hōō-dō) or the Amida Hall, constructed in 1053. The only remaining original building is the Phoenix Hall, surrounded by a scenic pond; additional buildings making up the compound were burnt down during a civil war in 1336.

The main building in Byōdō-in, the Phoenix Hall consists of a central hall, flanked by twin wing corridors on both sides of the central hall, and a tail corridor. The central hall houses an image of Amida Buddha. The roof of the hall displays statues of the Chinese phoenix, called hōō in Japanese.

The Phoenix Hall, completed in 1053, is the exemplar of Fujiwara Amida halls. It consists of a main rectangular structure flanked by two L-shaped wing corridors and a tail corridor, set at the edge of a large artificial pond. Though its official name is Amida-dō, it began to be called Hōō-dō, or Phoenix Hall, in the beginning of the Edo period. This name is considered to derive both from the building's likeness to a phoenix with outstretched wings and a tail, and the pair of phoenixes adorning the roof.

Inside the Phoenix Hall, a single image of Amida (c. 1053) is installed on a high platform. The Amida sculpture is made of Japanese cypress and is covered with gold leaf. It was executed by Jōchō, who used a new canon of proportions and a new technique, yosegi, in which multiple pieces of wood are carved out like shells and joined from the inside. The statue measures about three meters high from its face to its knees, and is seated. Applied to the walls of the hall are small relief carvings of celestials, the host believed to have accompanied Amida when he descended from the Western Paradise to gather the souls of believers at the moment of death and transport them in lotus blossoms to Paradise. Raigō paintings on the wooden doors of the Phoenix Hall, depicting the Descent of the Amida Buddha, are an early example of Yamato-e, Japanese-style painting, and contain representations of the scenery around Kyoto.

There is a garden with a pond in front of the building, which in 1997 was dredged as part of an archeological dig.

The Byōdō-in museum stores and displays most of Byōdō-in's national treasures, including 52 wooden Bodhisattvas, the temple bell, the south end Phoenix, and other historically noteworthy items.

Japan commemorates its longevity and cultural significance by displaying its image on the 10 yen coin, and the 10,000 yen note features the phoenix image. In December 1994, UNESCO listed the building as a World Heritage Site as part of the "Historic Monuments of Ancient Kyoto". The Phoenix Hall, the great statue of Amida inside it, and several other items at Byōdō-in are national treasures.

A full-size replica of the temple was completed on June 7, 1968 in the Valley of the Temples (O'ahu, Hawaii).

Kaminarimon

The Kaminarimon (雷門 "Thunder Gate") is the outer of two large entrance gates that ultimately leads to the Sensō-ji (the inner being the Hōzōmon) in Asakusa, Tokyo. Known as the face of Asakusa, the gate sports an ornate lantern and statues, and as a result it is extremely popular with tourists. It stands 11.7 m tall, 11.4 m wide and covers and area of 69.3 m2.

History
The Kaminarimon was first built in 942 by Taira no Kinmasa. It was originally located near Komagata, but it was reconstructed in its current location in 1635. This is believed to be when the statues of Raijin and Fūjin were first placed on the gate. The gate has been destroyed many times throughout the ages. Four years after its relocation, the Kaminarimon burned down, and in 1649 Tokugawa Iemitsu rebuilt the gate along with several other of the major structures in the temple complex. The Kaminarimon's current incarnation dates back to 1960.

Features
There are a total of four statues housed in the Kaminarimon. On the front of the gate, the statues of the Shinto gods Raijin and Fūjin are displayed. Raijin, the god of thunder and lightning, is located on the west side of the gate, while Fūjin, the god of wind, is located on the east side. In addition to the two Shinto gods on the front, there are two lesser known statues featured on the back side of the gate as well. On the east side stands the Buddhist god Tenryū, and the goddess Kinryū joins him on the west side. In the center of the Kaminarimon, under the gate, hangs the famous giant red chōchin that is 4 meters tall, 3.4 meters in circumference and weighs 670 kg. Being very fragile, the lantern is not an original piece. It is instead a restoration that was donated in August 2003 in commemoration of the 400th anniversary of the start of the Edo period by Konosuke Matsushita, the founder of the Matsushita Electric Industrial Co. (also known as Panasonic). On the front of the lantern, the gate's name - Kaminarimon (雷門, Kaminarimon?) - is painted on it. Painted on the back is the gate’s official name, Furaijinmon (風雷神門, Furaijinmon?). A wooden carving depicting a dragon adorns the bottom of the lantern. During festivals such as Sanja Matsuri, the lantern can be condensed in order to let larger objects pass through the gate.

