#Yayoi Culture

[koubu6841]

Aya at Yoshinogari.

Yoshinogari (吉野ヶ里 遺跡, Yoshinogari iseki) is the name of a large and complex Yayoi archaeological site in Yoshinogari and Kanzaki in Saga Prefecture, Kyūshū, Japan. According to the Yayoi chronology established by pottery seriations in the 20th century, Yoshinogari dates to between the 3rd century BC and the 3rd century AD. However, recent attempts to use absolute dating methods such as AMS radiocarbon dating have shown that the earliest Yayoi component of Yoshinogari dates to before 400 BC. (Sourced from Wikipedia)

#touhou project #東方Project #射命丸文 #shameimaru aya #tegaki_dt #tegakidraw #drawn in one hour at night #深夜の真剣お絵描き60分一本勝負 #koubudraw #historical site #yayoi culture #yoshinogari #crow #camera #my art

[gwydpolls]

Time Travel Question 9: Ancient History II and Earlier

These Questions are the result of suggestions from the previous iteration.

This category is for suggestions made too late to fall into the correct grouping.

Please add new suggestions for this category below if you have them for future consideration.

#Trilobites #Time Travel #Malapa Caves #Uffington Chalk Horse #Moche Culture #Nazca Lines Made #Homo Naledi #Cucuteni–Trypillia Culture #Scythians #Yayoi Culture

[careful-disorder]

Jar

“When rice cultivation and bronze and iron metallurgy were introduced, probably through Korea, the isolated and self-sufficient life of the Jomon gave way to a communal society organized to carry out the demanding agricultural cycle... The social and aesthetic character of the transformed culture of Yayoi is vividly reflected in its ceramic vessels.” - MET

#pottery #japanese art #jomon culture #yayoi culture #neolithic #bronze age #iron age #japanese art history

[tanuki-kimono]

Yayoi-era polished stone semi-lunar reaping knives, used to cut ears of rice before the apparition of the sickle.

Those kind of stones knives could be found in many cultures around the world. As stated by archeologist OP, what is super interesting is that they are still used in some areas (last pictures is captured from in Chinese video and shows a similar tool made from iron).

Tbh, they look so handy I'd love to own one for foraging during strolls!

#japan #history #yayoi #yayoi era #knife #stone knife #semi lunar knife #reaping knife #sickle #rice #rice culture #archeology

[kemetic-dreams]

If the Ainu people are indigenous to Japan, then where did the Japanese come from?

Japan is a country steeped in rich history and culture, but have you ever wondered about the origins of its people? The Japanese people are believed to have descended from a mixture of different ethnic groups that migrated to the Japanese archipelago over thousands of years.

The earliest known inhabitants of Japan were the Jomon people, who lived in Japan from around 14,000 BC to 300 BC. They were a fascinating group of hunter-gatherers who created some of the earliest pottery in the world, leaving a unique mark on Japan's ancient history.

Around 300 BC, a new group of people, known as the Yayoi, migrated to Japan from the Korean peninsula. These people brought with them new technologies such as rice farming, iron tools, and bronze and iron weapons. The Yayoi people intermixed with the Jomon people, and their culture gradually spread across Japan, shaping the country's culture and traditions.

The Kofun period, which lasted from the 4th to the 7th century AD, saw the emergence of a new group of people known as the Kofun. They were characterized by their large burial mounds and were believed to be ancestors of the modern-day Japanese people. During this time, Japanese society became more centralized and complex, setting the stage for Japan's future as a major world power.

Over the centuries, Japan was influenced by various cultures, including Chinese, Korean, and Southeast Asian cultures. These influences helped shape the unique traditions and customs that make Japan the vibrant and fascinating country it is today.

While the Ainu people are considered indigenous to Japan, they have historically faced discrimination and forced assimilation by the Japanese government. Today, efforts are being made to preserve and promote Ainu culture and traditions, giving a voice to an important part of Japan's history that was once silenced.

#ainu #nippon #japan #east asian #kemetic dreams #kotun #southeast asian cultures #chinese #kkorean #komon #jomon #yayoi

[mizukagami-takamagahara]

In relation to my dream about a BBxBath&Body Works collab mentioned here

@tsubakis-wings-of-faith

That sounds lovely! Between your comment and the one from @cutesymortician now I've started to seriously think about it... I definitely love the idea of a floral scent for Tsubaki, given her name, character theming, etc.

