Tumgik
#dōgu
Text
Tumblr media
42 notes · View notes
son--of--the--south · 8 months
Text
Tumblr media
4 notes · View notes
chanoyu-to-wa · 26 days
Text
Nampō Roku, Book 7 (79):  When Using Meibutsu Utensils in the Sō-an.
Tumblr media
79) When a meibutsu utensil is brought out in the sō-an tea setting, all of the other utensils should be new; or, if [some] are also old, treasured [utensils] should never be used¹.
    In the case of the daisu, displaying two, or [even] three, meibutsu together -- this is a completely acceptable situation².  But the mood of the sō-an must be understood thoroughly [before attempting to stage a gathering in that venue]:  even if [the host] has a predilection for [arranging the utensils] in various ways, if those [arrangements] were derived from the ancient way of doing things that was [originally] associated with the daisu, yet [the usages] have somehow or other [seeped] into the practices associated with the sō-an, they are still based on the mind of the shoin [and so the conventions established for that setting should still be observed if that arranement is employed in the sō-an]³.
    If [the host] is intent on bring out a treasured chaire, yet [those involved in the gathering] do not know what to do [this might cause problems]:  with respect to the rest of the objects [used during the gathering], this [occasion] is not the time [for the guests] to be asking to inspect them severally -- it is crucial that the focus of appreciation be on that one [meibutsu] piece only⁴.
_________________________
◎ Once again, the Enkaku-ji manuscript presents us with a thesis -- in this case, regarding how the conventions associated with the use of a meibutsu utensil (that were established in the shoin) might be applied to the sō-an.
    The toku-shu shahon and genpon texts elaborate on so many of the details that it would be an injustice to try to discuss these versions together with Jitsuzan’s original.  As a result, I decided that the best approach would be to translate the Enkaku-ji material above, and look at the revised versions of this entry separately -- in an appendix (which will be found at the end of this post).
¹Sō-an no cha ni meibutsu no dōgu dasu-toki ha, kanarazu sono-hoka no dōgu atarashiki-mono, mata ha furukute mo, shōganrashiku-naki-mono wo mochiiru-beshi [草菴ノ茶ニ名物ノ道具出ス時ハ、必其外ノ道具新シキ物、又ハ古クテモ、賞玩ラシク無キモノヲ用ベシ].
    Sō-an no cha ni [草菴の茶に] means when performing the service of tea in the wabi, small-room, setting....
    Meibutsu no dōgu dasu-toki [名物の道具出す時] means on an occasion when (a) meibutsu utensil (is) brought out (for use during the temae)....
    Kanarazu sono-hoka no dōgu atarashii-mono [必ずそのほかの道具新しい物]:  kanarazu [必ず] means absolutely, indubitably*; sono-hoka no dōgu [そのほかの道具] means the rest of the utensils (used during that temae); atarashii-mono [新しい物] means (should be) new pieces.
    Mata ha furukute mo, shōganrashiku-naki-mono wo mochiiru-beshi [又は古くても、賞玩らしくなきものを用いるべし] means or else (mata ha...mo [又は...も]), if they are old (furukute [古くて]), they should not be (naki-mono wo [なきものを]) highly treasured (shōganrashiku [賞玩らしく]); (such things) should be used (mochiiru-beshi [用いるべし]).
    In other words, when the host decides to use a meibutsu utensil in the wabi small room†, that piece should be the only utensil of quality in the tori-awase.  Everything else should either be new -- or, if old, such pieces should be objects of ordinary quality (and, importantly, not especially treasured by the host). __________ *In other words, this is something that absolutely must be done.  It is strictly forbidden to use more than one meibutsu-class utensil in the small room on a single occasion.
†Generally speaking, Rikyū was against the practice of making a habit of using such things in the wabi setting because chanoyu in the small room was supposed to be entirely focused on the koicha itself.  This was particularly true if the host’s objective was simply to show off the meibutsu utensil to his guests,
    Nevertheless, and particularly when he was serving tea to important persons on Hideyoshi’s behalf, one treasured utensil might have been used -- when appropriate -- in order to do honor to the shōkyaku (who was the person for whom the gathering had been assembled).
Tumblr media
    So, for example, Rikyū occasionally used his shiri-bukura chaire [尻フクラ茶入 = 尻膨茶入] (which had originally been part of the Higashiyama collection) in his 2-mat room when entertaining people like Shōrei oshō [笑嶺和尚] (and other important monks), Toda minbu [戸田民部] (and other court nobles and officials in Hideyoshi’s government), Mōri Terumoto [毛利輝元] (and other important daimyō) -- and, of course, when serving tea to Hideyoshi himself.
    Or on very special occasions -- such as when he served tea to the townsman Maruyama Bansetsu [丸山晩雪], at the request of Tateishi Jōrin [立石紹林].  Bansetsu had made the difficult journey to Kyōto from the northern provinces to visit Jōrin, and it seems that, because Bansetsu was also fond of chanoyu, Rikyū entertained him as a favor to Jōrin (who had been a fellow student of Jōō together with Rikyū).
²Daisu ni te ha, meibutsu wo ni-shu・san-shu mo kazari awase-suru, kore kekkō no koto nari [臺子ニテハ、名物ヲ二種・三種モカザリ合スル、コレ結構ノコト也].
    Daisu ni te [臺子にては] means in the case of the daisu.
    Meibutsu wo ni-shu・san-shu mo kazari awase-suru [名物を二種・三種も飾り合わせする] means simultaneously arranging two or three meibutsu utensils together (for use in the same temae).
    Kore kekkō no koto [これ結構のこと] means this situation is acceptable.
    In other words, according to this*, in the case of the daisu, it is completely acceptable for the host to include more than one meibutsu utensil in a single temae. __________ *The author is probably referring to the arrangements in Book Five that include the word meibutsu in their designations, as well as those like san-shu gokushin that are considered even “higher” than those temae that were focused on the use of the more ordinary meibutsu utensils.
³Sō-an no ki-mi yoku-yoku kokoro-e-beshi, iro-iro no koto wo konomi-sōroeba, daisu no kojitsu ni yoru tote, itsu to naku sō-an no shosa, shoin no kokoro ni naru-koto ari [草菴ノ氣味ヨク〰心得ベシ、イロ〰ノコトヲ好候ヘバ、臺子ノ故實ニヨルトテ、イツトナク草菴ノ所作、書院ノ心ニ成コトアリ].
    Ki-mi [氣味] means things like feeling, mood, or sentiment.  Therefore, sō-an no ki-mi [草菴の氣味] refers to the mood or feeling of the sō-an....
    Yoku-yoku kokoro-e-beshi [よくよく心得べし] means (the host) must understand (this mood) very, very carefully.
    In other words, the prospective host must understand the mood of the sō-an thoroughly before he undertakes to plan a chakai for that venue.
    Iro-iro no koto wo konomi-sōroeba [色々のことを好み候えば] means if (you) like doing various things....
    In other words, if the host likes experimenting with various kinds of arrangements (in the gatherings that he hosts*).
    Daisu no kojitsu ni yoru tote [臺子の故實によるとて] means ...even if those were the ancient practices associated with the daisu†....
    Itsu to naku sō-an no shosa [何時となく草庵の所作]:  itsu to naku [何時となく] means things like there was no certain time (when that occurred), or, before (I) knew it‡; sō-an no shosa [草菴の所作] means the behavior that is associated with (or considered appropriate in) the sō-an.
    Shoin no kokoro ni naru-koto ari [書院の心に成ることあり] means it became like the mind of the shoin; or, the attitude of the shoin began to seep into or color (the perception of the accepted practices of the sō-an).
    In other words, while the conventions of the sō-an and shoin were clearly distinct in the beginning, as time when by, and the general emphasis in chanoyu came to focus more on the utensils than on the service of tea (regardless of the setting), practices that had originally been limited to the shoin began to slowly infiltrate into the sō-an**. __________ *In the early period (from the fifteenth to early sixteenth centuries, in Japan), most chajin (who were by and large expatriates, who had only the utensils that they brought with them when they escaped from the continent) had only a single representative of each of the necessary utensils in their collections -- owing to the fact that utensils were not really available in Japan at that time -- and so they did things in a similar way each time they served tea.  As this initial population began to die off, the available utensils began to accumulate in a smaller and smaller pool of practitioners; and meanwhile, the demand (when people are running for their lives, even if they have a passion for chanoyu, there are only so many things that they can carry, and that meant that the larger or heavier pieces would usually have had to be left behind) for certain kinds of things (such as furo and kama, and to a lesser extent the mizusashi) encouraged local Japanese craftsmen to try their hands at filling the need.  
    Thus, by the late sixteenth century, most chajin owned several examples of the more important utensils, at least -- so that the idea of tori-awase (selecting the utensils that one would use on each occasion) began to take on a new meaning (selecting utensils that were somehow more appropriate for use on the present occasion than others in the host’s collection).  And by the Edo period, this attitude had matured into something that resembled that expressed in the modern dictum that, whenever the same guest is received (especially when he is the shōkyaku), most (if not all) of the utensils should be different.
†While the modern reader will naturally have been introduced to chanoyu through the medium of wabi-cha (or what the modern schools consider to be wabi-cha), it must be kept in mind that, historically speaking, the chajin of Jōō’s and Rikyū’s period more commonly entered their study of chanoyu through the tea of the daisu (even if, like the majority of their contemporaries, this was the daisu as used by Jōō and the Shino family, rather than the gokushin approach employed by people of the orthodox tradition, such as Kitamuki Dōchin and, of course, Rikyū himself).
‡The idea is that these practices, while originally derived from the canon associated with the daisu, had become so common in the sō-an that most people tended to forget all about their origins – and so were guilty of failing to observe the conventions associated with them in that original setting.
**This likely was directly influenced by the Tokugawa bakufu’s idea of presenting their most important supporters with treasured tea utensils from Hideyoshi’s collection, in lieu of an increase in their fiefs or titles.
    At that time, the “higher” temae were supposed to be used only when serving tea to someone of higher (or perhaps equal) rank.  But when the daimyō-lord of the province was the one who had received one of these treasures, and his retainers asked him to show it to them (a poor trade off to an increase in their own individual stipends, to be sure; but the only way they could possibly share in their lord’s good fortune), using it in the historically appropriate way (i.e., while serving them tea using the daisu) would have been out of the question.  Consequently, the only real alternative was for the treasured utensil to be used in the sō-an.  This is the core issue that we are dealing with in this entry.
⁴Hizō no chaire idetaru to shiranaba, sono-hoka no mono iro-iro koi-dashi miru-koto aru-bekarazu, tada sono isshu no shōgan no koto kan-yō nari [秘藏ノ茶入出タルト知ナバ、其外ノ物色〻コイ出シ見ルコトアルベカラズ、只其一種ノ賞玩ノコト肝要也].
    Hizō no chaire idetaru [秘藏の茶入出たる] means if (you) want to bring out a treasured* chaire....
    To shiranaba [と知らなば] means and if (you) don't know† (what to do)....
    Sono-hoka no mono [そのほかの物] means the rest of the objects, the rest of the utensils.
    Iro-iro koi-idashi miru-koto [色々乞い出だし見ること有るべからず]:  iro-iro [色々] means variously, in different combinations‡; koi-idashi [乞い出だし]** means request (literally, beg) for (the other things) to be put out; miru-koto [見ること] is referring to what we usually call haiken [拜見]; aru-bekarazu [有るべからず] means (this situation) should not exist, (this kind of request) should not be (made).
    In other words, on an occasion when a treasured chaire has been included in the tori-awase, but (the participants) are unsure how to handle this situation, in this kind of case, everyone should understand that only the treasured chaire should be inspected at the end of the temae.  The guests should refrain from asking to see anything else (and the host should have prepared himself, mentally, for this situation)††.
    Tada sono isshu no shōgan no koto kan-yō nari [ただその一種の賞玩のこと肝要なり] means because it is important (to understand) that, in this case, only this one piece (i.e., the special chaire) is being appreciated. __________ *Like shiran [知らん], to which it is related, shirana [知らな] is a rather slangy sort of expression, indicating an ignorance of something.
†Referring to the other utensils.  Unlike now, when everything is fixed and formalized, in the past the guests asked freely to inspect anything that they wanted to see (in addition to the chaire, chashaku, and shifuku, they could also ask to see the futaoki, and even, on occasion, things like the kama and mizusashi, and even the koboshi).  Since they could potentially have wanted to see any of these things, the possible combinations could be various.
‡As in previous entries, the word hizō [秘蔵] refers to the host’s special treasures -- which, in this context, would also mean they were meibutsu pieces (since, at least according to the classical way of thinking, only a meibutsu object would be worthy of this especial favor).
    This was, of course, before the relatively new idea of iemoto-gonomi (frequently newly-made utensils), and the like, became added to the mix.
**Koi-idashi [乞い出だし] was the traditional expression used by the guests when asking to inspect (miru-koto [見る事]) one (or more) of the utensils. 