Mount Fuji

Mount Fuji (富士山, Fuji-san) is the highest mountain in Japan at 3,776 m (12,388 ft). Along with Mount Tate and Mount Haku, it is one of Japan's "Three Holy Mountains" (三霊山 Sanreizan). An active volcano[3] that last erupted in 1707–08, Mount Fuji straddles the boundary of Shizuoka and Yamanashi prefectures just west of Tokyo, from which it can be seen on a clear day. It is located near the Pacific coast of central Honshū. Three small cities surround it: Gotemba (east), Fujiyoshida (north) and Fujinomiya (southwest).
Mount Fuji's exceptionally symmetrical cone is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers.

Geography
Mt. Fuji stands at 3,776 m (12,388 ft) high and is surrounded by five lakes: Lake Kawaguchi, Lake Yamanaka, Lake Sai, Lake Motosu and Lake Shoji.[4] They, and nearby Lake Ashi, provide excellent views of the mountain. It is part of the Fuji-Hakone-Izu National Park. It is also a stratovolcano. The climate is very cold due to the altitude and the cone is covered by snow for several months of the year. The lowest recorded temperature is −38.0 °C while on June 2008 the highest temperature was recorded at 17.8 °C.
It can be seen from Yokohama, Tokyo, and sometimes as far as Chiba when the sky is clear.

Geology
Scientists have identified four distinct phases of volcanic activity in the formation of Mt. Fuji. The first phase, called Sen-komitake, is composed of an andesite core recently discovered deep within the mountain. Sen-komitake was followed by the "Komitake Fuji," a basalt layer believed to be formed several hundred thousand years ago. Approximately 100,000 years ago, "Old Fuji" was formed over the top of Komitake Fuji. The modern, "New Fuji" is believed to have formed over the top of Old Fuji around 10,000 years ago.
The volcano is currently classified as active with a low risk of eruption. The last recorded eruption started on December 16, 1707 (Hōei 4, 23rd day of the 11th month) and ended about January 1, 1708 (Hōei 4, 9th day of the 12th month) during the Edo period. This is sometimes called "the great Hōei eruption." Fuji spewed cinders and ash which fell like rain in Izu, Kai, Sagami, and Musashi.[8] Since then, there have been no signs of an eruption.
At this time, a new crater, along with a second peak, named Hōei-zan after the era name, formed halfway down its side.

Mount Fuji is located at the point where the Eurasian Plate (or the Amurian Plate), the Okhotsk Plate, and the Philippine Plate meet. Those plates form the western part of Japan, the eastern part of Japan, and the Izu Peninsula respectively.

History
It is thought that the first ascent was in 663 by an anonymous monk. The summit has been thought of as sacred since ancient times and was forbidden to women until the Meiji Era.
The first ascent by a foreigner was by Sir Rutherford Alcock in September 1860, from the foot of the mountain to the top in eight hours and three hours for the descent. Alcock's brief narrative in The Capital of the Tycoon was the first widely disseminated description of the mountain in the West. Lady Fanny Parkes, the wife of British ambassador Sir Harry Parkes, was the first non-Japanese woman to ascend Mount Fuji in 1867; and photographer Felix Beato climbed Mount Fuji in that same year.

Today, Mount Fuji is an international tourist destination and common destination for mountain-climbing. In the early 20th century, populist educator Frederick Starr's chatauqua lectures about his several ascents of Mount Fuji --1913, 1919, and 1923 -- were widely known in America. A well-known Japanese saying suggests that anybody would be a fool not to climb Mt. Fuji once--but a fool to do so twice.
Mount Fuji is an attractive volcanic cone and a frequent subject of Japanese art. Amongst the most renowned works are Hokusai's 36 Views of Mount Fuji and his One Hundred Views of Mount Fuji. The mountain is also mentioned in Japanese literature throughout the ages and the subject of many poems.

