Ogibashi District Koto

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. Famous Places and Power spots of Edo　江戸の名所 .
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Oogibashi 扇橋 Ogibashi District

江東区 Koto ward, 扇橋一丁目 - 扇橋三丁目 Ogibashi first to third district

Around 1610, there was a bridge called Ogibashi, in 深川扇橋町 the Fukagaawa Ogibashi district.
In 1870, the Eastern (higashi) side of the bridge became an indepentat district called
深川東扇橋町 Fukagawa Higashi Ogigawa district.
In 1936, this district and part of 深川石島町 Fukagawa Ishijima were united to become 深川扇橋 the Fukagawa Ogibashi district.
In 1968, the part of Fukagawa was dropped and the district was simply called 扇橋 Ogibashi.


Shin-Ogibashi 新扇橋　the New Ogibashi Bridge
Over the river 小名木川 Onagigawa.
The bridge is 57.3 m long.

. oogi 扇 Ogi, folding fan, hand fan .

. Edo no hashi 江戸の橋　the bridges of Edo .

. Onagigawa 小名木川 River Onagigawa .

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. Kootoo ku, Kōtō 江東区 Koto ward, "East River" .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Edo bakufu 江戸幕府 The Edo Government .

. Doing Business in Edo - 商売　- Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. Japanese Architecture - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .


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Nihon himitsu secrets

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. Famous Places and Power spots of Edo　江戸の名所 .
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Nihon no sugoi himitsu ねずさんの知っておきたい日本のすごい秘密
The amazing secrets of Japan
by 小名木善行 Onagi Zenko

第1章 記紀に学ぶ日本の国柄
一 隠身という大切な概念
1 神話と神語 2 古事記に書かれた天地創成 3 「隠身」という大切な概念 4 天之御中主神と日の丸の旗
二 すべては神々の御心のままに・諸命以
1 諸命以・修理固成・天沼矛 2 すべては神々のもの 3 ココヲヲロロというオノマトペ
三 目指すは「よろこびあふれる楽しい国」
1 あに国なけむや 2 古代日本の庶民の暮らし 3 身分よりも人 4 盗窃せず、諍訟少なし
四 清陽も大事、重濁も大事
1 清陽も大事、重濁も大事 2 日本的な陰陽とは 3 清陽

こらむ 教育と文化の国を目指した日本


第2章 古代の日本と周辺国との関係
一 日本建国の理由
1 建国理由を教えない日本 2 日本建国の詔を読む 3 建国までの経緯を学ぶ 4 たびかさなる試練 5 諸外国と異なる建国の経緯
二 疫病対策を成功させた崇神天皇
1 甚大な被害をもたらした疫病の歴史 2 記紀に描かれた疫病被害 3 たいせつな手水舎の教え 4 ほろびない国であることの大切さ
三 神功皇后の三韓征伐と栲衾の国
1 意味のないことで騒ぐ 2 不思議なお告げ 3 お告げがもたらした千八百年間の平和 4 現代をどうみるか
四 仁徳天皇が築いた国際国家日本
1 二年分のお米の備蓄 2 災害に備える 3 災害対策によって豊かになった日本
五 雄略天皇による古代日本の建て直し
1 よろしく攻め伐って天罰をくだせ 2 不正をただす 3 人質 4 高句麗の行った自立自存 5 雄略天皇の御心とは

こらむ 漢字渡来の嘘
1 漢字は部品でできている 2 阿比留草文字 3 漢字は異なる記号の組み合わせ文字 4 漢字渡来の嘘 5 日本独自の漢字の使用


第3章 日本の基礎を築いた中世日本
一 人口の三分の一が渡来人だった平安初期
1 歴史の再現性 2 蓬莱山の国、扶桑の国 3 新撰姓氏録といまの日本 4 黄金の国ジパング
二 日本書紀、万葉集が編纂された理由
1 持統天皇という偉大な存在 2 日本書紀と万葉集 3 日本文化を創造した天皇
三 万葉集にある「令和」の根拠となった歌
1 初春の歌 2 元号のもたらす意味
四 いまこそ大切にしたい日本の国柄
1 迩々芸命のご事績を日本の国の形とされた神武天皇 2 大水田を誕生させた仁徳天皇 3 仁徳天皇の事績を踏襲された雄略天皇 4 和の国を打ち出した聖徳太子 5 再び民のカマドの煙を持ち出された舒明天皇 6 天智天皇・天武天 7 教育と文化による国つくりをした持統天皇