    Dōzo, o-chaire...no haiken wo [どうぞ、お茶入...の拝見を], or words to that effect, became the standard way of asking for haiken at the end of the temae only during the 20th century (when the dialogue between host and guests became fully and inflexibly scripted out).
††Whether or not to place the chaire-no-fukuro out for inspection, together with the treasured chaire, is something that was apparently not fixed in earlier periods.  In general, if the shifuku had been provided by the host, using his own cloth, then it was not routinely offered for haiken.
Tumblr media
    If, however, the shifuku had been made by a famous master of the past, or sometimes if the cloth had been salvaged from the garment of a famous personage (the shifuku of Shukō‘s katatsuki-chaire -- known subsequently as the Matsumoto-katatsuki, and then as the Matsu-ya katatsuki -- shown above, was made from an assortment of 13 scraps from one of Ashikaga Yoshimasa’s kimono, after the rest had been used for mounting a kakemono), then the guests might ask to see it, and this would not violate the prohibition against including anything else in the haiken.  The Matsu-ya-katatsuki (Matsumoto-katatsuki), on its Jōō-style chaire-bon, is shown below.
Tumblr media
    One possible exception would be when the chaire is accompanied by a chashaku that a famous tea master made for it.  In such a case, the chashaku would usually be included in the request for haiken.
    If this chaire was accompanied by a chaire-bon, then not only would it be displayed and handled on the tray throughout the temae, but also offered out to the guests along with the chaire for haiken.
    Furthermore, the special chashaku was not infrequently also be placed on the tray (to the left of the chaire) when it was arranged in the room during the naka-dachi.  In this case, at the very beginning of the temae (before doing anything else), the host would move the chashaku onto the chawan.  Only then would he move the bon-chaire to its proper place in front of the mizusashi.
==============================================
❖ Appendix: the Toku-shu Shahon Version of Entry 79.
79) In the event that a meibutsu utensil is brought out during the tea of the sō-an, the rest of the utensils should certainly be new pieces -- or else, if they are old, the kind of things that are treasured should never be brought out [on such an occasion]⁵.  Even in the case of the daisu and the shoin, when [assembling] a meibutsu-kazari, it is usually not the case that two meibutsu are brought out [for use during the same temae]⁶.  As for things like that san-shu gokushin [temae], these [temae] are exceptions⁷.
    With respect to [arrangements] like the display of a meibutsu-temmoku, the original idea was that the chaire displayed together [with the meibutsu-temmoku] be a natsume [or other] lacquered piece⁸.
    The mood of the sō-an should be fully understood:  even if [one] likes doing things in different ways, if [certain of] those [temae] were ultimately derived from the ancient practices associated with the daisu -- even if, over time, they have now become completely accepted in the sō-an -- [the host must understand that] they still retain the feeling of the shoin⁹.  In the case of the daisu, unlike in the sō-an, there is no objection if [the host] wishes to indulge in the sort of arrangements that employ utensils that cost a million coins -- if doing so is in keeping with his social standing and wealth¹⁰.  But it smacks of ineptitude if, when dealing with [a collection of] utensils that are all perfectly acceptable, [the host] fails to distinguish between those utensils that have a name, and those that do not¹¹.  Even in the case of the daisu, there is never a good reason for two meibutsu to be brought out [at the same time]; how much more should [this idea] be rejected in the case of the sō-an¹²!
    If [the host] wishes to display the Kinzan-ji temmoku [徑山寺天目] in its seiko-ya [西湖家], the chaire should [invariably] be a natsume¹³.  Moreover, [the natsume] should be carried out [from the katte] during the temae, as has been described previously[, rather than being displayed on the daisu from the beginning]¹⁴.  That being so, even in the shoin, when a meibutsu treasure is displayed, [the guests] should ask to inspect only that one [treasured] piece:  there is no reason [for the guests] to ask to look at the other [utensils] too¹⁵.  All the more, in the sō-an, it is essential that [everyone] understand [this convention]¹⁶.
_________________________
◎ About this* version of the text, Tanaka Senshō wrote:
    Hon-bun no sō-an no shui, genkon no sadō-kai ni ha tettei shite oranu yō ni omou.  Kiku-tokoro ni yoru to, fugō no chanoyu de ha, chaire mo chawan mo mizusashi mo, ichi kara jū made, kekkō soroete nakute ha cha ni naranu-yō ni omoi, hito-shina ka futa-shina no shōgan ni tometa no de ha mono-tarazu, kore wo sara ni hiroma ni enchō-shite, kazu-kazu no dōgu wo narabeteru-koto ga ryūkō suru sau na.
    Mata kaiseki-tomo naru to, shiizakana [強い肴] to shōshite, sono-jitsu ha chaki no jiman no tame ni, kazu-kazu no hachi wo narabe-tateru no wo mi-ukeru. Kore de ha mattaku sō-an no cha no shugi ni chigau-koto ni naru.
    Haigun-go, taibō seikatsu no koe-takai toki, kono ki wo sakai to shite, issai, ze-tō no kyōsha no chanoyu wo hōteki-shite, Rikyū no shuchō-suru hon-bun no gotoki shushi ni fukki seshime-yō de ha nai ka.
[本文の草庵の主意、現今の茶道界には徹底して居らぬ様に思ふ。聞く所によると、富豪の茶の湯では、茶入も茶��も水指も、一から十まで、結構揃へで無くては茶にならぬ様に思ひ、一品か二品の賞翫に留めたのでは物足らず、是を更に広間に延長して、数々の道具を並べ立てる事が流行するさうな。
[又懐石ともなると、強い肴と称して、其実は茶器の自慢の為に、数々の鉢を並べ立てるのを見受ける。是では全く草庵の茶の主義に違ふ事になる。
[敗軍後、耐乏生活の声高き時、此期を境として、一切、是等の驕奢の茶の湯を抛擲して、利休の主張する本文の如き主旨に復帰せしめようではないか].
    “I don't think that the main idea of the sō-an, as it is expressed in this text, is fully realized in the modern world of sadō [茶道].  According to what I have heard, in the chanoyu of the wealthy, one must have a complete set [that includes numerous] chaire, chawan, and mizusashi, things of every kind†, in order to serve tea properly; and it is not enough to limit [the quantity of these utensils] to one or two things only.  It seems that it is becoming [increasingly] popular to expand [the venue] into the large room, where numerous [precious] utensils may be lined up [for the delectation of the guests, and to call attention to the host’s wealth].
    “Also, during kaiseki, you will see [additional courses] like the one called shii-zakana [強い肴]‡; but this is actually a way [for the host] to show off more tea utensils.  This is completely at odds with the philosophy of the sō-an.
    “In the post-war period**, when people are complaining loudly over their poverty, we should use these circumstances to foment [a revolution] -- to make an effort to rid ourselves of the excesses [that have crept into] chanoyu, and so return to the idea that was advocated by Rikyū, as expressed in this text††.” __________ *The texts of the toku-shu shahon and genpon versions are very similar for this entry, so Tanaka's comments are valid for both.
†Ichi kara jū made [一から十まで] literally means “from one to ten.”  In other tea writings (such as the Hundred Poems) this expression means from beginning to end, or the whole series (of steps, of utensils, and so forth).  Tanaka seems to be arguing that it is necessary for the modern-day host to have an expansive collection that includes utensils of every sort -- from the most wabi to the most costly.
‡Another course added near the end of the meal, usually between the yaki-mono [焼き物] (fried or grilled food) and the hashi-arai [箸洗い] (a sort of thin soup used to rinse the guest’s chopsticks after eating the oily or salty yaki-mono), ostensibly to make use of the excess ingredients that were used to prepare some of the earlier dishes.  But the real reason (according to tea scholars) seems to have been to afford the host another occasion to show off some more of his treasured serving bowls.
**Tanaka actually uses the expression haigun-go [敗軍後], which means “after the army was defeated.”
††Tanaka (a man from the countryside who had made “a killing” in business and speculation -- in other words, a rather typical nouveau riche of the sort that arose during the Meiji period -- who was now in search of cultural acceptance by his betters, rather than a classically trained scholar of chanoyu -- though he was often guilty of harboring such pretensions) was convinced that every word in the Nampō Roku was uttered by Rikyū, or at least articulated his ideas.
    While this may often be true, we have to look at each comment and judge it on its own merits -- and in light of the chanoyu of the period in which the text was written (since, invariably, the texts always reflect the attitudes of the generation that added them to the collection in Nambō Sōkei’s wooden chest).  Ultimately, we must be especially careful not to impose our own ideas, preferences, or prejudices, on Rikyū (or his chanoyu), even if they seem to be in complete agreement with what we read in the text.  Familiarity with a given idea or practice, based on our own tea training, must never be used as a criterion to judge its actual proximity to Rikyū, or its authenticity as part of his canon of teachings.
⁵Sō-an no cha ni meibutsu no dōgu dasu-toki ha, kanarazu sono-hoka no dōgu atarashiki-mono, mata ha furuku-tomo, shōganrashiku-naki-mono wo dasu-beshi [草菴ノ茶ニ名物ノ道具出ス時ハ、必其外ノ道具新シキ物、又ハ古ク共、賞翫ラシクナキ物ヲ出スベシ].
    Sō-an no cha ni meibutsu no dōgu dasu-toki ha, kanarazu sono-hoka no dōgu atarashii-mono [草菴の茶に名物の道具出すときは、必ずそのほかの道具新しい物], as in the Enkaku-ji version, means “when a meibutsu utensil* is brought out in the sō-an tea setting, all of the other utensils should be new.”
    Mata ha furuku-tomo [又は古くとも] means or if they are older.
    Shōganrashiku-nai-mono wo dasu-beshi [賞翫らしくないものを出すべし]:  shōganrashiku-nai-mono [賞翫らしくないもの] means something (mono [もの]) that does not (nai [ない]) seem to be treasured (shōganrashiku [賞翫らしく]) should be brought out (wo dasu-beshi [を出すべし]).
    Here Tanaka Senshō’s genpon text has sō-an no cha ni, meibutsu no dōgu dasu-toki ha, kanarazu, sono-hoka no dōgu, atarashiki mo mata ha furukute mo, shōganrashiku-naki wo dasu-beshi [草菴ノ茶ニ、名物ノ道具出ス時ハ、カナラズ、其外ノ道具、新キモ又ハ古クテモ、賞翫ラシクナキヲ出スベシ].
    Aside from changes in the way the sentence is punctuated, and the elimination of the word mono [物] (thing, object) after atarashiki [新キ], this version effectively reproduces the sentence from the Enkaku-ji manuscript. __________ *It might be good to remind ourselves of the definition of a meibutsu utensil here.  A meibutsu was originally a utensil that defined a temae.  And later this was expanded to include other utensils that were so similar to the original -- in their important defining detail(s) -- that they could be used interchangeably.  
    Originally the designation meibutsu it had less to do with the utensil’s value than its use, and the reason why Jōō was considered the greatest teacher of his age was precisely because he managed to accumulate more than 60 meibutsu in his own personal collection (which, to his contemporaries, implied that he was intimately acquainted with the secret details of each of their usage).
    While the set of utensils used for gokushin-temae were all meibutsu in Japan, they were just the components of the ordinary set of things that was used on the continent.  They were meibutsu in Japan because they showed precisely what was required for each of their types.
⁶Daisu・shoin ni te sae, meibutsu-kazari ha meibutsu wo futatsu dasu-koto ō-kata ha nashi [臺子・書院ニテサヘ、名物飾ハ名物ヲ二ツ出スコト大方ハナシ].
    Daisu・shoin ni te sae [臺子・書院にてさえ] means even in the case of the daisu and the shoin....
    Meibutsu-kazari ha meibutsu wo futatsu dasu-koto ō-kata ha nashi [名物飾は名物を二つ出すこと大方はなし] means in the case of a meibutsu-kazari*, in general two meibutsu are not brought out together.  That is, two meibutsu utensils should not be used together in the same temae†.
    In other words, the author is saying that even in the case of the daisu and the shoin, when the arrangement is focused on the display of a meibutsu utensil, on the whole two meibutsu‡ should never be brought out in the same temae, because the whole point is to throw a spotlight on the utensil that is the “star” of the temae.
    The corresponding sentence in the genpon text is identical to the one found in the toku-shu shahon. __________ *The word meibutsu-kazari [名物飾] is being used as a designation for a class or category of temae.  We see here a practice that has continued into the modern schools.
†In other words, there should be only one “most-meibutsu” utensil.
    But if, for some reason, two meibutsu utensils are used at the same time (such as in the gokushin temae), they should not be handled as if they are of equal rank.  One should always be clearly “higher” than the other.  This becomes apparent later in the essay.
‡For example, both a meibutsu chaire and a meibutsu temmoku would not ordinarily be used during the same temae, since the classification of the temae as a meibutsu-kazari usually means that the attention of host and guests should be focused on the one featured utensil.
    Two possible objections should be dealt with here:
- first, things such as the san-shu gokushin temae [三種極眞手前] represent a completely different category of practice (the gokushin class of temae) where all of the utensils were meibutsu (which is to say, when everything is meibutsu, none of the pieces are being singled out for special appreciation -- when everything is meibutsu, none of the utensils are any more special than any of the others); and,
- second, it was not infrequently the case that a meibutsu-temmoku would be arranged on a meibutsu-temmoku-dai.