Mt. Fuji also houses a warrior tradition: ancient samurai used the base of the mountain as a remote training area, near the present day town of Gotemba. The shogun Minamoto no Yoritomo held yabusame in the area in the early Kamakura period. As of 2006, the Japan Self-Defense Forces and the United States Marine Corps operate military bases near Mount Fuji.

Climbing Mount Fuji
The most popular period for people to hike up Mt. Fuji is from 1 July to 27 August, while huts and other facilities are operating. Buses to the fifth station start running on 1 July. Some climb the mountain at night in order to be in a position at or near the summit when the sun rises.
There are four major routes from the fifth station to the summit with an additional four routes from the foot of the mountain. The major routes from the fifth station are (clockwise) the Kawaguchiko, Subashiri, Gotemba, and Fujinomiya routes. The routes from the foot of the mountain are the Shojiko, Yoshida, Suyama, and Murayama routes. The stations on different routes are at different sea levels. The highest fifth station is located at Fujinomiya, followed by Kawaguchi, Subashiri, and Gotemba.
Even though it is only the second highest fifth station, the Kawaguchiko route is the most popular route because of its large parking area and many and large mountain huts where a climber can rest or stay. During the summer season, most Mount Fuji climbing tour buses arrive there. The next popular is the Fujinomiya route which has the highest fifth station, followed by Subashiri and Gotemba.

Even though most climbers do not climb the Subashiri and Gotemba routes, many descend these because of their ash-covered paths. From the seventh station to near the fifth station, one could run down these ash-covered paths in approximately 30 minutes. Besides these routes, there are tractor routes along the climbing routes. These tractor routes are used to bring food and other materials to huts on the mountain. Because the tractors usually take up most of the width of these path and they tend to push large rocks from the side of the path, the tractor paths are off-limits to the climbers on sections that are not merged with the climbing or descending paths. Nevertheless, one can sometimes see people riding mountain bikes along the tractor routes down from the summit. This is particularly risky, as it becomes difficult to control speed and may send some rocks rolling along the side of the path, which may hit other people.

The four routes from the foot of the mountain offer historical sites. The Murayama is the oldest Mount Fuji route and the Yoshida route still has many old shrines, teahouses, and huts along its path. These routes are gaining popularity recently and are being restored, but climbing from the foot of the mountain is still relatively uncommon. Also, bears have been sighted along the Yoshida route.
An estimated 200,000 people climb Mount Fuji every year, 30% of whom are foreigners. The ascent from the new fifth station can take anywhere between three and eight hours while the descent can take from two to five hours. The hike from the foot of the mountain is divided into 10 stations, and there are paved roads up to the fifth station, which is about 2,300 meters above sea level. Huts at and above the fifth stations are usually manned during the climbing season, but huts below fifth stations are not usually manned for climbers. The number of open huts on routes are proportional to the number of climbers - Kawaguchiko has the most while Gotemba has the least. The huts along the Gotemba route also tends to start later and closes earlier than those at the Kawaguchiko route. Also, because Mount Fuji is designated as a national park, it is illegal to tent above the fifth station.

There are eight peaks around the crater at the summit. The highest point in Japan is where the Mount Fuji Radar System used to be. Climbers are able to visit each of these peaks.

Kinkaku-ji

Kinkaku-ji (金閣寺, Golden Pavilion Temple) is the informal name of Rokuon-ji (鹿苑寺, Deer Garden Temple) in Kyoto, Japan. It was originally built in 1397 to serve as a retirement villa for Shogun Ashikaga Yoshimitsu, as part of his estate then known as Kitayama. It was his son who converted the building into a Zen temple of the Rinzai school. The temple was burned down twice during the Ōnin War.

The Golden Pavilion, or Kinkaku, is a three-story building on the grounds of the temple. The top two stories of the pavilion are covered with pure gold leaf. The pavilion functions as a shariden, housing relics of the Buddha (Buddha's Ashes). The building is often linked or contrasted with Ginkaku-ji, the Silver Pavilion Temple, which is also located in Kyoto.