こらむ シルクロードはジャパンロード
1 シルクロードは 19世紀に創られた名前 2 長安の人口 3 原始取得物の物々交換


第4章 黄金の国だった日本の近世
一 徳川家康と大阪経済
1 家康が豊臣方と戦った理由 2 商流経済と生産者優先経済 3 家康の行った大偉業
二 古代に学んだ信長の誇り
1 織田弾正信長 2 桶狭間の戦いの意味 3 桶狭間効果
三 鎌倉幕府の崩壊と児嶋高徳
1 財政破綻のおそろしさ 2 持明院統と大覚寺統 3 児嶋高徳 4 臥薪嘗胆
四 和気清麻呂に学ぶ
1 皇居にある二人の銅像 2 かかあとやっこ 3 道鏡の陰謀 4 宇佐八幡の御神託 5 道鏡失脚 6 皇統を護る
五 武士道とお能の不可分の関係とは
1 武家文化としてのお能 2 熊野の物語 3 松風の物語 4 鵺の物語 5 武士道を築いたお能

あとがき 日本文化が巨大な胃袋を持つといわれる理由とは

- source : garo.co.jp/archives... -



大人気ブログ「ねずさんの学ぼう日本」(旧「ねずさんのひとりごと」)の著者が、
歴史をひもとき日本の素晴らしさを改めて教えてくれました!

- blog.goo.ne.jp/kendokun - Nezu san BLOG -


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. Kaido 街道 Highways - ABC Index .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Edo bakufu 江戸幕府 The Edo Government .

. Doing Business in Edo - 商売　- Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. senryu, senryū 川柳　Senryu poems in Edo .

. Japanese Architecture - The Japanese Home .

. Interior Design - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .


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[ . BACK to WORLDKIGO . TOP . ]
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Edo Castle

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Edo-jō, Edo joo 江戸城 Edo Castle
Part 2

. Edo-jō 江戸城 Edo jo, Edo Castle .
The History of Edo Castle
Honmaru 本丸 the "Main Circle"
Ōoku, Ooku 大奥 Oku - "great interior" women's quarters
Legends around Edo castle



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- source of the following articles : Tokyo Metropolitan Library -

What was inside the castle?
When considering Edo-period castles, many people imagine castle keeps (tenshukaku 天守閣).



In 1607 (Keichō 12), on the orders of Tokugawa Ieyasu, the initial keep of Edo Castle (called the Keichō Keep) was constructed on a scale that was far in excess of that of Osaka Castle, which had previously been constructed by Toyotomi Hideyoshi. The size of the Keichō Keep was designed to symbolize Tokugawa’s authority. Thus, at the time of its building it was the largest castle keep in Japan.

The castle keep was subsequently rebuilt on two occasions, firstly during the administration of Tokugawa Hidetada in 1623 (Genwa 9) and secondly during the administration of Tokugawa Iemitsu in 1638 (Kanei 15). Unfortunately, the keep was subsequently lost in 1657 (Meireki 3) to the so-called furisode kaiji (the kimono fire), which is better known to history as the Meireki no taika (The Great Fire of Meireki). Following this, the keep was not rebuilt and instead, greater emphasis was placed on reconstructing Edo. Indeed, it is said that reconstruction of the keep was halted in response to an opinion that "expending money on such a scenic site represented a waste." Later, the issue of reconstruction was again floated in 1712 (Shōtoku 2), however, reconstruction was not realized before the Tokugawa Shogunate ended.