    The latter does not violate the rule that is being articulated here because the temmoku and its dai were often kept together as a set, where one would not be used without the other.  In such a case, the temmoku and its dai would be considered a single meibutsu.  Using a meibutsu-temmoku without a meibutsu-dai, or using a meibutsu-dai without a meibutsu-temmoku would, then, be considered an exception (though more commonly seen as time went by) -- cases where the utensils had become separated from each other (or one of them had been lost or broken).
    This is analogous to the case where a meibutsu-chaire was paired with a meibutsu-bon.  When the two were simultaneously available to the host, then the rule was that they should always be used together.  But if they had become separated from each other, there would then be no choice but to use them separately when serving tea.
⁷Ka no san-shu gokushin nado ha betsu-dan no koto nari [カノ三種極眞抔ハ別段ノコトナリ].
    Ka no san-shu gokushin nado ha betsu-dan no koto nari [彼の三種極眞などは別段のことなり] means “that san-shu gokushin (temae), and the other (temae) of that sort, represent a special class (of temae).”
    Betsu-dan no koto [別段のこと] means (such temae) are special cases.
    As explained above, the gokushin temae represented the ordinary way that tea was served on the continent.  The reason why the entire set of utensils was considered meibutsu (in Japan) was because each of them physically defined the necessary attributes for each of the types of utensils that are needed when serving tea -- and, as a group, they epitomized the ideal.
    This idea should not be confused with the way meibutsu is being used here -- which is the same as the modern usage -- meaning a precious (or priceless) utensil, that is handled so that it is the focal point of the temae (if not the entire gathering).
⁸Meibutsu-temmoku-kazari nado ni ha, chaire ha natsume nurimono wo kazari-awasetaru ga hon-i nari [名物天目飾抔ニハ、茶入ハ棗ヌリ物ヲ飾リ合セタルガ本意ナリ].
    Meibutsu-temmoku-kazari nado ni ha [名物天目飾などには] means in the case of the meibutsu-temmoku-kazari, and other (temae) of that sort*....
    Chaire ha natsume・nurimono wo kazari-awasetaru ga hon-i nari [茶入はナツメぬり物を飾り合わせたるが本意なり] means “that the chaire be a natsume (or other) lacquered piece, displayed together (with the meibutsu temmoku) -- this was the original idea (of this kazari).”
    The genpon text elaborates on this idea slightly:  tada meibutsu-temmoku-kazari nado ni ha, natsume nazo-no-nurimono wo kazari-awasetaru-zu hon-i nari [只名物天目カザリナドニハ、棗ナゾノヌリ物ヲカザリ合セタル図本意也].
    Tada meibutsu-temmoku-kazari nado ni ha [ただ名物天目飾などには] means “in the ordinary (form of) things like the meibutsu-temmoku-kazari....”
    Natsume nazo-no-nurimono [棗謎のぬりもの]:  natsume [棗] means the natsume tea container with which we are all familiar; nazo-no-nurimono [謎のぬりもの] means a mysterious† lacquered piece.  Thus, natsume nazo-no-nurimono [棗謎のぬりもの] would mean something like “the enigmatic lacquered piece (known as the) natsume.”
    Natsume nazo-no-nurimono wo kazari-awasetaru-zu hon-i nari [棗謎のぬりものを飾合わせたる図本意なり] means “the sketch suggesting the display of the enigmatic lacquered natsume (illustrates) the original idea.”
    It is unclear to which sketch this statement is making reference -- perhaps a drawing was reproduced at this point in the text, or possibly it is alluding to the sketch found in entry 35 in Book Five (reproduced below).  In this drawing, the meibutsu-temmoku [名物天目] and natsume [ナツメ] are indicated by red ink captions.
Tumblr media
    The text of the kaki-ire reads “because this is a meibutsu temmoku, it should be very carefully displayed on its kane.  Nevertheless, even though the tea container is a natsume, because the guests are coming this day to drink the tea, in order to show appreciation for the tea, it should overlap the center by one-third.
   “The temmoku should be aligned closely to its kane.
   “As shown, when arranging the things each detail [should be observed].” __________ *The reference is to those temae where the chawan is the meibutsu piece.
    Included in this category would have been the temae when tea was served in the Shukō-chawan [珠光茶碗] (at least prior to the time when the chawan became cracked while in Jōō’s keeping).
†Suggesting that the origin story of the lacquered natsume (that it had been created by Jōō during his early middle-period, based on the shadow cast by a karamono katatsuki-chaire) had been lost in the mists of time.
⁹Sō-an no ki-mi yoku-yoku kokoro-e-beki iro-iro no koto wo konomi-sōroeba, daisu no kojitsu ni yoru tote, itsu-to-naku sō-an no shosa, shoin no kokoro ni naru-koto ari [草菴ノ氣味能〻可心得色〻ノ事ヲ好ミ候ヘバ、臺子ノ故實ニヨルトテ、イツトナク草菴ノ所作、書院ノ心ニナルコトアリ].
    Sō-an no ki-mi yoku-yoku kokoro-e-beki iro-iro no koto wo konomi-sōroeba [草菴の氣味よくよく心得べし色々のことを好み候えば]* means “thoroughly understanding the mood of the sō-an, even if doing things in various ways is favored....”
    Daisu no kojitsu ni yoru tote [臺子の故実によるとて], as above, means “...even if those were the ancient practices (originally) associated with the daisu....”
    Itsu-to-naku sō-an no shosa, shoin no kokoro ni naru-koto ari [何時となく草菴の所作、書院の心になることあり] means “even though it is unclear when (these practices first) became associated with the sō-an, they retain the mind of the shoin.”
    In other words, thoroughly understand the mood of the sō-an should be the prerequisite, if one wishes to stage a gathering in that setting -- particularly if it will deviate from the strict wabi nature of the venue.  Even if the host takes delight in doing things in various ways, where those (arrangements) are based on the ancient practices associated with the daisu -- even if [the usages] have somehow or other become incorporated into the practices associated with the sō-an -- (the host should recognize that) they are still based on the mind of the shoin, and that the conventions established in that setting must still be maintained†.
    This is essentially the same idea that is articulated in the Enkaku-ji manuscript‡. __________ *While the words agree with the Enkaku-ji version of the text, the sentence has been punctuated differently, resulting in some (mostly minor) changes in meaning.
†It seems that the author is thinking specifically about the idea of precedence -- that only one utensil should be considered the principal object in the temae.
    Originally, in the wabi small room, it was not usual for the guests to ask for haiken at the end of the temae.  This was done only if the shōkyaku specifically wanted to look at something (such as, for example, when the chashaku had been made by a famous master, he might ask to see both the chashaku and the chaire for which it had been made, in order to understand why the master had carved in as he had).
    But at the time when this entry was written, the practice of routinely asking for haiken -- even in the small room -- was becoming common.  Thus, the text is cautioning both host and guest that, when a meibutsu utensil is being used (whether in the small room or in the shoin), the convention of focusing everyone’s attention on the meibutsu -- which had been established in the shoin -- should always be maintained:  if the meibutsu is the chawan, then it should be inspected after it has been cleaned (after the actual service of tea is finished), and at the conclusion of the temae, the guests should not ask to inspect any of the other utensils; and if the meibutsu is the chaire, then haiken of the chaire (and the chaire-bon, if it has been paired with one) should be done at the end of the temae (as is now usual) -- but more usually without the shifuku or chashaku (unless there is a specific reason to include these things -- as was explained above under footnote 4.
     This ideal will be developed further as the essay continues.
‡No parallel sentence is found in the genpon text.  This suggests that the preparators of that edition did not want to cause their readers to question the origins of some of their favored practices -- such as using meibutsu utensils in the wabi small room setting.
¹⁰Daisu ni te ha sō-an to ha chigai, ika ni mo sen-gan-no-dōgu wo soroete-kazaru-rui, bugen-shidai nari [臺子ニテハ草菴トハ違ヒ、イカニモ千貫ノ道具ヲ揃ヘテ飾ル類、分限次第也].
    Daisu ni te ha sō-an to chigai [臺子にては草菴とは違い] means in the case of the daisu, unlike in the sō-an....
    Ika ni mo sen-gan-no-dōgu wo soroete-kazaru-rui [如何にも千貫の道具を揃えて飾る類]:  ika ni mo [如何にも] means certainly, to be sure; sen-gan-no-dōgu [千貫の道具] means a utensil that is worth one-thousand kan*; soroete kazaru-rui [揃えて飾る類] means indulge in the class of arrangements (in which the use of a utensil of this sort would be expected).
    Bugen-shidai nari [分限次第なり]:  bungen [分限] refers to one's social standing (rank) and wealth; shidai means according to, or depending on.
    In other words, in contrast to the sō-an, with respect to the daisu, a utensil valued at 1,000 kan could certainly be used in this way (at least in a certain class of arrangements), depending on the wealth and status of the person who was going to use it.
    The sentence is the same in the genpon text. __________ *Kan [貫] was originally a unit of weight, equivalent to 3.75 kg.
    In terms of monetary units of the Edo period, 1 kan was equal to 1000 mon-sen [文錢] (coins), one coin of which is shown below.
Tumblr media
    So 1000 kan would have equaled 1 million of these coins (the coinis were usually strung on looped cords in units of 100 or 1000, to facilitate commercial transactions) -- a huge sum of money.
    1 kan (1000 coins) was equal to 2 koku [石] (the unit used in the rice-based economy to calculate worth -- one koku of rice was considered to be the amount sufficient to feed one adult male for one year); so 1000 kan would have been equal to a fief (or land holding) of 2000 koku.
    During the Edo period, a feudal lord could claim daimyō status only when he held a fief of at least 10,000 koku (and, in practice, usually considerably more).
¹¹Tsutanai, kekkō no dōgu ni te mo mei no aru to naki to ni sabetsu-shi [伹、結構ノ道具ニテモ名ノアルトナキトニ差別シ].
    Tsutanai [伹い] is a rarely seen kanji.  According to the Digital Daijisen [デジタル大辞泉]*, tsutanai [つたない]† can be defined as meaning having poor ability (inept, clumsy, bungling, and so forth); a lack of skill in doing things (which, by extension, implies ideas like poor-quality, shoddy, crude); and, by extension, unlucky (the sort of bad luck that results from a lack of ability or skill).  In this particular case, “inept” is probably the best way to understand tsutanai.
    Kekkō no dōgu ni te mo [結構の道具にても] means even in the case of perfectly suitable‡ utensils.
    Mei no aru to naki to ni sabetsu-shi [名の有ると無いとに差別し] means we have to distinguish between (utensils) with a name, and those that do not have (a name).
    The sentence appears to be criticizing those chajin (by calling them inept) who failed to recognize the importance of a utensil being designated meibutsu, as opposed to simply being an extremely beautiful object of high quality that had not been recognized in that way**.  The reader will recognize that the word meibutsu has already completely lost its original significance (as being a way to designate the utensil that had established a new usage, or one that, in all respects was so similar that it could be used interchangeably with it).
    The genpon text is mostly the same, though it eliminates the initial tsutanai. __________ *The Digital Daijisen is one of the largest major online Japanese-Japanese dictionaries, updated three times each year in order to keep the definitions relevant.  The URL for their site is:
https://daijisen.jp/digital/
†Today, this word is usually represented by the kanji tsutanai [拙い].
‡Kekkō no dōgu [結構の道具], “suitable utensils,” is not simply an assessment based on considerations of functionality or practicality.  Rather, and perhaps more importantly (in the period when this entry was written), it was an assessment of the utensils’ quality -- and price.
    Today, tea utensils (in Japan) are generally divided into two categories:  utensils suitable for use in a gathering, and those intended only for use in practice.  Kekkō no dōgu would refer to the former (even though in Rikyū’s time the kind of things that we would consider could only be used for practice were the ones preferred for use in the small room when entertaining guests -- with the higher quality pieces only suitable for the shoin).
**The first attempt to rectify this situation was when Kobori Masakazu (Enshū) was ordered to revise the list of the meibutsu utensils (in addition to those that had been recognized by people like Nōami and Yoshimasa, he added the pieces that were considered meibutsu-adjacent during Jōō’s and Rikyū’s period, as well as respected objects that did not come into view until the Edo period, many of which were part of the Tokugawa collection).
    When this system ultimately proved unsatisfactory (because there were many more chajin who wished to own “meibutsu-class” utensils than there were meibutsu to go around), the appearance of things like the Senke-meibutsu [千家名物], and later the iemoto-gonomi [家元好み], were the next stages in the attempt to counteract this argument -- elevating quality utensils that simply did not exist in the fifteenth, sixteenth, or seventeenth centuries (or, sometimes, for pointedly political reasons).
¹²Meibutsu-futatsu ha shisai-nakute ha daisu ni sae dasazu, mashite sō-an ni ha yō-sha aru-beki nari [名物二ツハ子細ナクテハ臺子ニサヘ不出、マシテ草菴ニハ用捨可有也].