The Golden Pavilion is set in a magnificent Japanese strolling garden (kaiyū-shiki). The pond in front of it is called Kyōko-chi (Mirror Pond). There are many islands and stones on the pond that represent the Buddhist creation story.

In 1950, the pavilion was burned down by a monk, who then attempted suicide on the Daimon-ji hill behind the building. He survived, but during the investigation after the monk's arrest, his mother was called in to talk with the police; on her way home, she committed suicide by jumping from her train into a river valley. The monk was sentenced to seven years in prison; he died of illness during his imprisonment in 1956. At that time, the statue of Ashikaga Yoshimitsu was burned. A fictionalized version of these events is at the center of Yukio Mishima's 1956 book The Temple of the Golden Pavilion.

The present structure dates from 1955. Recently, the coating of Japanese lacquer was found a little decayed, and a new coating as well as gilding with gold-leaf, much thicker than the original coatings, was completed in 1987. Additionally, the interior of the building, including the paintings, was also restored. Finally, the roof was restored in 2003.

The land where the Golden Pavilion sits was used in the 1220s for a villa belonging to Saionji Kintsune.

Kabuki

Kabuki (歌舞伎) is a form of traditional Japanese theatre. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers. The individual kanji characters, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore sometimes translated as "the art of singing and dancing." These are, however, ateji, characters that do not reflect actual etymology. The kanji of 'skill', is however generally referred to as a performer in kabuki theatre. The word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", so kabuki can be interpreted to mean "avant-garde" or "bizarre" theatre. The expression kabukimono (歌舞伎者) referred originally to those who were bizarrely dressed and swaggered on a street.

1603–1629: Female Kabuki
The history of Kabuki began in 1603 when Okuni of Izumo, possibly a miko of Izumo Taisha, began performing a new style of dance drama in the dry riverbeds of Kyoto. Female performers played both men and women in comic playlets about ordinary life. The style was instantly popular; Okuni was even asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and Kabuki was born as ensemble dance and drama was performed by women—a form very different from its modern incarnation. Much of its appeal in this era was due to the ribald, suggestive performances put on by many troupes; this appeal was further augmented by the fact that the performers were often also available for prostitution.[1] For this reason, Kabuki was also written "歌舞妓" (singing and dancing prostitute) during the Edo Period.

In Kabuki's nascent period, women were the only performers in the plays. Soon women began attracting the wrong types of audiences and gaining too much attention from men. This type of attention raised some eyebrows and officials felt as if women were degrading the art of Kabuki. In 1629, women were banned from appearing in kabuki performances.

Since kabuki was already so popular, young male actors, known as wakashu (or sometimes oyama), took over after women were banned from performing. These young men could take the role of women due to their less masculine appearance and higher pitched voices in comparison to adult men. Along with the change in the performers' gender came a change in the emphasis of the performance: increased stress was placed on drama rather than dance. Their performances were equally ribald, however, and they too were available for prostitution (also to male customers). Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over the favors of a particularly handsome young actor, leading the shogunate to ban young male actors in 1652.

1673–1841: The Golden Age
During the Genroku era, kabuki thrived. The structure of a kabuki play was formalized during this period, as were many elements of stylization. Conventional character types were determined. Kabuki theater and ningyō jōruri, the elaborate form of puppet theater that later came to be known as bunraku, became closely associated with each other during this period, and each has since influenced the development of the other. The famous playwright Chikamatsu Monzaemon, one of the first professional playwrights of kabuki, produced several influential works, though the piece usually acknowledged as his most significant, Sonezaki Shinju (The Love Suicides at Sonezaki), was originally written for bunraku. Like many bunraku plays, however, it was adapted for kabuki, and it spawned many imitators—in fact, it and similar plays reportedly caused so many real-life "copycat" suicides that the government banned shinju mono (plays about lovers' double suicides) in 1723. Ichikawa Danjūrō I also lived during this time; he is credited with the development of mie poses and mask-like kumadori make-up.

Kabuki after the Meiji period
The tremendous cultural changes begun in 1868 by the fall of the Tokugawa shogunate, the elimination of the samurai class, and the opening of Japan to the west helped to spark the re-emergence of kabuki. As the culture struggled to adapt to its new lack of isolation, actors strove to increase the reputation of kabuki among the upper classes and to adapt the traditional styles to modern tastes. They ultimately proved successful in this regard—on one occasion (21 April 1887), a performance was given for the Meiji Emperor.