Edo Castle is circled by an inner trench and consists of two parts: one is the residence of Tokugawa shōgun, while the other is that of the prospective Tokugawa shōgun. The former consists of three parts, such as "Honmaru", "Ninomaru", and "Sannomaru", while the latter consists of three parts, such as "Nishinomaru", "Fukiage", and "Kitanomaru". Outside of this interior trench, there were residences of local feudal lords and those of townspeople as well as temples and shrines, all of which are surrounded by the outer trench. These two make up the whole part of the Edo Castle. Tokugawa Ieyasu commissioned Edo Castle and the city of Edo and they were finished as a whole in 1636 (the 13th year of kan-ei era) at the time of Tokugawa Iemitsu. The city was burnt down several times and reconstructed, but the size itself remained unchanged throughout the Edo period.

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Ō-hiroma, oo-hiroma 大広間 and the dignity of the Shōgun

The Omote area of the palace contained the formal rooms Ō-hiroma, and Shiro Shoin and Kuro Shoin drawing rooms where a number of different ceremonies and events were held.
Closest to the entrance, the Ō-hiroma was made up of areas such as the upper chamber, middle chamber, lower chamber, second chamber, third chamber, fourth chamber, tatami-matted corridors, and planked verandas. The hall spanned over 50 meters from east to west, making it the largest room in the castle. The coffered ceilings of the upper, middle, and lower chambers looked like a grid sheet. Each level up to the upper chamber was higher than the ones before, as did the floors, and featured more splendid ornamentation. The partitions between rooms were adorned with those motifs considered most formal—pine trees and cranes—painted by artists of the highest standing, further enhancing the majesty and solemnity of the Ō-hiroma.

Important events were held in the Ō-hiroma, such as the New Year’s ceremony and audiences with foreigners. By viewing the Shōgun seated in the upper chamber from their seats assigned to his household status, each Daimyō inescapably recognized the master-servant relationships. The formal Ō-hiroma served as the ultimate stage set for exemplifying the dignity of the Shōgun.


. source : Tokyo Metropolitan Database .

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Shiro Shoin 白書院 and Kuro Shoin 黒書院

The Shiro Shoin (map)
consisted of five rooms—the upper chamber, lower chamber, Teikannoma (Chamber of the ancient Chinese emperors), Renganoma (renga no ma 連歌の間 Chamber of linked poems), and a Nandogamae (納戸構え　closet style doorway)　—　which were encircled by a veranda.
The Teikannoma (Teika no ma　帝鑑の間) served as the antechamber for Daimyō from the oldest servant households of the Tokugawa household.
The upper chamber of the Shiro Shoin was decorated in the formal style of traditional Japanese architecture and was the second most formal room after the Ō-hiroma. The paintings on the walls depicted the normative deeds of famous Chinese emperors (teikan-zu).
The Shiro Shoin was used to meet with the Gosanke households (three households with direct kinship to the Tokugawa household) and others during celebrations such as the Five Festivals and New Year's holiday. Depending on the ceremony, it was sometimes used together with the Ō-hiroma. The courtyard in front of the Shiro Shoin was also used to showcase kemari (a type of ball game) and martial arts performances, which the Shōgun would view from the lower chamber.


Kemari, Illustrated by Yōshū Chikanobu

The Kuro Shoin (map)
was used for the most routine meetings within the Omote Front Palace, such as the ones known as the Tsukinami held on the 1st, 15th, and 28th day of each month with the Council of Elders and high-ranking Daimyō from the Gosanke households (three households with direct kinship to the Tokugawa household), the Kaga-Maeda household, and the Echizen-Matsudaira household. Special meetings between the Shōgun and various government officials were also held here.
The Kuro Shoin consisted four rooms surrounded by a veranda: the upper chamber, lower chamber, Saikonoma (Saiko no ma 西湖之間) (Chamber of Lake Sai), and Irorinoma (Irori no ma 囲炉裏之間) (Fireplace Chamber).
While other palaces were constructed of Japanese cypress, the Kuro Shoin was built from Japanese red pine. As reflected in its name, the Irorinoma contained a sunken fireplace (irori) in the center of the room.
Ink paintings of landscapes adorned the upper chamber, lower chamber, and Saikonoma of the Kuro Shoin, and the north face of the upper chamber featured a tokonoma (alcove) with tatami flooring and a set of staggered shelves. This room layout combined with the lack of a built-in table and storage area like those found in the Shiro Shoin tells us that the space was used for routine, everyday meetings.