I wonder if it would be a softer scent to symbolize her elegance and the famous 'scentlessness' of the Camellia flower, or if it would be a stronger scent as reference to her strong convictions and dedication...

#bb meta #tsubaki yayoi #I know the camellia flower is used in tea production but I don't think tea is the right smell for tsubaki #though I guess there are a lot of different scents to tea too... I'm really not familiar with uh aromachology #but now I want to be to form some really in depth ideas for this lol #novus orbis librarium #duodecim #ao no kokagami #I associate Tsubaki with lillies too and I also think the cherry blossom would be a good flower for her #as they're often tied to Japanese culture femininity and elegance #which I think fit Tsubaki very very well #especially the more you look into the historical roles of samurai or noble femininity #idk I'm rambling now

[aishiteru-kenshin]

Nikko Yayoi Festival

April 13th — April 17th

The Yayoi Festival (弥生祭, Yayoi Matsuri) is held on the 13th — 17th of April each year at Futarasan-jinja. It dates back 1,200 years and is regarded as the festival that beckons in the spring season. Numerous portable shrines (mikoshi) are carried as part of the festival and visitors are welcome help with the lifting, too.

#Japanese Culture #Nikko Yayoi Festival #Japan #Yayoi Matsuri #Matsuri #Yayoi Festival #Tochigi #Festival #Nippon #Spring Events

[cyrsed]

i made this yesterday to illustrate something to my wives sdkljfsldk this is not meant to be serious lmao & not all these people are autistic (or known to be autistic), i’m going for Vibes

it also annoyed me that it was so hard to find people who aren’t a cis white man. there’s so many layers that are missing here bc i couldn’t find a well known archetypal example lol so like. suggest me people who exhibit that autist swag

#give me people with that swag that aren't quirked up white guy movie directors #but who are at least Sort of recognizable #like at least recognizable within a certain niche interest like delia and wendy #(synth layer) #also if your cat is autistic they can go on the scale #or any pet really #autism #and no the former autist power couple (grusk) cannot be suggested that's why i put them on there hsldkfjd #9 #my wives said i would be on the medieval monk layer but that was in an earlier iteration #so now i feel like she'd put me on the kate bush layer but she's asleep so #i wanted to make the deepest layer be like #someone w 30.000 deviantart posts and they're all different sonic OCs #(out of respect for their dedication) #but like it's hard to do that without like #contributing to ~cringe culture~ even if i mean it w the utmost respect #i LOVE people who dedicate their lives to the pursuit of some ultra specific thing #which is probably why my wives put me in the monk layer #but anyway i replaced that idea w yayoi kusama #and i'm trying to htink of other artists who dedicate their work to one specific thing #anyway i love having AUTISM #i'm displaying my AUTISM by writing too much in the tags again #anyway i want more AUTISTIC GIRLS on this scale #or someone just steal this idea and make your own better scale

[heyits-mars-x]

#college #student #journalism #local news #queer writers #student work #rochester ny #artwork #art exhibition #art museum #yayoi kusama #infinity mirror #mirror #culture

[yellowix]

Yo y mi perra en Inhotim. El arte és magia.

#girlfriens #inhotim #yayoi kasuma #Tunga #cildomeirelles #Claudia Andujar #Hélio Outicica #art #brazilian culture

[tojosuggestionbox]

Historically the yakuza as an institution has been exclusively made up of men, and the Tojo Clan is no exception. This is not to say that women have had no part in the clan; they simply operated in an unofficial capacity. Not only do women make up a significant part of the civilian workforce associated with our businesses, but I am certain that many of you have an ane-san in your family or know of one enough to understand their influence. It may be a comparatively quiet power, but not one to be underestimated.

Interestingly, Tojo has had women take front-facing roles in a way that many other organizations have not. As I am sure you are aware, Dojima Yayoi briefly held a position as acting Fifth Chairwoman in 2006. She continues to command a great deal of respect in the clan, and rightfully so.