    Meibutsu-futatsu ha shisai-nakute [名物二つは子細なくて]:  meibutsu-futatsu ha [名物二つは], meaning with respect to two meibutsu, is referring to the case where two meibutsu utensils are displayed simultaneously in such a way that they appear to be equal; shisai-nakute [子細なくて] means there is no possible reason or excuse (for the two utensils to be displayed equally at the same time*).
    Daisu ni sae dasazu [臺子にさえ出さず] means even in the case of the daisu, (two meibutsu) are not brought out (simultaneously).
    Mashite sō-an ni ha yō-sha aru-beki nari [況して草菴には用捨有るべきなり]:  mashite [況して] means to say nothing of, not to mention; sō-an ni ha yō-sha aru-beki [草菴には用捨有るべきなり] means in the sō-an this (idea of bringing out two meibutsu at the same time) should be discarded, put to rest -- it should not be done or even countenanced.
    In the genpon version of the text, the only difference is that the word mashite [マシテ = 況して] has been changed to mashite ya [マシテヤ = 況してや], which is, perhaps, slightly more emphatic -- meaning that the question of simultaneously bring out two meibutsu pieces in the sō-an is absolutely out of the question. ___________ *Shibayama Fugen directs the reader to entry 38 in Book Six, where we read:
shina-jina nagabon nado ni kazaru mo, meibutsu naraba hito-shina wo hitotsu-mono ni shite, sono-hoka ha san-bun no kane nari
[品々長盆抔ニ飾ルモ、名物ナラバ一品ヲ一ツ物ニシテ、其ノ他ハ三分ノカネナリ].
   The sentence means “when various objects are also displayed on a nagabon and the like, even if they are (all) meibutsu, one piece is arranged as an hitotsu-mono (that is, it is placed squarely on its kane), while the rest (overlap their) kane by one third.”  This is illustrated in the following drawing from Shibayama Fugen’s commentary, and the one below (which shows the initial tsune-no-nagabon kazari, as well as the disposition of utensils on the mat during the temae).
Tumblr media
    In this sketch, the meibutsu chaire is placed squarely on its kane, while the dai-temmoku overlaps its kane by one-third.  Note that this is something that is specific to the tsune-no-nagabon [常の長盆], ordinary nagabon, the face of which measured 1-shaku 3-sun by 8-sun 2-bu, with 1-shaku 5-sun 2-bu by 1-shaku 4-bu across the rims.
Tumblr media
    The Sen schools used this tray in their highest daisu-temae (shown above); and this, in turn, was the source of the argument that is being made here.
    It seems that Shibayama’s point in directing the reader to this text was because he wanted to emphasize the point that only one object should be accorded the most respectful treatment, while the others, even if they are also meibutsu pieces (or utensils of equally high quality), should subordinate to the other.
     While things like the tsune-no-nagabon kazari are easy enough to understand -- the chaire, after all, is placed squarely on its kane, while the dai-temmoku overlaps its kane by one-third, in the san-shu gokushin temae, both the chaire and the dai-temmoku rest squarely on their kane as a consequence of the meibutsu Gassan-nagabon [月山長盆] (the face of this tray measured 1-shaku 2-sun by 8-sun, and 1-shaku 3-sun 2-bu by 9-sun 2-bu across the rims).  So here the application of the rule that there is only one principal utensil in any given temae might be difficult to understand (the text quoted above comes, in fact, from the notes appended to the san-shu gokushin temae).  But looking closely at the arrangement of the ten-ita during a gathering when the gokushin temae will be performed should help to make the matter clear.
Tumblr media
    In the upper sketch, we see how the ten-ita was arranged when the nagabon was first placed on the daisu.  The chaire was, at that time, the honored utensil, so, in addition to be placed squarely on its kane, it was also associated with the central kane.
    When the dai-temmoku was brought out, the chaire was moved toward the right (so that it would be 2-sun from the right rim of the tray), and then the dai-temmoku was lifted onto the tray (being centered between the chaire and the left rim of the tray).  Then the whole tray was moved toward the right, so that the dai-temmoku now rests squarely on the central kane.  
    Thus the chaire was initially the honored utensil; but after the dai-temmoku was brought out, it was the dai-temmoku that was ultimately the honored utensil (because the original purpose of the temae was to offer the bowl of koicha to the Buddha).  So, even though both of these ultra-meibutsu utensils rested squarely on their kane, it was the question of which kane that determined which of them was the more highly honored at each stage of the kazari.
¹³Kinzan-ji no temmoku, seiko-ya ni te kazararetaru-toki ha, chaire natsume narishi nari [徑山寺ノ天目、西湖家ニテ飾ラレタル時ハ、茶入棗ナリシナリ].
    The Kinzan-ji-no-temmoku [徑山寺の天目] was a meibutsu-temmoku* that had been brought from the continent in a seiko-ya [西湖家]† (a kind of lidded wooden box that was turned on a lathe to match the shape of the temmoku that it contained).  This kind of box is shown below.
Tumblr media
    This temmoku‡ was purchased in the gift shop associated with the Jìngshān-sì (Kinzan-ji) -- hence the name that was written on the lid of the box (and so the bowl it contained was known as the Kinzan-ji no temmoku, or temmoku from the Kinzan-ji).  This temple was located near the famed “Western Lake” (Xī-Hú [西湖]), an area that was (and remains) famous for numerous important Chán temples and other Buddhist sites -- which made it a popular destination for monks traveling to China on religious pilgrimages (who purchased souvenirs like this for their wealthy and influential patrons back in Japan).
    Kinzan-ji no temmoku, seiko-ya ni te kazararetaru-toki [山寺の天目、西湖家にて飾られたる時] means “with respect to the Kinzan-ji-temmoku, on occasions when (the host) wants to display it in its seiko-ya....”
    Chaire natsume nari-shi nari [茶入棗なりしなり] means the chaire should be a natsume.
    In the genpon text, the second phrase reads chaire mo natsume nari [茶入モナツメ也], which means “the chaire should also be a natsume.”
    While there is no real difference in meaning, this version better relates the present topic to one of the basic arguments that is being made in this entry -- namely, that when a meibutsu-temmoku is being used, even on the daisu, the chaire should be a (new or unimportant) lacquered piece. __________ *The actual type of temmoku-chawan is unknown.
    The Jìngshān-sì [徑山寺] (Kinzan-ji is the Japanese pronunciation of the name) is a famous Chán temple located near the “Western Lake” (Xī-Hú [西湖]), in Hangzhou [杭州], China; the temple was built during the Song dynasty.
Tumblr media
    This temple was also known for the special flavored miso that was served as a sort of dipping sauce (for raw vegetables) with the temple’s meals; and certain scholars speculate that this “temmoku-chawan” was actually a bowl in which a “family-sized” portion of the temple’s miso was sold as an omiyage [御土産] (such things, along with specialty liqueurs and hair pomades, were popular souvenir gifts in China) -- the indented rim of the bowl facilitating its being sealed with an oiled-paper cover, while the specially made tight-fitting box helped to keep the miso from spilling out during the trip back to the pilgrim’s native province; the wider foot meant that bowls of this type would be more stable on the table as well.  In other words, though originally made for a rather humble purpose, because the bowl and its box were the only things left after the miso had been eaten, they were treasured (in Japan) as meibutsu utensils.  (Most, if not all, of the meibutsu utensils from China were actually utilitarian objects of this sort.)
    Additional information may be found in the post entitled Nampō Roku, Book 6 (36.1):  the Seiko-ya [西湖家] (Part 1).  The URL for which is:
https://chanoyu-to-wa.tumblr.com/post/656720323669000192/namp%C5%8D-roku-book-6-361-the-seikoya-%E8%A5%BF%E6%B9%96%E5%AE%B6
    This temmoku was originally classified as meibutsu because it was housed in that specially made lacquered wooden box that was carefully fitted to its proportions.  Because of the box, which itself was an object of appreciation (since it was from China), this combination demanded the creation of a new temae:  the temmoku was arranged on the daisu tied in its seiko-ya, with a meibutsu temmoku-dai (tied in a go-motsu-bukuro [御物袋]) displayed at its side.  The procedure involved the way in which the temmoku was removed from the seiko-ya, and ultimately lifted onto the temmoku-dai in preparation for the service of tea.  Though this was a sort of pre-temae, it was performed in the presence of the guests, so that they could then inspect the seiko-ya, before the actual serving of tea began.
    Please refer to the post entitled Nampō Roku, Book 5 (36, 37, 38):  a Meibutsu Temmoku, Displayed in the Seikoya [西湖家] for additional temae details.  The URL for that post is:
https://chanoyu-to-wa.tumblr.com/post/628182388242055168/namp%C5%8D-roku-book-5-36-37-38-a-meibutsu
†This kind of turned wooden box was called a seiko-ya [西湖家] because one of the earliest examples had apparently been purchased at a souvenir shop named Xī-hú Jiā [西湖家], overlooking the famed Western Lake (Xī-hú [西湖]) in Hangzhou, China.  That particular seiko-ya had the name Xī-hú Jiā (Seiko-ya) written in gold lacquer on the lid; and thus the name came to be applied generically to all boxes of that sort (in Japan).
‡It, along with the original Kinzan-ji seiko-ya in which it was kept (even when in storage), was apparently lost when Yoshimasa’s storehouse was burned down -- in the incident that precipitated the Ōnin wars.
¹⁴Shika mo temae ni narite hakobi-dasu-koto migi no kokoro-e nari [シカモ手前ニナリテ運ビ出スコト右ノ心得也].
    Shika mo [然も] means things like really, truly, manifestly, and also moreover, besides, nevertheless.
    Temae ni narite hakobi-dasu-koto migi no kokoro-e nari [手前になりて運び出すこと右心得なり]:  temae ni narite [手前になりて] means the temae will be...; hakobi-dasu-koto [運び出すこと] means this is a case where (the natsume) will be carried out (from the katte*); migi no kokoro-e nari [右心得なり] means it should be understood as (laid out) on the right†.
    Aside from minor changes to the punctuation, the genpon text is the same as what we find in the toku-shu shahon. __________ *As opposed to being displayed in the room.
†Migi [右], on the right, means in what was written previously -- since Japanese is written in columns laid out from right to left; this is apparently referring to the procedure described in the two posts cited under sub-note “*“ under the previous footnote.
¹⁵Sa araba shoin ni te sae meibutsu hizō-no-mono no kazari ni ha, sono hito-iro wo koite ichi-ran-shi, sono-hoka no mono, iro-iro koi-dashi miru-koto aru-bekarazu [サアラバ書院ニテサヘ名物秘藏ノ物ノ飾ニハ、其一色ヲ乞テ一覧シ、其ノ外ノ物、色〻乞ヒ出シ見ルコト不可有].
    Sa araba [然有らば] means if that is the case.
    Shoin ni te sae [書院にてさえ] means even in the shoin.
    Meibutsu hizō-no-mono no kazari ni ha [名物秘藏の物の飾には] means with respect to the display of a treasured meibutsu.
    Sono hito-iro wo koite ichi-ran-shi [その一色を乞て一覧し] means to beg (ask fervently) to look at that one (special) utensil.
    Sono-hoka no mono [そのほかの物] means with respect to the other things -- with respect to the other utensils that were used during the temae.
    Iro-iro koi-dashi miru-koto [色々乞い出し見ること] means to ask to look at (the other utensils) separately*.
    Aru-bekarazu [有るべからず] means (this) is a situation that should not exist -- that this (asking to inspect the other utensils) should not be done.
    Once again, the genpon differs from what is seen here only some minor changes in the punctuation†. __________ *In other words to ask to look at the other utensils variously, in various combinations.
    The argument being made is that because this temae has been focused on the treasuring of the meibutsu utensil, it is inappropriate for the guests to ask for haiken of the other utensils.
     See footnote 4, above, for a more detailed discussion of this issue.
†The addition of several more commas breaks up the text into more easily digested units (similar to what I have done in this footnote).
¹⁶Sō-an ni te ha nao-sara sono kokoro-e kan-yō nari [草菴ニテハ猶更其心得肝要也].
    Sō-an ni te ha [草庵にては] means with respect to the situation in the sō-an....
    Nao-sara sono kokoro-e kan-yō nari [猶更その心得肝要なり]* means it is all the more important (for you) to understand this.
    The genpon text is identical. ___________ *Nao-sara [猶更] is usually written nao-sara [尚更] today.  Both forms mean still more, even more, all the more.