. Shōgun Senge 将軍宣下 appointment to shogun .

matsu no rooka Matsunorōka. Matsu no roka 松之廊下
in 御本丸 the Honmaru palace
Matsu no Ōrōka 松之大廊下 Great Pine Corridor or Hallway
The name derives from the painted shōji (sliding doors) that were decorated with motifs of Japanese pine trees (matsu).
. source : Wikipedia .

This is a cross-sectional elevation view of the Matsunorōka.
On the right is an elevation view as seen from the courtyard side between
the Ō-hiroma and the Shiro Shoin drawing room;
this left side depicts an east-west cross section of the hallway.
Drawn at a reduced scale of 1/20, the diagram lists detailed measurements
for the roof members, internal fixtures, and other areas.
. source : Tokyo Metropolitan Database .

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. tenshukaku 天守閣 castle tower, castle keep .

. kemari 蹴鞠 kickball game .

. irori 囲炉裏 / 居炉裏 / いろり　open sunken hearth .

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Ōoku, The Secret World of the Shogun’s Women
Cecilia Segawa Seigle and Linda H. Chance
- quote -
The institution of the “Great Interior,” or Ooku, was the residence for the Tokugawa shoguns’ wives, concubines, mothers, daughters, and their female servants for close to three hundred years, from about 1600 to 1868. “Great Interior” also referred to the network of its residents. Run by and for women, yet situated at the apex of the Japanese social order, as the samurai warrior class and its ruling shogun designated themselves, the Ooku was simultaneously a world hidden from public view by well-guarded walls and a focus of enduring questions about its customs and power.
The Ooku was built, and its rules developed, to protect and promote the women of the shogunal household, and to project the masculine authority of the shogun as the head of the premier military family. Samurai attitudes toward and views of women prior to these three centuries, Tokugawa period Neo-Confucian ethics, the societal emphasis on female virtue according to Confucian and Buddhist precepts, and women’s own self-evaluations, all infused the character of the Ooku.
The focus of this study is the power structure, formal and informal, of the women who lived in the Ooku, especially the core phalanx of this institution, the ladies-in-waiting. They constituted the larger part of the Ooku staff who forged its character. Most of them were the daughters of knighted-class samurai (hatamoto, bannermen) and were brought up to dedicate themselves to their Tokugawa master and mistress, many of them for life, never forming any personal relationships with men. This single-minded loyalty united the young women in the Ooku, who prove to be on the whole well-disciplined, well-intentioned women, faithful to their duties and respectful to superiors in the hierarchical structure, who steadily grew more powerful through the Ooku’s history. The role of these ladies is key to understanding this remarkable, long-sustained institution, which grew during a time when the notion of women leading an institution was very much out of character.
Their power was a hidden phenomenon few people paid any attention to for many generations.
In the last several decades, scholars of all areas of Japanese studies, but particularly historians, have paid extraordinary attention to the Edo period, which roughly coincides with the time the Ooku existed. Whereas the early feminist investigation of Japanese history in the 1970s emphasized the patriarchal nature of Japanese society and designated women as the oppressed class, more recent studies have made great strides in reevaluating and celebrating them, stressing the positive aspects of women’s lives in Japanese history and highlighting their contributions to the civilization and culture as well as the socioeconomic and even political development of Japan.
The “Great Interior,” both an enormous space and a set of rules and protocols, existed to protect the aristocratic wife of the ruling shogun and to secure an heir by concubinage in order to sustain Tokugawa prosperity. Organized as tightly as the samurai in a bureaucratic structure, women there led disciplined and professional lives. Unlike their counterparts in the imperial court, however, these samurai women wrote little themselves because they had sworn upon entry to the Ooku not to speak or write of what they saw or heard. The primary records of their institution were destroyed at the end of the shogunate. Reconstructed through original research in manuscripts legible only to the highly trained few, diaries, historical records, and testimonies about life in the Ooku offered long after its demise, the account in this book details not only the physical and organizational layout, but also the aspirations and expectations of women who lived in this singular hierarchical world. Bound to serve for life, held to standards of loyalty and tradition, these women at once complete and complicate the understanding of the era.
The field of early modern Japanese studies is burgeoning, but the number of scholars who have the linguistic skills to deal with such a wide array of manuscript materials in out-of-the-way archives and present the results of their research in English is miniscule––this makes this book all the more valuable given how the authors have made painstaking efforts in locating, making sense of, selecting, and translating a vast range of material for a scholarly audience. The book will thus be an invaluable, essential resource for those in Asian studies, specifically Japanese studies, and women’s studies. Specifically, it will be essential reading for all those interested in Edo period history and in gender studies of Japan more broadly. It is also important for the comparative history of palace women, and for studies of the early modern world, which increasingly take a global approach.
- source : cambriapress.com/pub ... -