Despite this, many in Tojo tend to relegate the role of women to accessories at best. It is an unfortunate reflection of the workplace culture of this country, though markedly worse in several areas. Operating outside the boundaries of the law is not an excuse for operating outside the bounds of basic civility.

I would like to take the opportunity to remind all members of the clan that they are to treat their coworkers with respect, regardless of civilian status or gender. They are here to work, not be harassed.

Within the Hakuho Clan specifically, such behavior will not be tolerated. There are members of staff who are far more valuable to our operation than anyone who would choose to break our codes of conduct.

#longpost oops #rip having to answer a question that isnt just a silly gag my brain fries #yayoi dojima #katase #spam done for the day #trying to get thru these questions hhh

[sugurubabe]

Selfish (part 1)

Slow burn • angst • eventual romance

Suguru is a popular senior and all star athlete bound for university on the West Coast where he’ll play basketball. Y/n is an introverted and artistic girl who dreams of going to NYU in New York City to pursue an art degree. They bond over their love of art and art history, forming a close friendship, until the day Suguru destroys everything in a moment of cowardice. Eventually, the reunite a few years later while in university in an unexpected way.

-

Running to the train station, you’d nearly missed the train heading downtown. You were always running late, always a mess, and always the one with unlaced boots and messily applied makeup. It was something that irked your parents. ‘Why can’t you just prepare better? Why not get ready a little earlier, or sleep at a decent time so you’re not rushing in the mornings?’ they’d often say. It’s not as if you meant to make your life difficult. You spent many late nights awake painting, perfecting your pottery, and devouring books about your favorite art periods. 

Today, you were on your way to downtown Los Angeles to see one of your favorite artist’s installations. Yayoi Kusama had intrigued you for years, her contemporary works had captivated you from the first moment you learned about them. The Infinity Mirror Rooms were said to be other worldly and you were excited to see it for yourself. The train ride from your small town was about 1 hour and 35 minutes away from downtown so you pulled out your earphones and listened to music while looking out of the window. 

You despise your small town, the way everyone knows each other,and how their entire families seemingly lived in the same area for generations. Your only escape was venturing out into the city, exploring museums, botanical gardens, and soaking in the beauty and culture. You knew you’d leave eventually. Your dream was to attend New York University, or NYU. If everything went as planned, you’d move there next year and pursue an art degree. You were blessed with parents that supported your choice of major, as long as you understood that the money train would end as soon as you graduated with your Bachelor’s. That was fine for you. You weren’t necessarily into art for the money as much as for the satisfaction of doing something with your life that brought you joy. 

The ride downtown passed by in a blur, and sooner than later, you had arrived at your destination. You exited the train and made your way out of the station and into the bustling streets of Los Angeles. Pulling out your phone to look up directions to the museum, you saw it was a 14-minute walk. You watched people go about their day, talk animatedly to each other, rush to work, and food couriers running by with bags of take out. Life in the city always seemed so fascinating. There was so much going on and it offered a sense of anonymity. You’d be less likely to run into anyone you knew here, let alone anyone who knew you. 

You reached your destination; the Broad museum. It was a marvel of a building and worth the long train ride just to see it alone. You pulled your phone out and searched for your reserved ticket in your email before scanning the QR code at the entrance. Walking into a new museum always fills you with a sense of excitement and wonder. The real world didn’t exist here; just you and all the art. You sigh contentedly as you walk up to a Basquiat piece, admiring the vivid colors. Neo-expressionism wasn’t your favorite art period, but you could still appreciate it. You turned to walk away and ran right into someone. 

“Oh god, I’m so sorry!” you sputtered out in embarrassment before looking up at the face of the person you walked into. Your eyes nearly fell out of their sockets as you looked into the face of none other than Suguru Geto. He looked down at you with an expression of amusement, a corner of his lips upturned in a half smile. 

“You’re in my pottery class, aren’t you?” he asked as he stepped back, putting some space between both of you. You stared at him dumbly for a few more seconds before snapping out of your daze and answering him. 