==============================================
◎ If these translations are valuable to you, please consider donating to support this work.  Donations from the readers are the only source of income for the translator.  Please use the following link:
https://PayPal.Me/chanoyutowa
2 notes · View notes
blondthndrninja · 1 year
Text
D: Like "Mugiwara-ya", Law-san tends to call people with the "-ya" suffix, but in the case where the person's last name is "Tsuchiya", then does that become "Tsuchiya-ya"? Please tell me Law-san♡ P.N. HeartLoveWoman
O: Mr. Law—they're calling you --! ............. Aw he won't come-. Let me answer instead. A long time ago, around maybe the Edo period--. There was this thing called "Yagō". So if for instance, in the case where there were two Mr. commoners named "Tomekichi-san", things like "Dōgu-ya no Tomekichi" (Tomekichi of the Tool shop) or "Oke-ya no Tomekichi" (Tomekichi of the Bathtub maker); something with "~ya" would be used in place of a last name-. Like how you shout "Tamaya~" at the fireworks or "Nakamuraya" from Kabuki; have you heard of those? In other words, he just goes with the flow. Right, Law-san?
L: Yeah.
"D" denotes the reader (dokusha), "O" denotes Oda, the author, "L" denotes Law.
0 notes
nhacly · 2 years
Text
Danh sách bảo bối trong Doraemon – Wikipedia tiếng Việt
Danh sách bảo bối trong Doraemon – Wikipedia tiếng Việt
Doraemon sở hữu rất nhiều các loại bảo bối hay đạo cụ bí mật (ひみつ道具 (Bí mật Đạo cụ), Himitsu Dōgu?) cất giữ trong chiếc túi không đáy. Một số trong những bảo bối này được miêu tả dựa trên những vật dụng có thật trong các gia đình Nhật Bản nhưng đã được ly kỳ hóa thêm, nhưng hầu hết được sáng tác hoàn toàn khoa học viễn tưởng (mặc dù có một số dựa trên các câu chuyện dân gian hay tôn giáo). Hàng…
Tumblr media
View On WordPress
0 notes
translations101 · 2 years
Text
Comparing Chinese character readings in Japanese & Korean pt 1
Fact : Japanese and Korean have a lot of words from Chinese. Because of this there is a lot of words that sound the same or similar. Also this plus the grammar being the same is the reason why Korean is the easiest to learn for Japanese people and vice versa.
jp/kr
Chinese characters - 漢字 kanji / 한자 hanja
promise - 約束 yakusoku / 약속 yagsog
Family - 家族 kazoku / 가족 gajok
Tool - 道具 dōgu / 도구 dogu
High School - 高等学校 kōtōgakkō / 고등학교 godeunghaggyo
School - 学校 gakkō/ 학교 haggyo
Japan - 日本 Nihon or Nippon / 일본 ilbon
Korea - 韓国 Kankoku/ 한국 hangug
52 notes · View notes
textilepattern · 3 years
Text
Japan; Katagami & Katazome
Katagami is the Japanese craft of making paper stencils for dyeing textiles. The art is traditionally centered in the city of Suzuka.
Multiple layers of thin washi paper are bonded with a glue called kakishibu, extracted tannin-rich juice from persimmon(a Japanese fruit), which makes a strong flexible brown coloured paper.
Tumblr media
The designs can be extremely detailed and fragile. The pattern is made using a variety of tools known as dōgu-bori.  
Tumblr media Tumblr media
Four principal cutting techniques are used:
Pulling the knife towards the artist, which results in long straight cuts.
Carving patterns, which allows for figurative designs.
Cutting circular holes, often in fan-like designs
Using shaped punches.
The stencils are then used for resist dyeing. Rice paste is passed through the stencil onto silk. When dyed, the color does not adhere to the areas with rice paste. By multiple alignments of the stencil, large areas can be patterned. 
Tumblr media
Katazome is also a Japanese method of dyeing fabrics using a resist paste applied through a stencil. A rice flour mixture is applied using a brush or a tool such as a palette knife. Pigment is added by hand-painting, immersion or both. Where the paste mixture covers and permeates the cloth, dye applied later will not penetrate.
Katazome on thin fabrics shows a pattern through to the back; on thicker or more tightly woven fabrics, the reverse side is a solid color, usually indigo blue for cotton fabrics. Katazome grew popular because it provided an inexpensive way for over-all patterns similar to expensive woven brocades to be achieved on cotton. As with many everyday crafts of Japan it developed into a respected art form of its own.
Besides cotton, katazome has been used to decorate linen, silk and fabrics that are all or partially synthetic.
Tumblr media
2 notes · View notes
davewinklemens · 5 years
Text
The Bugs Lives By Levi Pipitone (Revision).
A short story I wrote some time ago that is simply silly. But nonetheless, I spent a long time on it. Criticism is welcome (as with all my projects). Can't improve if no one hurts my feeling's. I'd like to thank @greeneyesandconstellations for her creative contributions to this unnecessarily long and meaningless short story.
In the 44 years of my existence, I never really fancied bugs. Insects, Isopods, Arachnids, just to name a few of them. These creepy, crunchy crawlers are born from biological happenstance, and from the time they are born have no awareness of anything beyond instinct. Some insects, like ants, are not much different than us. They are born into the world to begin working for a leader, and die without being anything more than a part of an endless cycle. In other words, they are expendable and can just be replaced by other ants just like it.
I have a nice two bedroom estate outside of Houston, Texas. Tragedy struck my residency when my landlord "kicked the bucket" while painting his windows. Crazy bastard used tangerine paint instead of orange on a stainglass window of Jesus Christ. He got what was coming to him. I had a guard job at a launch station for NASA. I protected the Vulcan-5 rocket, which was set to be the first man made object to make contact with the sun. My job is special and not one I seldom take on. I'm apart of an organization called Astronauts Against Bugs, or AAD for short. Our goal is pretty self-explanatory. We ensure that no Insects, Arachnids, or Isopods or any Crustaceans (not just insects and such) interfere with astronomical research. My job in particular is to stand guard at the launch site, and keep crawlers from below climing aboard a rocket from blasting off. Spiders are the biggest threat. If any tip tapping Tarantula gets by my post, with zero exaggeration; it would be catastrophic to all life in the universe.
To ensure with absolute certainty no creatures of any unwelcome status get into the rocket, I set up a few obstacles in their wake. Most often the insect offensives were the least of my worries. Insects are incompetent, and small enough to be crushed by boulders Indiana Jones style. Arachnids are sly and can slip by unnoticed. But luckily there is an effective method of postponing their operation. I hired 26 garden gnomes from Saudi Arabia to pull webs, and slap tails off of Redelli Scorpions with knives and crowbars. They stand no chance against 26, 2'1 standing beings of pure magic. The Isopods are more like mother ships. They come in and drop support units to rush the entrance, but to no avail. The Isopods are violently pulverized by guards at the front gate entrance with real meaty hammers. Our station is impregnable. But in every idea there is a weakness. It is only a matter of time before ours is compromised.
One chilling night however; while I was cleaning the monitor in my booth, I noticed an eyesore of a smudge on my screen. It was slithering slightly, and resembled Ajit Pai in the nicest of ways. "Oh Great Gatsby!" I shouted in awe at the realization of what was before me. "2256, we got an amoeba on site, I repeat 2256!" I exclaimed over the intercom. Suddenly, a rotating red light flickered on, and two more followed suit. Soon the entire space facility lit up with red lights. Sirens began to blare as personnel fled out of the building. I jumped out of my booth window and whipped out a bottle of hairspray and a lighter. I pushed down the buttons with the magnitude 5 times more powerful than John Travolta's chin. Chemistry happened before my very eyes; as flames covered the wooden guard post and ate it up completely. I flipped back to the main building when a harrowing sight caught my attention. On the bridge that connected the rocket with the earth, my 26 Saudi Arabian Gnomes laid lifeless on the metal bridge. Blood covered every inch of the walk-way. Red, runny blood. Tears filled my eyes as the realization of what had just transpired hit me full force. "We... We're compromised" I muttered on the verge of an all out cry from passion and defeat. I turned to the rest of the staff, but none of them stayed around. Flames engulfed the entire launch site. A yellow haze covered every inch of the area and smoke permeated around the environment. I felt many sensations in this moment. Many thoughts flooded my mind. With the heat from the fire, and the tapping march of the Isopods into the black entrance of the Vulcan-5, I remembered one thing. I had the power. I swore to protect this rocket with my life. I even bought tickets to see A Bugs Life to further study their tactics. I learned at my time in the theater that ants actively help grass hoppers. I knew what I had to do. It was all up to me. The rocket was in my hands now, and mine alone.
So quick as a flash, I threw a make shift grasshopper costume together with some coffee straws and elastic spandex, and charged into to the entrance of the Vulcan-5. In my crotch rested a 200 kiloton explosive I kept in my lunch box for emergencies (tax purposes). A multitude of creatures corralled into the rockets entryway. Isopods marched in like soldiers. Spiders began to seal the entrance shut through the usage of intricate webs. I stood at the front of the door only a measly 3 feet away. "This is what I trained for" I told myself. I stared with determination at the web filled doorway, ready to charge. Looking up at the ember filled backdrop, I cluched a shoe I found off of my deceased landlord. I formed one last smile and spoke the gentle words, "Watashi no kutsu no nakaniha, jibun no kangae o kōdō ni tsukau tame no dōgu ga arimasu". With the scream of a thousand Mongolian Warlords, I charged into the black with nothing but a shoe, a bomb, and my integrity as a man. I sprinted inside; knocking over little Isopods in my wake. With the drop of the shoe, a bright light covered everything in existence. I felt nothing. I heard nothing. I even smelled nothing. Not the sting from the heat, or the smell of fresh charred exoskeleton. I was forever to stay in the same place I started. A place where there is quite literally, nothing.
5 notes · View notes
gigadracky · 6 years
Text
Home Screen
Tumblr media
よろしく! Yoroshiku! Nice to meet you!
When you first open up the game you will be greeted with current news such as new events, current gacha event, maintanence notice, etc. You can disable this pop up news in the menu, but you could keep it and disable it just for the day. So if you closed the game and re-opened it in the same day you can avoid getting the same pop-up news for the day.
In a later guide, when I cover the Menu Screen I'll show you how to completely disable the news if you wish to not see it every day. For now I will show this option.
Tumblr media
So this area where I circle says 今日は表示しない/Kyō wa hyōji shinai/Do not display today. Check marking this box will disable it for popping up for the day every time you open the app if you've closed it.
Now the home screen
In numerical order from Top to Bottom, Left to right:
Tumblr media
1:
ぼうけんランク/Bō ken ranku/Adventure Rank
スタミナ/Sutamina/Stamina
2:
おしらせ/Oshirase/Notice
てがみ/Tegami/Letter
フレンド/Furendo/Friend
地図/Chizu/Atlas
メニュー/Menyū/Menu
プレミアム*ログボ/Puremiamu*Rogubo/Premium Login Bonus(not pictured, yet)
星の冒険者パスポート/Hoshi no bōken-sha pasupōto/Star Adventurer Passport
3:
助っ人・バッジ/Suketto・bajji/Helper・Badge
つよさ・そうび/Tsuyo-sa・Sōbi/Strength・Equipment
どうぐ袋をみる/Dōgu-bukuro o miru/View Bag
モンスター闘技場/Monsutā tōgi-ba/Monster Arena
4:
ホーム/Hōmu/Home
マップ/Mappu/Map
クエスト/Kuesuto/Quest
マルチ/Maruchi/Multiplayer
ふくびき/Fuku-biki/Drawing-Gacha
ももん屋/Momon-ya/Momon Shop
The Adventure Rank is leveled up while you clear dungeons in story mode. When they level up it fully recovers your stamina, increases your max stamina, give you gems, food recipes, and other items.
Stamina is depleted when you enter dungeons or hosting multiplayer quests. Searching for a host and entering it doesnt cost any stamina.
The Notice is basically news about current events and such, what you see when you first open the game.
The Letter is where you obtain your free dailies. When you see an exclamation mark on it you have something in there not claimed, if you want to claim everything just click the big yellow button that says まとめでうけとる/Matome de uketoru/Recieve in Batch.
Friend is where you will view, accept, request, delete any friends or friend requests.
Atlas is where you will get Reward Missions, where if you clear a specific requirement you obtain rewards through here. You obtain these Atlases Weekly and when events appear.
Menu is of course where you can change settings, view a bestiary, find q&a and such.
Premium Login Bonus is not pictured right now, but appears once in a while. When you see it on the screen, when you purchase 600 gems with money you obtain extra log in rewards.
Star Adventurer Passport is basically sorta like a service where you purchase 600 gems(600yen) and pay for one. You obtain certain perks lwhich are 5 gacha tickets, Super Fast Forward, 2 extra closets, auto battle, +25 Drop bonus, one more extra monster to recruit, and finally quicken 1 monster level up once per day. These perks lasts 14 days when purchased, when renewing you get a 100 gem discount, costing only 500 gem each time you renew before it ends.
Helper and Badge, for Helper you can change which character you want people/friends to use when they chose you on their quests. Badge is basically these badges you unlock from completing certain conditions like Use Skill Finish 1000 times. Badges only show off these achievements to others, it doesn't offer anything else but that.
Strength/Equipment is where you go to change your characters equipment, change the appearance of your characters, change vocations, also to see your stats and resistances.
View Bag you simply view your inventory
Monster Arena is an extra feature this game offers where you can scout monsters and battle them with other people with monsters. You can also earn gems through here.
Home is to return to the main screen.