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- source : Tokyo Metropolitan Library -

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. Kaido 街道 Highways - ABC Index .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Edo bakufu 江戸幕府 The Edo Government .

. Doing Business in Edo - 商売　- Introduction .

. Japanese Architecture - The Japanese Home .

. Interior Design - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .


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Negishi district Taito

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. Persons and People of Edo - Personen .
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Negishi 根岸 Negishi district - Taito ward
台東区根岸 / Taitō-ku, Negishi / 根岸一丁目から根岸五丁目 from the first to the fifth sub-district
Located in the North of the Uenodai plateau.

The name might have been
beyond the gake 崖 cliff of the plateau 上野台 Uenodai. Below was the kishi/gishi 岸 shore line
looking garbled like ne 根 roots of trees.
The name is already mentioned in books of the Muromachi period as
武蔵国豊島郡根岸村 Negishi village in the Toshima district of Musashi no kuni.
In the Edo period, it became part of 武蔵国豊島郡金杉村 Kanasugi mura village.


Edo Meisho Zue

Negishi no Sato 根岸の里 Negishi village
It was a rural district with uguisu and kawazu 蛙 frogs and many people of good taste lived here. It had something special for any season.
A Saijiki of 1838 mentions the voice of the first uguisu 鶯 in Edo and Negishi is one of the areas.
. uguisu no hatsune 鶯の初音 first call of the nightingale .
- Kigo season word for spring

So Negishi was also called
hatsune no sato 初音の里 village of the bush warbler
A legend from 1670 tells of a priest from Kyoto, Hieizan, who came all the way to hear the voice of the nightingales.
But the shy birds from the forests in Ueno did not sing for him.
So he went back to Kyoto and asked 尾形乾山 Ogata Kenzan to gather about 3500 nightingales from the forests around Kyoto and bring them to Ueno. The birds were set free in Ueno and soon the local birds were able to sing just as beautiful as their friends from Kyoto.

Now Uguisudani station 鶯谷駅 "Nightingale valley" is located in Negishi
東京都台東区根岸一丁目4-1, first sub-district

. . Uguisudanichō 鶯谷町 Uguisudani district . - Shibuya ward


Ogata Kenzan 尾形乾山 (1663–1743), potter and painter.
- - - More in the WIKIPEDIA !

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. Minowa　三ノ輪 / 箕輪 Minowa district .
including 根岸 Negishi 5th district

. Yanaka - 根岸谷中辺絵図 Negishi Yanaka Map .

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Saizooin 西蔵院 Temple Saizo-In
3 Chome-12-38 Negishi, Taitō


source - Edo Meisho Zue 江戸名所図会　
People are playing 囲碁 Igo in a tea stall
In front is
the pine O-gyoo no matsu 御行の松 O-Gyo no Matsu
Pine of the Religious Practise

The pine was in the temple Saizo-In with a hall for 不動堂 Fudo Myo-O.