Many kabuki houses were destroyed by bombing during World War II, and the occupying forces briefly banned kabuki performances after the war. However, by 1947 the ban had been rescinded, and performances began once more.

Kabuki today
The immediate post-World War II era was a difficult time for kabuki. Besides the devastation caused to major Japanese cities as a result of the war, the popular trend was to reject the styles and thoughts of the past, kabuki among them. Director Tetsuji Takechi's popular and innovative productions of the kabuki classics at this time are credited with bringing about a rebirth of interest in the kabuki in the Kansai region. Of the many popular young stars who performed with the Takechi Kabuki, Nakamura Ganjiro III (b.1931) was the leading figure. He was first known as Nakamura Senjaku, and this period in Osaka kabuki became known as the "Age of Senjaku" in his honor.

Today, kabuki remains relatively popular—it is the most popular of the traditional styles of Japanese drama—and its star actors often appear in television or film roles. For example, the well-known onnagata Bandō Tamasaburō V has appeared in several (non-kabuki) plays and movies—often in a female role. Kabuki is also referenced in works of Japanese popular culture such as anime.

Though there are only a handful of major theatres in Tokyo, Kyoto, and Osaka, there are many smaller theatres in Osaka, and throughout the countryside. The Ōshika Kabuki troupe, based in Ōshika"大鹿", Nagano Prefecture"長野県", is one example.

Some local kabuki troupes today use female actors in the onnagata roles. The Ichikawa Kabuki-za, an all-female troupe, was formed after World War II but was short-lived. In 2003, a statue of Okuni was erected near Kyoto's Pontochō district.

Interest in kabuki has also spread in the West. Kabuki troupes regularly tour Europe and America, and there have been several kabuki-themed productions of canonical Western plays such as those of Shakespeare. Western playwrights and novelists have also experimented with kabuki themes, an example of which is Gerald Vizenor's Hiroshima Bugi (2004). Writer Yukio Mishima pioneered and popularized the use of kabuki in modern settings, and revived other traditional arts, such as Noh, adapting them to modern contexts.

In Australia, the Za Kabuki troupe at the Australian National University has been performing a Kabuki drama each year since 1976; the single longest regular Kabuki performance outside of Japan.

Kabuki was enlisted on the UNESCO's Third Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity on 24 November 2005.

Seppuku

Seppuku (切腹, Seppuku? "stomach-cutting") is a form of Japanese ritual suicide by disembowelment. Seppuku was originally reserved only for samurai. Part of the samurai honor code, seppuku was used voluntarily by samurai to die with honor rather than fall into the hands of their enemies, as a form of capital punishment for samurai who have committed serious offenses, and for reasons that shamed them. Seppuku is performed by plunging a sword into the abdomen and moving the sword left to right in a slicing motion. The practice of committing seppuku at the death of one's master, known as oibara (追腹 or 追い腹, the kun'yomi or Japanese reading) or tsuifuku (追腹, the on'yomi or Chinese reading), follows a similar ritual.

Vocabulary and etymology
The most famous form of seppuku is also known as harakiri (腹切り, "cutting the belly") and is written with the same kanji as seppuku but in reverse order with an okurigana. In Japanese, harakiri is a colloquialism, seppuku being the more formal term. Samurai would use seppuku, whereas ordinary Japanese (who in feudal times as well as today looked askance at the practice) would use harakiri. Harakiri is the more common term in English, where it is often mistakenly rendered "harikari"[citation needed].

Overview
Seppuku was a key part of bushido, the code of the samurai warriors; it was used by warriors to avoid falling into enemy hands, and to attenuate shame. Samurai could also be ordered by their daimyo (feudal lords) to commit seppuku. Later, disgraced warriors were sometimes allowed to commit seppuku rather than be executed in the normal manner. The most common form of seppuku for men was composed of the cutting of the abdomen, and when the samurai was finished, he stretched out his neck for an assistant to decapitate him. Since the main point of the act was to restore or protect one's honor as a warrior, those who did not belong to the samurai caste were never ordered or expected to commit seppuku. Samurai generally could only commit the act with permission.