Map, you progress story mode through here and also subquests.
Quest you can view and engage in event quests, daily quests, and keyed/permanent quests. There is also tabs where you can view your atlas, progress story mode, subquests, and monster scouting.
Multiplayer you can play with friends here along with random people to play through event quests and such. You can either host or join quests. You can lock your hosted quest via password so only specific people can join with the right 4 digit code or you can leave it open for anyone to join. Hosting will cost you Stamina, but joining someone elses hosted quest will not.
Drawing is where you will do your gacha pulls.
And last but not least, Momon Shop. This is where you will spend most of your time enhancing your equipment, enhancing and equipping skills, alchemizing, awakening weapons, making food and items, putting extra items to a safe, street pass, merchant shop, etc. Its an important spot so make sure you are on here to upgrade weapons and skills.
1 note · View note
fujiwara57 · 7 years
Text
Takagari 鷹狩り/ 鷹狩
Fauconnerie / Falconry - chasse au faucon
Tumblr media
Illustration : “Falcon on Perch” (c. 1780) by Isoda Koryūsai 礒田湖龍斎 (1735–1790). 
Tumblr media
Illustration : Taka dōgu no maki 鷹道具之巻
Les faucons sont formés à la chasse à la grue tsuru 鶴, au faisan kiji 雉 ou aux oiseaux aquatiques et parfois à de petits animaux. La plus ancienne preuve de fauconnerie au Japon apparaît sous la forme de figures d'argile, Haniwa 埴輪, existantes de la période Kofun jidai  古墳時代 (250 - 500 ap-JC), et aux enregistrements écrits qui figure dans le Nihon Shoki 日本書紀 (720). 
Tumblr media
Illustration : “chasse au faucon” de Kitagawa Utamaro 喜多川歌麿 (1753 - 1806). 
Bien que parfois soumis aux prescriptions bouddhistes contre la chasse, la fauconnerie était à la période Kamakura jidai 鎌倉時代 (1185-1333) le sport préféré des empereurs et des aristocrates. Cette chasse s'est  progressivement développée et gagnée en popularité et a continuée à s'épanouir jusqu'à la période Edo Jidai 江戸時代 (1603 – 1867).
Tumblr media
Illustration : shōgun Tokugawa (Collection régionale de musée d'Itabashi-ku Kitami).
Tumblr media
Illustration : “Faucon” de Kitagawa Utamaro  喜多川 歌麿 (1753 - 1806).
Tumblr media
Illustration : “Visit at the crane hunt”,1898, by Toyohara Chikanobu  豊原 周延 (1838 - 1912).
Tumblr media
Illustration : “Mount Fuji, falcon and eggplants” by Keisai Eisen 渓斎英泉  (1790–1848).
Tumblr media
Illustration : “Falcon in flight “ by Katsushika Hokusai 葛飾北斎 (1760-1849).
Tumblr media
Illustration : “Fuji, Falcon and Aubergines“ by Isoda Koryūsai 礒田湖龍斎 (1735–1790).
Source : http://colabnishikawaguchi.sblo.jp/article/42156140.html
150 notes · View notes
besidebloomingirises · 3 months
Photo
Tumblr media
230 notes · View notes
bobt-falcon · 7 years
Text
Sind Sie das Essen? Nein, wir sind der Jäger! Feuerroter Pfeil und Bogen Fumareta hana no namae mo shirazu ni Chi ni ochita tori wa kaze o machiwabiru Inotta tokoro de nani mo kawaranai Ima o kaeru no wa tatakau kakugo da Shikabane fumikoete Susumu ishi o warau buta yo Kachiku no annei kyogi no han'ei Shiseru garō no jiyuu o! Torawareta kutsujoku wa hangeki no kōshi da Jōheki no sono kanata emono o hofuru Jäger Hotobashiru shōdō ni sono mi o yaki nagara Tasogare ni hi o ugatsu Guren no yumiya Ya o tsugae oikakeru yatsu wa nigasanai Ya o hanachi oitsumeru kesshite nigasanai Genkai made hikishiboru hachikiresō na tsuru Yatsu ga ikitaeru made nando demo hanatsu Emono o korosu no wa dōgu demo gijutsu demo nai Togisumasareta omae jishin no satsui da Wir sind der Jäger! Honō no yō ni atsuku Wir sind der Jäger! Kōri no yō ni hiyayaka ni Wir sind der Jäger! Onore o ya ni komete Wir sind der Jäger! Subete o tsuranuiteyuke Angriff auf die Titanen Der Junge von einst wird bald zum Schwert greifen Wer nur seine Machtlosigkeit beklagt kann nichts verändern Der Junge von einst wird bald das schwarze Schwert ergreifen Hass und Zorn sind eine zweischneidige Klinge Bald eines Tages wird er dem Schicksal die Zähne zeigen Nanika o kaeru koto ga dekiru no wa Nanika o suteru koto ga dekiru mono Nanihitotsu risuku nado Seowanai mama de Nanika ga kanau nado Angu no sōtei tada no gen'ei Ima wa mubō na yuuki mo Jiyuu no senpei kake no kōsei Hashiru dorei ni shōri o! Kaserareta fujōri wa shingeki no kōshida Ubawareta sono chihei sekai o nozomu Eren Tomedonaki shōdō ni sono mi o okasare nagara Yoiyami ni shi o hakobu Meifu no yumiya
3 notes · View notes
chanoyu-to-wa · 6 months
Text
Nampō Roku, Book 7 (72a):  Nambō Sōkei’s Collection of Wabi Tea Utensils (Part 1:  Kakemono, Kama, Chaire, Mizusashi).
Tumblr media
72) This monk is a simple and honest [fellow]¹.  Nevertheless, among [my] sabi [サヒ = 寂び] pieces, those imbued with Lord [Ri]kyū’s spirit [I], too, used when serving tea².  Furthermore, those [utensils] that had also been handled by [Ri]kyū were [especially] appreciated³.
    Moreover, because these numerous things were passed on [to me] by [Ri]kyū, [I] have recorded these [details] on this piece of scrap paper⁴.
〽⁵ Mokkei’s [portrait of the Bodhisattva] Kannon, with a colophon by Kurin⁶.
〽 Ikkyū oshō’s Shū-un-an name[-plaque] -- [Shū-un-an] is an alternate name for Nambō⁷.
〽 Zen-master Issan’s [calligraphy of] three characters⁸.
〽 Itome-gama [糸目釜], made by Ashiya Sachika [芦屋左近].
〽 Temmyō [天明] matsu-gasa no kama [松カサノ釜]¹⁰.
〽 Ko-nasu no chaire [小ナスノ茶入]¹¹,
     ﹆[paired with] an uchi-aka bon [内赤盆]¹²,
     ﹆[and] accompanied by a chashaku made [for it] by [Ri]kyū¹³.
〽 an old Seto rotei-guchi [ロテイ口 =  驢蹄口]¹⁴.
〽 [a mizusashi] made by Shigaraki Sukemune [シカラキ助]¹⁵.
_________________________
◎ The primary purpose of this entry appears to be to illustrate -- to the readers -- precisely what is meant by the designation wabi no cha-dōgu [ワビの茶道具].  Many details make it clear that this entry was authored during the Edo period, primarily using utensils that were known (by the Sen family -- based largely on the Rikyū hyak-kai ki [利休百會記], which documents Rikyū’s gatherings during his last year of life:  this document was returned to Shōan, along with some of Rikyū’s other personal papers, when Hideyoshi decided to reinstate the Sen family not long before his death) to have been owned and used by Rikyū.  As should be obvious, without photographs or other sorts of illustrations the entry would be all but meaningless.
    Once again, Shibayama Fugen’s toku-shu shahon [特殊写本] includes certain minor changes in the declaratory sections of this entry -- which I will discuss in the footnotes.
¹Kono-bō shitsu-baku ni shite, mezurashiki-dōgu mo nashi [コノ坊質朴ニシテ、メツラシキ道具モナシ].
    Kono-bō shitsu-baku ni shite [此の坊質朴にして] means “I* am a simple and honest (monk)....”
    Mezurashii-dōgu mo nashi [珍しい道具も無し] means “(and I) also (do not own) any wonderful utensils†.”
    Here Shibayama’s toku-shu shahon text has kono-bō hin-sō ni shite, mezurashiki-dōgu tote mo nashi [此坊貧僧ニシテ、珍敷道具トテモナシ].
    Hin-sō [貧僧] means a poor monk (a monk who literally has no worldly possessions).  This would be a more credible way of stating the matter (if this had actually been written by Nambō Sōkei) than what is found in the Enkaku-ji manuscript’s shitsu-baku [質朴] (which smacks of a certain pride in one’s simplicity and rather worldly forthrightness).
    Mezurashiki-dōgu tote mo nashi [珍敷道具とても無し] means “and also (I) do not have any wonderful utensils.”
    While the modifications appear to have been made in order to make the text seem more authentic, for a monk, there is really no significant difference in the meaning. __________ *Kono-bō [此の坊] literally means “this monk.”  Nambō Sōkei is being made to refer to himself.
†Mezurashii-dōgu [珍しい道具], “wondrous utensils,” refers to meibutsu-class utensils, and objects formerly owned and treasured by the great names in chanoyu history.  This way of describing such things became common in the Edo period.
²Sare-domo sabi-mono, naka ni, Kyū-kō no ki ni irete, cha wo mo tsukamatsu [サレトモサヒモノ、中ニ、休公ノ氣ニ入テ、茶ヲモ仕].
    Sare-domo [然れども] means nevertheless, however, though that may be so.
    Sabi-mono [寂び物] means “sabi” objects.  Sabi was a critical term used to define the aesthetic of wabi no chanoyu during the Edo period*.  The idea includes refined rusticity, patination by age, simplicity of form, and a palpable feeling that the object represents the ultimate stage of maturity (for that craft).
    Kyū-kō no ki ni irete [休公の氣に入れて] means “infused with Lord Rikyū’s† spirit.”
    In fact, many of these pieces had been owned by Rikyū during the last year of his life (yet in a later entry, where Sōkei describes his having received certain objects from Rikyū, as mementos, on the morning of his seppuku, none of these things are mentioned‡).
    Cha wo mo tsukamatsuru [茶をも仕る] means tea was also served (with these utensils).
    In other words, the author is saying that, because these utensils were infused with Rikyū’s spirit, they were suitable for use when serving tea to one’s guests.  (The implication being that Nambō Sōkei used them in this way.)
    Here Shibayama's text edits the statement slightly:  sare-domo sabi-dōgu no naka ni ha, Kyū-kō no ki ni irite shōserare-shi mono [サレ共サビ道具ノ中ニハ、休公の氣に入りて稱せられし物], which means “nevertheless, among (my) sabi-utensils, those infused with Lord Rikyū’s spirit are (most deeply) admired.” __________ *The word was not used before the Edo period.  During Sōkei’s and Rikyū’s lifetime, wabi [ワビ] is the word that was used.  While the essence of this term is best expressed by the kanji-compound wabi [我美], meaning “my own sense of aesthetics” (and those objects which complement that aesthetic sense), the fact that it had been replaced by Sōtan’s wabi [侘び, later written 佗び] (which means wretched, lonely) required philosophers of aesthetics to come up with a new, more broadly applicable, term.
    Ultimately, pieces that agreed with the evolved definition of Sōtan’s aesthetic were reclassified as wabi-sabi [侘び寂び].
†Once again, it should be pointed out that Kyū-kō was the quazi-familial term used by the Sen family to refer to Rikyū -- implying an intimacy that certainly never existed between any member of their family (Shōan was the son of Miyaō Saburō Sannyū [宮王三郎三入; ? ~ 1582], who died defending Hideyoshi at the battle of Yamazaki:  Sannyū’s widow was inserted into Rikyū’s Kyōto household, as Hideyoshi’s in-house spy, in the mid-1580s, at which time Shōan was in his 40s and already established on his own tea path as a follower of Imai Sōkyū) and Rikyū himself.
‡Rikyū’s several households, and everything they contained, were confiscated by Hideyoshi immediately following Rikyū’s seppuku, so it is difficult to see how those utensils could have come into Nambō Sōkei’s hands later.
    In one particular case (that will be discussed later), the object mentioned in this list was actually owned by Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (who was known to Rikyū and his other intimates as Shōan [少安], “little An” -- because he seems to have been several years younger than Rikyū), Rikyū’s great friend -- and the husband of Rikyū’s favorite daughter.
    Since Sōan died several months after Nambō Sōkei (so that Sōkei could not have come into the possession of this utensil after Sōan’s death, as some have suggested), it seems this story was fabricated as a way to disappear Mozu-ya Sōan (since the Sen family’s myth of Rikyū’s death required Hideyoshi’s attempt to seduce Mozu-ya’s widow as the pivot for why the relationship between Hideyoshi and Rikyū degenerated to the point where seppuku was the only acceptable resolution -- and, of course, this nonsense would have been revealed for what it was if it became widely known that Rikyū predeceased Mozu-ya Shōan by three and a half years).