“Yeah… I’m sorry for my reaction, I just didn’t expect to see anyone I knew here.” You fiddled with the charm on your necklace nervously as you averted your gaze. He chuckled at your nervous expression. Suguru admittedly didn’t know you well. You both attended the same high school, you’d both had some classes together over the years, but that was about it. You were a cute girl, but nothing particularly special that would make him remember your name.

“What’s your name again?” he asked gently, smiling apologetically. 

“Y/n L/n” you replied, blushing lightly as you realized that he didn’t even know your name. 

“I’m Suguru Geto, in case you didn’t know.” he smirked slightly, knowing there was no way you attended the same school without knowing who he was. The smirk on his face irked you enough that you rolled your eyes and nodded.

“Yeah, I know. Impossible to not know the homecoming king, the basketball captain, and the golden boy, huh?” you replied mockingly. 

“Those were your words, not mine.” Suguru laughs, his face set in astonishment at your snarky tone.

“Well, I came to admire the art, not interact with people. So I’ll be on my way.” You moved to walk away when a light hand grabbed your forearm, pulling you back.

“Wait a minute- did you come alone?” Geto looked at you with an expression you couldn’t quite read. You nod, your brows furrowing in confusion.

“I came alone by train, why?” 

“I’m going back home after this. Why don’t we walk through the museum together, and then I can give you a ride home?” he suggested. 

“You want to spend your time at the museum with me?” you asked incredulously. Suguru shrugs, pulling you closer to him. 

“You seem to know what you’re looking at. I like art. I don’t usually have anyone to discuss it with.” he says breezily as you both begin walking together towards another room. You can barely believe this is happening, let alone your reality. Suguru was an extremely popular guy at school. Every girl at the high school you both attended had a crush on him, even you. He was handsome, tall, charismatic, obscenely talented, and wicked smart. He was known for dating many girls and never taking a single one of them seriously. You glanced at him, admiring the elegant slope of his nose and his sharp jawline. You couldn’t help but wonder why this guy would choose to spend his day with you. 

“If you take a picture, it’ll last longer.” Geto quips, winking at you. You snort at this and shake your head. 

“Sorry. I’m just having a hard time wrapping my mind around the fact that you’re here. I didn’t take you for the kind of guy who likes art, or who could appreciate it. You always seem bored in pottery class. You usually submit some… pretty abstract pieces.” you explain. Suguru chuckles at your attempt to spare his feelings. 

“Don’t be shy. I know my pottery skills are atrocious. I admire art simply because I don’t have the capability or skill to create it.” he replies as you both stand in front of a Warhol piece. 

“What’s your favorite art period?” you ask softly, looking up at him. He thinks for a while before answering your question. 

“Expressionism and Pop Art. I like color, if you can’t tell.” he says sarcastically, motioning towards his outfit. He’s dressed in a simple black t-shirt and black cargo pants. You hum thoughtfully, smiling at his tone.

“Defensive, aren’t we?” you tease. Suguru eyes you skeptically for a moment before deciding that you’re being playful. 

“What about you, y/n? What’s your favorite art period? If you say Cubism, you can find your own way home.” he threatens jokingly, crossing his arms and turning to you. You laugh at his humor, not expecting that he would be so open to teasing you back. 

“Rococco is my all-time favorite art period. No competition, no if, ands, or buts.” 

“Surprise, surprise.” Geto snarks, walking to another room. You follow him and gasp as you see the line for the Infinity Mirror Room is short. 

“Can we get in line for this? This is specifically what I came to see!” you say excitedly, practically running to snag a spot in line. He looks at you with mirth before acceding and following you to the line. He rolls back and forth on the balls of his feet and his hands in his pockets as you wait for your turn. 

“Do you want to go inside together or separately?” you ask him softly, looking back at him. Internally, he feels giddy that you asked if he wanted to go in with you. Outwardly, he pretends to think it over before replying. 

“We can go in together. That way I can make sure you don’t spend an eternity snapping selfies of yourself.” You scoff at this, turning your face back to the line. 

“I don’t take many selfies. I was simply planning on taking a video. I bet you’re the one who’s going to take selfies to post on your social media for all your groupies to see.”

Suguru laughs heartily at this, his eyes closing from the force of it. He breathes in deeply, looking at you with amusement. “I wouldn’t post a selfie of this to my Instagram. No one even knows I’m here.”