The first O-Gyo no Matsu must have been quite famous, since it is depicted in the Edo Meisho Zue
and by Utagawa Hiroshige.
A priest of the temple 上野寛永寺 Kanei-Ji in Ueno practised austerities under this tree.
Nearby in Arakawa ward, Nippori, is the
otooto matsu 弟松 Younger Brother Pine
In 1925, this pine became a 天然記念物指定 national treasure. At that time it was about 14 m high.
In 1928, the tree withered and died, so the national treasure position was revoked.
It must have been more than 350 years old at that time.
In 1956, the second pine was planted, but it soon withered.
In 1976, a third pine was planted and right by its side a bonsai-version of a pine was also planted
to give the local people more incentive to look after its well-being.
Legend says
the statue of Fudo Myo-O was carved from the roots of the first pine.


. pine 松と伝説 Legends about the pine tree .

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Negishi no Sato 根岸の里 Negishi village
絵本江戸土産（広重）Ehon Edo Miyage, Hiroshige

- quote
Negishi no Sato 根岸の里

Negishi no Sato was located in 上野の山蔭 Yamakage, Ueno.
It was a place with artistic elegance, so many writers and artists lived there
from the Edo period onwards.
There were also country villas of the large store owners in Nihonbashi and Kyōbashi
and people went there to enjoy the pleasant scenery of the four seasons.
It was also a home to uguisu 鶯 bush warblers.
. source : Tokyo Metropolitan Library .

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The Rakugo storyteller family of 海老名 Ebina live in Negishi in the 7th generation
根岸は落語家の7代目林家正蔵一門（海老名家）
Hayashiya Sanpei the first 初代林家三平 was even called
Negishi no shishoo 根岸の師匠 The Teacher from Negishi
Now 8代目桂文治 Katsura Bunji in the 8th generation lives here.

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. Legends and Tales from Japan　伝説 - Introduction .

.................................................................................　Taito 台東区

. 東叡山寛永寺 Ueno Tōeizan Kanei-Ji .
1 Chome-14-11 Uenosakuragi, Taitō,

gama 蝦蟇 toad - - - hebi 蛇 serpent
In November 1820 a couple went to 東叡山根岸の弁才天の祠 the Benten shrine in the compound of the Kanei-Ji (Negishi).
That night one of their man-servants had a dream of a toad. The toad said it lived under the kitchen sink and was 癩蝦蟇 Kattai-gama, leprosy toad.
It said the mistress had violated the rules of the shrine visit and next night a serpent would come for revenge. But the Toad would protect them.
Next morning when they looked they found a large dead toad under the sink.
The next night the toad appeared in the dream of the master. It said: "I have died but I left enough children to keep protecting you!"
Then following night the serpent appeared in his dream and said: "From now on, I will also protect your home and family!"

. gama 蝦蟇と伝説 Legends about toads .

. hebi 蛇と伝説 Legends about snakes and serpents .

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- reference : nichibun yokai database -

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Masakoa Shiki 正岡子規　and his
. "Negishi no sato no wabizumai" 根岸の里の侘び住まい
the simple abode of the retired poet in Negishi .



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. Taitoo, Taitō 台東区 Taito Ward .

. Edo bakufu 江戸幕府 The Edo Government .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Doing Business in Edo - 商売　- Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. Legends and Tales from Japan　伝説 - Introduction .

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uguisubari floor

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. Interior Design - The Japanese Home .
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uguisubari うぐいす張 / 鴬張 / 鶯張り nightingale floor


CLICK for more photos ! 二条城 Jijo-Jo Castle, Kyoto

- quote
Lit. "nightingale floor".
Floor boards which rub together when walked on to produce a pleasant and delicate sound. This type of board flooring was used in the corridors, rouka 廊下, of some shrines jinja 神社, temples tera 寺, and palaces kyuuden 宮殿.
When the floor boards are dry the sound occurs naturally. However, from the early 17c onward, techniques were developed purposely to produce this sound in order that a person's approach would not go undetected. It was one of many methods devised to prevent the possibility of insurrection.