Sometimes a daimyo was called upon to perform seppuku as the basis of a peace agreement. This would weaken the defeated clan so that resistance would effectively cease. Toyotomi Hideyoshi used an enemy's suicide in this way on several occasions, the most dramatic of which effectively ended a dynasty of daimyo forever, when the Hōjō were defeated at Odawara in 1590. Hideyoshi insisted on the suicide of the retired daimyo Hōjō Ujimasa, and the exile of his son Ujinao. With one sweep of a sword, the most powerful daimyo family in eastern Japan was put to an end.

Ritual
In time, committing seppuku came to involve a detailed ritual. This was usually performed in front of spectators if it were a planned seppuku, not one performed on a battlefield. A samurai was bathed, dressed in white robes, fed his favorite meal, and when he was finished, his instrument was placed on his plate. Dressed ceremonially, with his sword placed in front of him and sometimes seated on special cloths, the warrior would prepare for death by writing a death poem. With his selected attendant (kaishakunin, his second) standing by, he would open his kimono (robe), take up his tantō (knife) and plunge it into his abdomen, making a left-to-right cut. The kaishakunin would then perform dakikubi, a cut in which the warrior was all but decapitated (a slight band of flesh is left attaching the head to the body). Because of the precision necessary for such a manoeuver, the second was often a skilled swordsman. The principal agreed in advance when the kaishakunin was to make his cut, usually as soon as the dagger was plunged into the abdomen.

This elaborate ritual evolved after seppuku had ceased being mainly a battlefield or wartime practice and become a para-judicial institution (see next section).
The second was usually, but not always, a friend. If a defeated warrior had fought honorably and well, an opponent who wanted to salute his bravery would volunteer to act as his second.

In the Hagakure, Yamamoto Tsunetomo wrote:
From ages past it has been considered ill-omened by samurai to be requested as kaishaku. The reason for this is that one gains no fame even if the job is well done. And if by chance one should blunder, it becomes a lifetime disgrace.

In the practice of past times, there were instances when the head flew off. It was said that it was best to cut leaving a little skin remaining so that it did not fly off in the direction of the verifying officials. However, at present it is best to cut clean through.

A specialized form of seppuku in feudal times was known as kanshi (諌死, "death of understanding"), in which a retainer would commit suicide in protest of a lord's decision. The retainer would make one deep, horizontal cut into his stomach, then quickly bandage the wound. After this, the person would then appear before his lord, give a speech in which he announced the protest of the lord's action, then reveal his mortal wound. This is not to be confused with funshi (憤死, indignation death), which is any suicide made to state dissatisfaction or protest. A fictional variation of kanshi was the act of kagebara (陰腹, "shadow stomach") in Japanese theater, in which the protagonist, at the end of the play, would announce to the audience that he had committed an act similar to kanshi, a predetermined slash to the stomach followed by a tight field dressing, and then perish, bringing about a dramatic end.

Some samurai chose to perform a considerably more taxing form of seppuku known as jūmonji giri (十文字切り, "cross-shaped cut"), in which there is no kaishakunin to put a quick end to the samurai's suffering. It involves a second and more painful vertical cut across the belly. A samurai performing jumonji giri was expected to bear his suffering quietly until perishing from loss of blood, passing away with his hands over his face.

Seppuku as capital punishment
While the voluntary seppuku described above is the best known form, in practice the most common form of seppuku was obligatory seppuku, used as a form of capital punishment for disgraced samurai, especially for those who committed a serious offense such as unprovoked murder, robbery, corruption, or treason. The samurai were generally told of their offense in full and given a set time to commit seppuku, usually before sunset on a given day. If the sentenced was uncooperative, it was not unheard of for them to be restrained, or for the actual execution to be carried out by decapitation while retaining only the trappings of seppuku; even the short sword laid out in front of the victim could be replaced with a fan. Unlike voluntary seppuku, seppuku carried out as capital punishment did not necessarily absolve the victim's family of the crime. Depending on the severity of the crime, half or all of the deceased's property could be confiscated, and the family stripped of rank.