You whip around to look at him, your jaw drops. “What do you mean? Are you embarrassed that you’re here?”

Geto looks ahead to the installation, choosing to ignore your question. His silence was answer enough. He didn’t want his friends and family to know he came here. He was hiding his interests for some obscure reason.

Suguru didn’t know what to make of this girl. She seemed so quiet and docile in class. She didn’t speak much, kept to herself, and turned in her work diligently. He’d seen firsthand how talented she was artistically. He never got around to knowing her name during school, but that didn’t mean he didn’t notice her talent. The girl before him was so unlike the person she was at school. She was witty, playful, and curious. He couldn’t help but wonder how much he could get her to open up for him before the day ended. She intrigued him. 

“Hey! Suguru! It’s our turn!” you waved your hand in his face to snap him out of his thoughts. He huffed as he looked around and realized you’d both made it to the front of the line. The installation attendant notified you both that you’d have two minutes inside and no more than that. You nodded and walked inside the room with Geto. You gasped as the door closed and then you took in the beauty of the room. It was like being submerged in a sky full of stars. Suguru wanted to admire the installation but found himself admiring your expression instead. He smiled as he took in your excitement, the way your eyes were wide and full of life.

You pulled out your phone to take a video, avoiding the side where Geto was. You stopped recording and changed the camera to the photo setting. “I’m going to take a picture, do you want to step away?” you asked quietly, allowing him to decide if he wanted to be in it. He pursed his lips and then shrugged, standing behind you and letting you take the picture. You blushed subtly as you snapped the photo. You placed your phone in your pocket just in time as the attendant opened the door and informed you both that time was up. 

“That was absolutely breathtaking. Yayoi is a freaking genius!” you gushed as you walked out of the installation room. Geto follows closely behind you, listening intently to your ramblings. He finds your voice soothing. 

“What did you think? Did you like it?” you ask him cheerily. He nods, grinning at you. 

“Of course I did. Your reaction was much more interesting to look at though.” he says, glimpsing at you as you walk around the museum. You choke on your breath and cough. You didn’t expect him to say that. He snickers as he slaps your back lightly, trying to help you compose yourself. When you finally stop coughing, you look at him with an expression of annoyance. 

“Don’t try to make fun of me, it’s mean!” you say angrily, walking faster. 

“I’m not making fun of you, cutie. I mean it. Your reaction was nice. You seemed genuinely delighted by the room.” Geto teased her. 

Your heart flutters when he calls you a cutie. You can’t help your reaction and your jaw clenches as the blush spreads throughout your face. He notices your annoyance and lays off the flirting the rest of your time at the museum. You found his company to be very pleasant the rest of the day. He was insightful and knew so much about different artists and periods. As the day came to an end, you felt reluctant to leave the tiny bubble that was the Broad. You knew this was likely a one time thing, and that come Monday at school, he’d go back to ignoring your existence. 

“Come on, I parked in a lot down the street.” Suguru murmurs as he gently pushes you in the direction of the parking lot. You hesitate for a moment before stopping in your tracks.

“Actually, I’m just gonna take the train home. I paid for an all day ticket and I don’t want to waste it. I’ll see you around, okay?” You wave awkwardly and begin walking in the direction of the train station.

Suguru is stunned at your rejection of his offer to take you home. Usually girls would jump at the chance to be alone with him for any amount of time. He contemplates before calling out to you. “Can I at least have your number? You know… so we can visit more museums together?”

Your heart feels like it’s going to fall into your stomach. Suguru fucking Geto just asked for your number. He just asked if you could visit another museum together. You take a deep breath before calling back to him. “Just add me on Instagram! My username is my first and last name. You’ll find it in no time!” you shout before rushing away and turning the corner. 

Suguru watches your petite figure disappear and he laughs to himself. ‘What a peculiar girl.’ he thinks before walking to his car. 

Later that night when you get home, you see it:

Sugu_g has requested to follow you. 