³Mata ha Kyū no te ni mo furete shōserare-shi mono [又ハ休ノ手ニモフレテ稱セラレシ物].
    Mata ha Kyū no te ni mo furete [又は休の手にも觸れて] means “and again, because Rikyu's hands touched (these utensils)....”
    Shōserare-shi mono [稱せられし物] means “they were recognized (as as being suitable for chanoyu);” “they were especially appreciated (because Rikyū had once used them).”
    In other words, this is arguing that because Rikyū chose to use these utensils, that was deemed reason enough for others to do so as well (despite the lack of anything like a denrai [傳來]*).
    Here Shibayama’s version is mata ha tabi-tabi Kyū no te ni fure, temae tomo arishi-mono [又ハ度〻休ノ手ニ觸レ、手前共アリシ者].
    Mata ha tabi-tabi Kyū no te ni fure [又は度々休の手に觸れ] means “and again, (because) they were often touched by Rikyū’s hands....”
    Temae tomo ari-shi mono [手前共ありし者] means “they are also (suitable) to be (used) during a temae.”
    The reference to these utensils’ being suitable for use when serving tea has thus been transposed to this place in the toku-shu shahon version of the text. __________ *Denrai [傳來] means a record of an object’s transmission.  It documents the piece’s previous owners (and implies their approval of the utensil) -- particularly valid for the pre-Edo part of the journey, when chajin rarely owned large collections of objects (and so only collected those things that truly appealed to them).
⁴Mata Kyū yori tamawari-shi monora, kami-no-amari ni kaki-tsukeru [又休ヨリ玉ハリシ物等、紙ノアマリニ書付ル].
    Mata Kyū yori tamawari-shi monora [又休より給わりし物等] means “and likewise, because these things were passed on (to me) by Rikyū....”
    Kami-no-amari ni kaki-tsukeru [紙の余りに書き付ける] means “(I) have written this down on (this) piece of scrap paper.”
    In other words, Sōkei appears to be intent on creating a denrai for these pieces (which was something that became important -- to provide a written documentation of such matters -- during the Edo period).
    Here, putting orthographic variants aside, Shibayama’s version is essentially identical to the other.
    The final phrase, however, raises a question (at least to my mind):  why would Sōkei need to write this second phrase, if this record was being made for his own reference (or why, since he had received them from Rikyū, would it be necessary for him to memorialize this fact at all -- since it ostensibly it would have been for his own personal reference)?  Certainly there is nothing to suggest that his collection was so exensive that there was a chance that he would forget which things had been given to him by Rikyū (indeed, in his preamble, he describes himself as a simple and honest monk, which clearly suggests that he did not have any need for a large number of tea utensils -- no more than the basic set of things that were necessary to serve tea properly).  
    And if this denrai was being set down so as to inform posterity of their antecedents, why would the medium on which it was written (a piece of scrap paper) be a point important enough to deserve mention in this document -- other than to provide a clue to its authenticity (the way the dimensions of the gedai served to verify that the mounting of a given scroll had indeed been designed by Nōami or Sōami)?  
    These seem to be details that should be observed when trying to convince the reader that a forgery is an authentic original (since these details are what an Edo period reader would expect).
⁵Here (though whether by Tachibana Jitsuzan, or the editor of the Sadō ko-ten zen-shū [茶道古典全集] edition of the Nampō Roku, is unclear*) it is noted that the iori-ten [庵点], “〽” and goma-ten [ゴマ点], “﹆” -- which indicate separate entries and sub-entries respectively -- were written with red ink in the original.  (This suggests a more formal attempt at formatting than something casually jotted down on a piece of scrap paper would be likely to contain). __________ *This is made even more confusing by the fact that neither Shibayama’s toku-shu shahon, nor the texts to which Tanaka Senshō had access, contain either iori-ten or goma-ten in this particular entry.
⁶Mokkei Kannon ni Kurin san [牧溪觀音ニ古林賛].
    Mokkei [牧溪] (the second kanji in his name is wrong) is a reference to the Southern Song Chán monk-painter Mùxī Fǎcháng [牧谿法常; 1210? - 1269?].
    Though not widely appreciated during his lifetime*, he is now considered to be one of the greatest Chán painters in history.  Mùxī’s work exerted incalculable influence on Japanese Zen artists from the fourteenth century onward.
    With respect to this specific work, which was a portrait of the Bodhisattva Avalokiteśvara [अवलोकितेश्वर], known (among other forms) as Kannon [觀音] in Japanese, it cannot be identified with the famous painting of the White-robbed Kannon (attended by a monkey and crane) that is owned by the Daitoku-ji.
    The following painting, while the artist has not been unidentified, is in his style (and from the same period); and the portrait in question would, at the very least, have resembled this work.
Tumblr media
    Kurin [古林] is a reference to the Chán monk Gǔlín Qīngmào [古林清茂; 1262 ~ 1329] (the Japanese reading of his name is Kurin Seimu), who was famous for his lively style of calligraphy.
    Paintings on this subject by the Japanese monk-painter Moku-an Reien [黙庵靈淵; ? ~ 1345?] who journeyed to China, and whose paintings often bear colophons by famous Chinese monks (especially the one with a colophon by Liǎo-ān Qīng-yù [了庵清欲; 1288 ~ 1363] -- one example is shown below -- who was a follower of Kurin's tradition), seem to have been inspired by Mokkei's compositions†.  Moku-an was active in the following century. __________ *During his lifetime, it is said that his contemporaries considered his paintings “sketchy, unsophisticated, and coarse,” and “inappropriate to be displayed in monasteries.”
Tumblr media
†Certain commentators have argued that some of Moku-an’s compositions were copies of Mokkei’s paintings, while others have gone so far as to suggest that the painting in question here was actually a misattribution of the one painted by Moku-an (with colophon by Liǎo-ān Qīng-yù), that is shown above.  (It does not appear that either Mokkei or Moku-an always signed their works, while the colophons are usually certified only by a name-stamp, which is often itself illegible.  The above painting, for example, exists in several nearly identical versions, though with differing colophon texts.)
⁷Ikkyū oshō Shū-un-an no gō, Nambō no betsu-gō tomo ni [一休和尚集雲菴ノ號、南坊ノ別號トモニ].
    Shū-un-an no gō [集雲菴の號] means the name Shū-un-an.  Often written or carved into a wooden plaque (gaku [額]), this is usually the name of the building -- traditionally these names were frequently given to monk’s cells and tearooms (with the resident or teishu often adopting that name as his own).
    This is referring to the document (whether subsequently mounted in a frame, or carved onto a board) written by Ikkyū Sōjun [一休宗純; 1394 ~ 1481] for his (illegitimate) son Giō Jōtei [岐翁紹禎, 1428? ~ 1522?], at the time when he ordered him to stop using the name Nambō [南坊].
    Nambō no betsu-gō tomo ni [南坊の別号ともに] means “this was also an alternate name for Nambō.”  (The author appears to have been unaware of the story that is told in Book One, where the origin of this name is explained -- and the fact that it referred to Giō Jōtei, not Nambō Sōkei).
    This gaku is not known to exist.  If it survived into the 20th century, and was affixed to the Shū-un-an in such a way that it was either not obvious, or could not be removed easily, then it was probably lost when the Shū-un-an was looted and burned down by the Imperial Army during the Second World War.
    Though the objects in this list are categorized as things that Sōkei had received from Rikyū, this name-plaque would obviously have been handed down within the Shū-un-an (Nambō Sōkei was the second generation resident monk, having received the hermitage -- and so the right to use the names Shū-un-an and Nambō from Giō Jōtei).
⁸Issan zen-ji mitsu-ji [一山禪師 三字].
    Issan zen-ji [一山禪師] is a reference to Yī-shān Yī-níng [一山一寧; 1247~1317] (the Japanese reading of his name is Issan Ichinei), a Chán monk who came to Japan in 1299, at the end of the Kamakura period.  After coming under suspicion of political intrigue by the regent Hōjō Sadatoki [北條貞時; 1271~1311], he was arrested, though later pardoned; and eventually Issan zen-ji came to reside at the Nanshū-ji temple in Sakai.  He was affiliated with both the Taikei-ha [大慧派] (Dàhuì branch) of the Rinzai Zen sect, and the Tendai [天臺, 天台] sect.
    He had a great impact on the development of Zen literature in Japan.
Tumblr media
    This writing reads Shun ki-ka [春歸家], which means “Spring returns to its home.”
⁹Itome-gama  Ashiya Sachika saku [糸目釜 芦屋左近作].
    The names of the craftsmen were not recorded prior to the Edo period.  The best that could be said in Jōō’s and Rikyū’s day was that the kama had been cast at Ashiya (near Fukuoka, on the island of Kyūshū) or Temmyō (in the mountains north-west of modern-day Tōkyō).
Tumblr media
    Ashiya kama were originally made with imported Korean iron (that, on account of metallic contaminants, rusted minimally, and with a white, rather than orange, patina).  The exterior of the kama was finished by being stained rust-red.
    By Jōō’s and Rikyū’s day, the trade embargo with Korea and China was beginning to have an effect, and increasingly Japanese iron was being mixed into the imported metal (resulting in orange rust forming on the inside of the kama after use).  This is why it was said that their quality was decreasing (since “quality,” in this case, was primarily connected with whether the iron would rust, and so contaminate the water).
¹⁰Temmyō matsu-gasa no kama [天明松カサノ釜].
    According to Tanaka Senshō, matsu-gasa no kama meant a kama with “matsu-gasa” [松笠] -- “pine-cone” -- kan-tsuki.
    Hosokawa Yūsai had obtained a bronze furo and matching kama from Korea that had kan-tsuki of this sort, which Rikyū admired.  Therefore, after presenting the first small unryū-gama to Hideyoshi (along with the large Temmyō kimen-buro that had belonged to Nobunaga), Rikyū had a second small unryū-gama cast for his own use.
Tumblr media
     While the original small unryū-gama had a lid made from beaten copper (to resemble one made of bronze*), and kimen kan-tsuki (to match the kan-tsuki on the large Temmyō kimen-buro), the second small kama had a cast iron lid (that nevertheless imitated the shape of the original beaten copper lid) and matsu-gasa kan-tsuki†.  This is the kama shown above. __________ *Neither bronze nor copper plates (used for roofing) were being produced in Japan at that time.  Both were imported from the continent (the bronze, at least, primarily from Korea).
    Still, because the copper sheets were quite malleable (and more or less available, albeit costly), and because the copper quickly oxidizes into a color resembling bronze, Rikyū had the lid for the first small unryū-gama made from beaten copper (since the color would have resembled the lid of the original kaki-awase kama that had been destroyed in the Honnō-ji fire).
†These kan-tsuki are semi-circles, finished with a scale-like texture -- that actually resemble the scaly coils of the dragon that is depicted, in bas relief, on the front and back sides of the kama.  They were never intended to resemble pine cones (the way modern-day matsu-gasa kan-tsuki do),
¹¹Ko-nasu no chaire [小ナスノ茶入].
    This chaire is similar in shape to Rikyū’s shiri-bukura chaire [尻膨茶入], though it is slightly smaller (just over 2-sun in diameter).
Tumblr media
    There is nothing to indicate that this particular chaire was ever owned by Nambō Sōkei, however.  It was the treasure of Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] (also known as Mozu-ya Shōan [萬代屋少安], since he was Rikyū’s “younger brother” -- denoting a relationship where the two men were as close as brothers:  Shōan, “Little An” was apparently Rikyū’s pet name for the younger Sōan).  The reason why this chaire is here claimed to belong to Sōkei is because saying otherwise, as mentioned above, would have caused people to challenge the Sen family’s version of the death of Rikyū (since the alienation between Rikyū and Hideyoshi was supposed to be the result of Hideyoshi’s attempt to have Mozu-ya’s widow -- who was Rikyū‘s favorite daughter -- sent to his harem, which was supposed to have angered Rikyū:  therefore, Mozu-ya Sōan would have had to die at least a year before Rikyū, rather than more than three years after, as is historically accurate).
    The reason Rikyū incurred Hideyoshi’s wrath was because he, like many of the citizens of Sakai, as the children and grandchildren of Korean exiles, vehemently opposed Hideyoshi’s invasion of Korea (while the more radicalized citizens of Hakata encouraged it -- and even acted as Hideyoshi’s spies on the continent in the lead-up to the invasion).
    The goal, in the minds of the Hakata townsmen, was the overthrow of the Lee dynasty, and a restoration of the republic that had existed between the end of Goryeo (circa 1401) and the Ming invasions in the middle of the fifteenth century (the purpose of which was to restore the monarchy -- albeit as a vassal state within the Ming empire).  Apparently the intention was either that Hideyoshi would assume the Chinese throne (or die in the process), or else to eliminate Hideyoshi entirely once he had fulfilled his purpose.
¹²Uchi-aka bon [内赤盆].
    This is the Chinese tray, lacquered black outside, and red on the face and inner sides, that is shown above.
¹³Kyū no chashaku soe [休ノ茶杓添].
    This chashaku was made by Rikyū to be used with the ko-nasu chaire, resting on its uchi-aka bon, that is shown above.
