ainu wood carving (ikupasuy)

The most important article of spiritual and artistic carving was the ikupasuy or prayer stick, which assisted in taking the men's prayers to the land of the kamuy gods. They were carved from yew, willow, or spindle wood, and were usually twelve to sixteen inches long and two to four inches wide. They had rounded edges and were tapered at one end. The majority of these sticks were basically flat, but they were carved with multi-leveled relief designs that ranged from incredibly complex to quite simple.

The ikupasuy was one of the rare exceptions to the rule that the Ainu did not depict people or animals in their decorations for fear of angering the gods. Carvings on the prayer sticks included representations of bears, killer whales, seals, fish such as salmon and swordfish, birds such as albatross and ducks, snakes, and flowers; or objects made by human hands, such as boats. Markings at each end of the ikupasuy identified the carver's clan so that the gods would know who the prayer had come from. Hours of thought and energy went into making the prayer sticks, and if you ever find one for sale, chances are it is a replica carved by a non-Ainu, and thus not considered sacred by the Ainu.

My favorite single photo of the ikupasuy carvings is the one on the cover of the book Ainu, Spirit of a Northern People published by the Smithsonian Institute, but there are some more awesome ones pictured inside the book. Find a copy if you can. (ref: Ainu, Spirit of a Northern People)

ainu wood carving (inaw)

Traditionally, the most important duty of an Ainu man was to carve the inaw. Inaw are the sacred shaved sticks that symbolize birds, and which were believed to deliver human prayers to the gods or chase away demons. Carving inaw involves stripping the outer bark from a tree limb (often willow or dogwood), then shaving the wood underneath so that it forms bunches of paper-thin curls attached at one end. This is time-consuming work and requires both a steady hand and a special carving tool called an inaw-kemakiri. The design and shape of the inaw depends on the particular god to which the prayers are being addressed, and the ceremony in which they are going to be used. Once used, they are never reused, but left where they have been placed until they fall into decay (or burned, if the inaw is for the fire god) after a single use. Inaw have a graceful, understated beauty that contrasts with other Ainu designs, which tend to be visually "busy" and stimulating. (ref: Ainu: Spirit of a Northern People and Sapporo Pirika Kotan museum)

ainu tradition of wood carving

As I have mentioned in previous posts about Ainu design, wood carving was, and still is, "men's work." Both of the storybooks I've translated, and many more of the yukar, have scenes involving the menfolk carving wood-- sometimes tools and arrows, but often items of spiritual significance such as the inaw (sacred shaved sticks) and ikupasuy (prayer sticks). The photo posted here was borrowed with permission from a site called Old Photos of Japan, which displays photos of Japan between the 1860s and the 1930s, and includes some rare scenes from Ainu life. This particular photo shows an Ainu man carving what appears to be a prayer stick. Click here to read the informative article that goes with the photo. More about the purposes and designs of wood carving in my next post.

ainu designs (3)

The morew (swirl) and the ayus (having thorns), which were introduced in earlier posts, are the two basic elements of Ainu design that are often embroidered around the edges of clothing to protect the wearer from evil. When combined with each other or with other motifs-- as they usually are-- the patterns grow increasingly complex and intriguing. In the attached photo there is a third motif added to the equation of the first two. This is the diamond-shaped sik (eye). Go back to the original post on morew, and you will now be able to recognize how the ayus and sik motifs have been worked into the morew-based pattern.

In future posts, I hope to introduce some of the less prominent elements of Ainu design, which enrich the meaning and overall appearance of the decorated item. I will also be shifting the spotlight from "women's work" (embroidery and applique), to "men's work." (carving on wooden utensils). To see the related posts all on one page, type "ainu designs" into the search bar on the right side of this page (near the top). Questions and comments are welcome.

ainu designs (2)

In my previous post on Ainu designs, I introduced the morew (swirl, or spiral) pattern. Another often-encountered design is the ayus (having thorns), which consists of straight and curved parallel lines with pointy segments embedded at regular intervals. The ayus pattern is often embroidered or appliqued onto garments, as well as carved into various wooden tools such platters and prayer sticks. The pattern can be used alone or in combination with other designs, such as morew, for the purpose of protecting the user from evil. The attached photo shows leg coverings embroidered with this pattern.

ainu designs (1)

Traditional Ainu designs are based on natural phenomena and are usually depicted by women in embroidery, and by men in wood carvings. One of the basic designs is this one called morew (swirl). It represents the spirals occurring in such things as oceans, rivers, winds, and vines twisted around tree trunks. The regional variations are distinct enough that artifacts can be easily identified by their patterns as originating from either the Hokkaido Ainu or the Sakhalin Ainu.

The morew pattern is often embroidered on clothing near the openings and edges (vulnerable areas where evil gods can gain access). These garment decorations are referred to as "flaming borders" in the yukar tales, and are supposed to give ancient heroes power and protection from the enemy. The morew has also been found carved into wooden paddles which were apparently used in whale hunting long ago.

I will be introducing other basic Ainu designs in future posts.