-

(A/N: thank you for reading! Let me know what you think! When I write enough chapters I’ll create a master list. For now, I’ll link part 1 to part 2, and part 2 to part 1, etc)

#suguru geto #jjk geto #geto suguru #geto x reader #jujutsu geto #getou suguru x reader #geto x you #geto x y/n #geto fluff #jjk suguru #jujutsu kaisen suguru #getou suguru x you #getou suguru x y/n #jujutsu suguru #jjk x reader #jjk #jjk x you #jjk fluff

[shintoinenglish]

Review: The Essence of Shinto

I have written before of Yamakage's authorship of multiple antisemitic conspiracy theory books. That said, given that there are not a lot of English language books about Shintō, I find this book is often recommended. It should not be recommended to anyone, not just because of the authorship, but for its misinformation. There is very little actual information that can be salvaged from this trainwreck of a book.

Koshintō is not an ancient practice - it's a new religious movement; an attempt to imagine an ancient Shintō, which is, in my opinion, inherently paradoxical, as the concept of Shintō as the name of a religion (and indeed the concept of a religion itself) were consciously constructed as recently as the Meiji Era, which is the 19th century. The archaeological and historical truth is that we do not know what Yayoi or Jomon period peoples believed, and Shintō is likely very distinct from that, and that is okay. While I understand the impulse to try to reconstruct Yayoi or Jomon era religions, I find the impulse to remove foreign elements like Buddhism to contain elements of xenophobia, and have found the idea of Shintō as truly ancient to be misleading at best. We do not actually have an ancient practice handed down to us. Japanese religious practice, first, is diverse -- regions do things differently. Kyushu area graves, for example, bear continental Chinese influence and have 土神 enshrined at their sides. Secondly, while I do think there is a necessity to undo the damage that State Shintō has done, it is not helpful to do so in a way that, at best, ignores and at worst, contradicts history.

Secondly, Yamakage Shintō is barely attested outside of Motohisa's writings. Many of the practices allegedly specific to Yamakage Shintō are common Japanese New Age theories, along with some condescension of traditional practices. One way to recognize this is his repeated use of the word "spiritual" (which presumably was either written スピリチュアル in the original text). It's ironic, then, that he puts down "bizarre cults and sects" (p.13). The aforementioned paragraph should explain why I am so skeptical of the Yamakage school when there is no such thing as ancient Shintō by definition.

Crucially, there is some dangerous and typical New Age medical misinformation here. He claims that certain chants or practices can heal different physical and mental health symptoms, which is not something anyone should say, much less someone who claims to be a religious teacher. This is a sidenote, but I am hoping that Paul de Leeuw did not absorb any of this, but am concerned as he trained under Yamakage.

Yamakage states "...Shinto leaders have been at the forefront of campaigns to restore the forests..." As much as Westerners want Shintō to be the Green Religion that saves the world, I've had very little luck actually encountering any shrine websites or articles that back this up, outside of the traditional practices of keeping very small sacred forests known as chinju no mori. If anything, the opposite has been documented. See Sacred Forests, Sacred Nation for more on this subject. I would be open to correction on this, but Yamakage provides no sources whatsoever; in fact, he provides no sources throughout his book for any of his factual or historical claims. Presenting the Showa Emperor as a source does nothing but reinforce fascist rhetoric about the emperor being the religious head, as he was at the time of State Shinto, and likely says more about his personal convictions than his religious ones. There is something eerily dystopian and fascistic in Yamakage's description of the people cheerily following the Showa Emperor's example.

I have noticed a tendency in some Japanese people to do what I think of as self-orientalism; an exoticization of your own body and culture to appeal to whites. It seems to me that Yamakage is doing such a thing, while simultaneously appealing to Japanese nationalistic sympathies, by saying it is an ancient, mysterious religion untainted by materialism. Demonizing materialism, in fact, goes against the actual practice of most Japanese -- many, many businesses regularly pray for prosperity and dedicate lamps to shrines, or will get ritual decorations for prosperity known as kumade during the November Tori-no-Ichi festival.

"Ajimarikan" is a chant that is, at best, shoddily derived from Buddhism, as is his use of mudra hand gestures. At worst, he completely fabricated this chant and doesn't even attempt to provide a meaning for this phrase. The Five Great Vowels Chant and the Heavenly Counting Chant are both chants that do not exist outside of this book.