Tumblr media
    The chashaku is said to measure approximately 4-sun 9-bu in length*.  When resting on the tray beside the ko-nasu chaire, the sharp bend in the handle contacts the face of the tray in line with the back side of the chaire. __________ *Today, chashaku of this sort are most commonly seen as chabako-chashaku.  In fact, they were originally made for use in the bon-date temae, to accompany a ko-tsubo that was being used on a chaire-bon, the size of which was calculated based on Rikyū's teachings (in other words, that the tray should be 2-sun larger than the chaire on all four sides).
¹⁴Furuki Seto rotei-guchi [古キ瀬戸ロテイ口].
    This is the ko-Seto chaire shown below.
Tumblr media
    Rotei-guchi [驢蹄口] refers to the slightly flaring mouth:  ro [驢] is the domestic ass, while tei [蹄] means a hoof.  Asses are good pack animals because their hooves flare outward toward their extremities, resulting in a broader sole, and so greater stability (the same effect as wearing snowshoes).
    Chaire of this general shape were classified as maru-tsubo [丸壺].
¹⁵Shigaraki Tasuke saku [シカラキ助作].
    According to Tanaka Senshō, this refers to the Shigaraki mizusashi that Rikyū was using during his last years -- the piece shown below.
Tumblr media
    Again, it is important to remember that the names of craftsmen were never recorded prior to the Edo period’s making that essential (since a more famous name could command a far higher price).  Indeed, pieces of the sort shown above were made as storage jars for lower-class households by completely anonymous potters working communally at the Shigaraki kiln.  Apparently when called upon to give their names, they used the designation of the kiln as their surname.
    Personal details of this Shigaraki Tasuke are unknown.  (Tasuke [助] means assistant, so perhaps the person who made this jar was an assistant to the kiln master.)
0 notes
goron-king-darunia · 4 years
Text
Annon-Guy: Here’s some things to know about Shakugan no Shana (All info is copied from the Shakugan no Shana Wiki);
——————————————————————————
Power of Existence: Power of Existence (存在の力, Sonzai no Chikara?) is a fundamental energy required to exist in this world. It comprises practically every living and non-living thing in this world, and is also needed by Crimson Denizens in order to manifest themselves.
It is usually undetectable by humans unassisted and Crimson Denizens and Flame Haze are the only ones who can usually see Power of Existence, which usually comes in the form of a blue flame (anime only).
Power of Existence is essentially “how something gives an impact on its surroundings”. It can be found on any object, be it living or non-living; it is also somewhat present on dead people or animals. This is because Power of Existence, like what its name implies, is the amount of existence something has in the world.
——————————————————————————
Crimson Realm: The Crimson Realm (紅世, Guze?) is an alternate world in which Crimson Denizens and Crimson Lords originate. It is described as “an adjacent world which cannot be reached" (歩いて行けない隣, Aruite Yukenai Tonari?). Its original name is a word which means "Swirling Temple” or “Swirling Cathedral" (渦巻く伽藍, Uzumaku Garan?) in human languages. After the world was named the Crimson Realm by a poet in ancient times, Denizens began to use that name as well.
——————————————————————————
Crimson Denizen: A Crimson Denizen (紅世の徒, Guze no Tomogara?), also simply called Denizen (徒, Tomogara?), is an inhabitant of the Crimson Realm. The term "Denizen” was coined for them by a poet who had knowledge about them, as they originally did not have a term in which to call themselves. As they are not from this world, they have to consume Power of Existence in order to manifest themselves, and they do so by taking it from humans, which are beings similar to themselves. Using Power of Existence, they can bring forth miracles that should not be possible in this world.
——————————————————————————
Crimson Lord: A Crimson Lord (紅世の王, Guze no Ou), also simply called “Lord” (王, Ou), is an existence, amongst the Crimson Denizens, possessing great power. Because of their large existence, they require a lot of Power of Existence to continue to manifest themselves in our world. They also have the power to move between worlds freely. But in the war to protect balance of worlds, those who have Flame Haze and protects both worlds are called “Lords” , while Denizens are entitled to those who consume existence to live.
The main difference between Lords and Denizens is the former’s superior abilities to possess Power of Existence and utilize it. Even though normal Denizens can take possession of a great amount of Power of Existence, they can’t master them as well and they still won’t be considered Lords. There are also some Denizens who were born with qualification to become Lords, but haven’t demonstrated their full strength yet, so they are still considered by others to be only “Denizens”.
Among the Lords, there are some who exceed other Lords; they are usually addressed as the powerful Lord (強大なる“紅世の王”, Kyōdai-naru Guze no Ō?).
Also, the Crimson Gods, who are embodiment of Crimson Realm’s very laws themselves, are simply viewed by some only as powerful Lords, despite their supreme power as Gods.
For the Lords who work to maintain the balance, they take care of the balance of the world by monitoring the Power of Existence and utilizing their Flame Haze to terminate those Crimson Denizens who harm the balance. These Lords represent themselves as magical objects called Divine Vessels, which in Shana’s case is a pendant. They can manifest fully, but to do so requires tremendous amounts of Power of Existence and in turn, would be detrimental to the balance of the world. Examples of Crimson Lords are members of Bal Masqué such as Sydonay, Dantalion, Bel Peol, Hecate and Sabrac.
Side Note: Alastor (contracted to Shana as a pendant vessel) is a Crimson God while Tiamat (contracted to Wilhelmina as a head dress vessel) and Marchosias (contracted to Margery as a grimoire vessel) are Crimson Lords.
——————————————————————————
Rinne: Rinne (燐子?, Servants, lit. “light-bearing child”) are beings who act as servants for certain Crimson Denizens. They are created when a Denizen blows Power of Existence into an object of this world. Rinne are unstable existences and require a constant replenishment of Power of Existence from their master. They can consume humans and give the Power of Existence they had gathered to their master, who can convert it for their usage in order to survive. They usually possess the same color of Flame as the Denizen who created them.[1] Without their master, they will disappear because they are unable to convert the Power of Existence for their own usage. As noted by Shana when she is incarcerated in the Seireiden and stripped of her powers, though the Rinne are usually weak enough to be easily dealt with by Flame Haze, they are still powerful enough to easily dispose of normal humans.
——————————————————————————
Flame Haze: A Flame Haze (フレイムヘイズ, Fureimuheizu?) is a former human that has made a contract with a Crimson Lord to gain power. A Flame Haze’s main job is to protect the balance of the world, which means destroying all Denizens that devour people to take away their Power of Existence. They are simply called as the "Hunters" (討ち手, Uchite?, other meanings : seizer, vanquisher or punisher). Most Denizens cynically call them the “Tools of Destruction" (討滅の道具, Tōmetsu no Dōgu?) or "Same-race killers’ Tools" (同胞殺しの道具, Dōhōgoroshi no Dōgu?). A Flame Haze normally becomes one because they wish revenge on a being that has devoured or taken something away from them. An exception to this would be Shana, who became a Flame Haze on her own volition, and had not suffered the loss of something she loved. Flame Haze generally look down upon Torches and Mystes because they are merely shells.
Side Note: Shana, Wilhelmina Carmel and Margery Daw are Flame Hazes.
——————————————————————————
Torch: A Torch (トーチ, Tōchi?) is a replacement of a human who has had their Power of Existence devoured by a Crimson Denizen, and is created by using embers of that person’s existence. When a human’s Power of Existence is devoured, a Flame Haze or Denizen will create a Torch to take their place, although both cases for very different reasons; Denizens usually wish to make their consumption less noticeable, and so they are not hunted and detected, while Flame Haze wish to use this to soften the sudden "shift” the world would undergo, and prefer to make the change gradually by allowing the people’s existence to slowly fade away without any noticeable change. There are some entities that wish to create Torches for personal methods, such as Friagne, who wanted to use “City Devourer” by using many Torches.
A Torch with a Treasure Tool inside of it is regarded as a Mystes.
——————————————————————————
Mystes: A Mystes (ミステス, Misutesu?) is a Torch that has a Treasure Tool inside of them.
A Torch usually becomes a Mystes by random chance, and the process happens the instant that human becomes a Torch. Most of the time, the Torch does not become conscious of the Treasure Tool residing inside them, even when the individual dies. At the death of a Mystes, the Treasure Tool travels to another human who has just acquired their Torch status and this process of transferring a Treasure Tool from one Mystes to another goes on until the Treasure Tool is extracted from the body of the Mystes.
However, there are a few Mystes who had become so from their own free will, such as Tenmoku Ikko and Johann.
Because of the equally volatile nature of Torches and Mystes, the latter are generally discriminated against by Flame Haze and Crimson Denizens, as they are seen as mere Torches with a few extra abilities.
Side Note: Yuji Sakai himself is a Mystes.
——————————————————————————
Treasure Tool: A Treasure Tool (宝具, Hōgu?, lit. precious tool) is a magical object which can provide special abilities or even an Unrestricted Spell to the one who possesses it.
A Treasure Tool is created when a single Crimson Denizen and a human, each representing their own world, has the same desire to one another. If it is worked out with the right Unrestricted Spells and physical materials, a Treasure Tool for the sole purpose of fulfilling that desire will be created.
Most Denizens, Flame Haze, and even humans who aid them, possess one or more of these, and would try to acquire as many as they can for many reasons, like getting an upper hand in critical time during battles.
Side Note: Shana’s sword, The Nietono no Shana (which Yuji got her name from), is an offense type Treasure Tool. The Midnight Lost Child, which restores Yuji’s Power of Existence every Midnight, is also a Treasure Tool
——————————————————————————
Fuzetsu/Seal: The Fūzetsu (封絶?, Seal, lit. “Seal of Suppression”) is a dome-shaped isolated space which is detached from the flow of cause and effect of the world, with its interior area frozen and concealed from the outside. It is the most common of all Unrestricted Spells. All sorts of causalities, including time, are stopped for ordinary living beings, allowing Crimson Denizens to act freely within them.
The mad scientist Lord Dantalion originally created the complex and flawed version of the Seal. Later, the genius spell-creator Denizen Leanan-sidhe fixed it into the easier modern version, which quickly spread over all related beings in the world. Flame Haze are able to create this Seal at will, as are many Crimson Denizens. However, battles in the Seal can damage real world objects, and harm the paused living beings, though thankfully for both it is possible to reverse the effects if one uses enough Power of Existence. However, if the Seal is ever unlocked during a battle, the damage is irreparable.
Side Note: If the world turns red, that means a seals been activated by a Denizen or a Flame Haze.
——————————————————————————
Unrestricted Spell: Unrestricted Spell (自在法, Jizaihō?) is the general term used for powerful magic spells in which Power of Existence is consumed. Spells classified under this term can be used for any purpose, and sometimes requires time and/or an incantation for it to activate. Sometimes, they also require a specific insignia (自在式, Jizai-shiki?) to activate. One who excels at the use of Unrestricted Spells is called a Master (自在師, Jizaishi?)
——————————————————————————
Hope all this helps you understand the world of Shakugan no Shana.
Side Notes are examples and are not from the Shakugan no Shana wiki.
0 notes
japanesefoodie · 5 years
Photo
Tumblr media
🥃🌈 Nice selection of Japanese glass cups! _ 🛍👩‍🍳 If you are around Asakusa area, you will find this perfect street for shopping all kinds of Japanese kitchenware and tools!! _ 📍 かっぱ橋道具街 Kappabashi Dōgu-gai (Kitchenware Street) ,Asakusa Tokyo JAPAN _ #japanesefoodie #Japan #japanesefood #japanfocus #japanesestyle #japaneseculture #japanstyle #japaneseart #japanfood #japanlife #japanesecuisine #discoverjapan #japanlover #igerjapan #ilovejapan #cooljapan #instajapan #japangram #traveljapan #oishii #oishi #itadakimasu #tokyo #glass #cup #glassart #colorful (at Kappabashi Shopping Street) https://www.instagram.com/p/Boj1oeyl80I/?utm_source=ig_tumblr_share&igshid=17064a856hqan
0 notes
rougestock · 6 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media
Kenji Kawakami, né en 1946, est un ingénieur et designer japonais, créateur du chindogu.
Kenji Kawakami est diplômé en aéronautique. Il débute en tant que scénariste de dessins animés dans les années 1960. Dans les années 1980 il dirige le magazine japonais de consommation Tsuhan Seikatsu, dessine le Tokyo Bicycle Museum (Musée du vélo de Tokyo), puis crée le mouvement chindogu1,2.
Il a écrit cinq livres concernant le chindogu, a créé la Chindogu International Society et anime une émission de télévision au Japon.
Le chindōgu (珍道具?) est l'art japonais d'inventer des gadgets « utiles mais inutilisables ». Ces objets semblent utiles puisqu'ils répondent à de petits problèmes quotidiens de la vie moderne mais se révèlent dans la pratique inutilisables du fait des nouvelles contraintes qu'ils génèrent ou du ridicule même qu'ils entraînent.La traduction littérale est « curieux/étrange (珍, chin) outil (道具, dōgu) ».
0 notes