Yamakage Motohisa also repeatedly uses Okinawan/Ryūkyūan religion as examples as if it is a part of Shintō, which it most decidedly is not. There was forced assimilation because of colonization, to my understanding, but the practice is entirely different from Shintō.

This is kind of a briefer overview than I originally intended, but I hope this provides some information on why I dislike Yamakage and this book so much. My hope is that he stops being recommended as any sort of resource and a better one is translated soon.

#shinto #misinformation

[stirringwinds]

what do you think of the canon version of China finding chibi Japan in a bamboo forest

I do enjoy a lot of the inherent weirdness and charm of hetalia canon, and I think the clear Princess Kaguya / Tale of the Bamboo Cutter reference is cute, but ngl it's one thing I do personally retcon completely because I like these old men salted and brined in the convoluted mess that is asian imperial politics: to re-situate Kiku and Yao within the reality of Chinese imperialism, the Sinosphere and also the fact that Yong-soo (whom I see as also being the older Korean kingdom of Silla) would've known of and relayed Kiku's existence to Yao first, given the history of Korean-Japanese contact and the Korean peninsular's long history as a cultural intermediary (and also point of conflict) between Japan and China.

I tentatively think Yao very likely met Kiku for the very first time when Kiku arrived as part of an early Japanese diplomatic embassy to China, and the vibes were more like this (I couldn't find a picture of a younger looking envoy and I definitely see Kiku as much younger physically—but anw, that pic is an artistic representation the shamaness-queen Himiko during the Yayoi period of Japan):

I don't see Yao 'raising' Kiku in any sense that mirrors the way I see Arthur directly claiming and exercising responsibility over Alfred; I feel that Yao and Kiku started out quite firmly as an empire-tributary dynamic (which is different from colony and empire) with a certain arms-length distance—Yao is kind of arrogant during that period too (to put it mildly) and he's like 'oh you're the boy Yong-soo referred to huh. Interesting. You can add your name to the sign-up sheet of tributaries there. Bring me gifts, will you?' There is an eventual (regicidal) mentor-protege dynamic I see forming, but Yao is very busy being an empire when he and Kiku first meet; he would consider Kiku an amusing and intriguing diversion to keep an eye on, but he is for the time-being, much more embroiled in his ambitions in continental Asia, such as his wars against other nations like Lien (Vietnam).

#hetalia #hws china #hws japan #hws south korea #hws vietnam #hetalia headcanons

[motherfactorin-pi-face]

In which I speak a bit more on (NEO) TWEWY, Shinjuku's Reapers, and JP workplaces

So to add on a little bit more to some thoughts I had in relation to Challenges in Localization And Cultural Nuance and mageknight14's good analysis on Shoka Not Having Had The Best Family Life, both of which touch on Japanese businesses and how they're run, I'd like to expound a bit more on how the whole Shinjuku Reaper situation really is a series of two separate (and yet, as it turns out, somewhat related) cultural contexts. One of these is that Shinjuku, particularly Kabuchi-cho (which if/when we see the strongly hinted Shinjuku Interquel I fully expect to see that localized as "Kabuki Backstreets" or "Kabuki Alley" or something similar), has had a historical rep as a "red-light" district, and as a fairly major spot for Yakuza and similar organized crime activity. (And there are entire franchises that focus on THIS aspect of Shinjuku, as well.) The other context, which is probably not as familiar to Americans (who are more likely to have played one of the Yakuza games), is that Shinjuku is one of the areas that is a major business hub within Tokyo metro proper. (Square Enix actually moved their headquarters to Shinjuku around 2012 or so after having moved from Yayoi--a part of Shibuya we've never seen in a TWEWY game--and is ironically moving back to Shibuya next year in the Sakuragaoka area just south of Mark City.) And as it turns out, the Shinjuku Reapers and their situation are a MASSIVE parody of how Japanese businesses are run (particularly how certain trends culturally can result in a business--or a Game--becoming highly dysfunctional). So. Japanese businesses have (in comparison to US businesses) a lot of stratification and (although this is changing somewhat) there's still kind of the ideal that if you get into an actual business (versus, say, working at the Lawson or the Family Mart or 7-Eleven) where you're wearing a suit and tie, you're essentially set for Life as long as you don't rock the boat. Historically, this even extended to your prospects of a Forever Job being tied to what college and even what high school you attended (hence why there has been such an incredible pressure with kids being sent to cram schools to get into a good high school, and then get into a good college, as good employers tended to hire directly out of specific colleges). And there's not really the Layoff Culture there is in the US, and generally the main reason someone leaves a business in Japan involves retirement, involves (especially in creative fields) some irreconcilable differences with the board of directors, or some kind of a Scandal where one has seriously hecked up and been Removed. (Again, this is changing some, especially for younger folks, and in part the NEET culture (Not in Education, Employment or Training) is kind of a rebellion against this social pressure, but right now I'm focusing on how typical businesses are run once you manage to get into a suit-and-tie occupation in Japan.) So once you do get IN a company, there's a LOT of societal pressure to really devote everything to company success--not just in terms of working late/working OT, but even societal obligations of going to Company Dinners where you go drinking with your boss/supervisor, social events, morning exercise with the company, etc. that honestly has had a history of lending itself to abuse (karoshi, or literally working yourself to death, IS a phenomena in Japan to the point there have been workplace laws to try to reduce the abuse). Aggretsuko is actually another bit of popular media that explicitly calls out a lot of the more abusive practices like power harassment and the demands a company places on workers, etc. Cells At Work! Code BLACK actually depicts someone dying of an abusive workplace...as the stereotypical abusive "black company", the Japanese slang term for a particularly abusive corporate sweatshop.

#neo twewy #ntwewy #neo: the world ends with you #shinjuku reapers #cultural analysis #part 1 of 2

[noticiasarquelogicasjaponesas]

Sean bienvenidos, japonistasarqueológicos a una nueva entrega en esta ocasión os presento a otro arqueólogo que excavó en el yacimiento del Toro en la arqueología de posguerra. - En la publicación anterior comentamos, que era la arqueología de posguerra, mencionamos el milagro japonés y de cómo tras la guerra japón supo reponer sus heridas con cierta rapidez y el yacimiento del Toro es un testimonio de ello. En esta publicación, el personaje en esta ocasión se trata de,Takeji Kikukawa Nacido en 1932, que corresponde a la era Showa. - Fue estudiante de la escuela secundaria Fujieda Higashi localizada en la prefectura de Shizuoka, se dedicó a los periodo yayoi y Jamón estudiando su cultura material, sobre todo la cerámica del periodo yayoi y las pesas de piedra del periodo Jomon. - Espero que os haya gustado y nos vemos en próximas publicaciones que pasen una buena semana. 日本の考古学者たちよ、戦後の考古学で登呂遺跡を発掘したもう一人の考古学者を歓迎しよう。 - 前回は戦後考古学について、日本の奇跡と戦後日本がいかに早く立ち直ったか、そしてエル・トロ遺跡がその証であることをお話ししました。今回の登場人物は、1932年生まれの菊川武治である。 - 静岡県立藤枝東高等学校に在籍し、弥生・縄文時代の物質文化、特に弥生時代の陶磁器や縄文時代の石錘の研究に没頭した。 - それでは、また次回もお楽しみください。

Welcome, Japanese archaeologists, to another post-war archaeologist who excavated at the Toro site in post-war archaeology. - In the previous publication we talked about post-war archaeology, we mentioned the Japanese miracle and how after the war Japan was able to recover its wounds quite quickly and the site of El Toro is a testimony of that. In this publication, the character on this occasion is Takeji Kikukawa, born in 1932, which corresponds to the Showa era. - He was a student at Fujieda Higashi High School in Shizuoka Prefecture. He was devoted to the Yayoi and Jomon periods, studying their material culture, especially the ceramics of the Yayoi period and the stone weights of the Jomon period. - I hope you enjoyed it and see you in future posts have a nice week.

#日本 #戦後 #歴史 #考古学 #第2次世界大戦 #ミラグロジャパン #展望 #ユネスコ #弥生 #考古学的保存 #先史 #三浦健一 #経済 #japan #postwar #history #archaeology #2worldwar #milagrojapan #prospecting #unesco #yayoi #archaeologicalreservation #prehistory #kenichiMiura #economy