Perhaps the most famous extant example is in the Nijoujou Ni-no-maru Goten 二条城二の丸御殿 (17c), and the Chion-in Hondou Mieidou 知恩院本堂御影堂 (1619), both in Kyoto.
- source : JAANUS


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- quote -
The corridor running along the rooms in the Ninomaru Palace has a specially constructed floor that makes a sound like that of a nightingale when you walk on it. This corridor is known as the Uguisu-bari corridor. This construction is actually an alarm system because it generates sound whenever anyone walks on the floor of the corridor, warning of the presence of an intruder even at night. The floor contains special fittings and clamps, called mekasugai that generate the sound.



There are a countless number of these clamps (about 12 cm long) located between the beams that support the floorboards of the corridor. There are two spike holes in each of the clamps and each hole has an iron spike in it. When someone walks on the corridor above a clamp, the clamp moves up and down causing the spike to rub against the clamp, producing a sound like the cry of a nightingale.
Incidentally, the Daihojo Hall at Chionin Temple, employed by the Tokugawa family for official affairs, has an Uguisu-bari corridor similar to that at the Ninomaru Palace.
- source : micro.rohm.com/en


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うぐいす張軋ませて来る跣足かな
uguisubari fumasete kuru hadashi kana

walking along
the nightingale floor
with bare feet . . .
Tr. Gabi Greve

山崎和枝 Yamazaki Kazue



source :　散歩日記Ｘ


. WKD : hadashi 跣足 (はだし) barefeet, barefoot .
- - kigo for all summer - -

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Mount Fuji hidden
in a nightingale floor -
Joys of Japan

Gabi Greve, April 2015



At 西本願寺 Nishi Hongan-Ji temple, Kyoto

御影堂と鶯張りの廊下でつながっている阿弥陀堂は西本願寺の本堂。
- source : うさぎの会旅行記


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. Japanese Architecture - Interior Design - The Japanese Home .


. senryu, senryū 川柳　Senryu poems in Edo .


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chanoma living room

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chanoma, cha no ma, cha-no-ma 茶の間 private family living room


CLICK for more photos !


- quote
chanoma　茶の間 lit. tearoom
A Edo period communal living room usually containing a hearth *irori 囲炉裏 and often situated close to the earth-floored area *doma 土間. Its character and use varied according to the scale of the structure.

1　
In relatively large residences of middle ranking warriors or leading farmers and merchants, chanoma was principally used by the women of the household or by female servants as a kind of common room, where meals were taken, some food prepared and informal conversation took place around the hearth.
In the Kansai 関西 region in particular the term was often used to refer to the maidservants' room.

2　
In smaller residences chanoma was often used interchangeably with *ima 居間 or *daidokoro 台所 to refer to the principal communal living room.

3　
In north eastern Japan, along the Japan Sea coast from the prefectures of Niigata to Shimane, in Shikoku 四国 and in parts of Nagano prefecture, the term was used in traditional vernacular houses *minka 民家 to refer to a large room adjacent to, and often opened to, the earth-floored area. Usually the room contained an hearth around which the family gathered for meals. The chanoma was often open to the rafters, allowing smoke to escape through a smoke hole *kemuridashi 煙出 in the roof.
Originally the floor was exposed timber boarding without mats *tatami 畳. Also, the family's Shinto and Buddhist altars *kamidana 神棚 and *butsudan 仏壇 were often located in this room.
- source : JAANUS


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CHANO-MA, Yokohama
A café featuring a 21st century depiction of tea ceremony rooms. The café has a lounge and dining area fusing oriental and occidental essences.
Yokohama Red Brick Warehouse - 1-1-2, Shinko, Naka-ku
- source : chano-ma



ochanoma ryūgaku お茶の間留学 "study abroad from the living room"
Nova is a large eikaiwa school (private English teaching company) in Japan.
- source : wikipedia


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- quote -
Chanoma - tea - of - space -
As our lifestyles have changed, some languages have also changed. A Japanese term “cha-no-ma” is one of them.

"Cha-no-ma", literally means “the space of tea”, referrers to a place where family members get together to chat, eat and relax. That is, a living room. I am not sure about its origin of the word, but in a good old days, when family members spent time together in the same place, tea was always there. “Cha-no-ma” is a nostalgic word associated with cozy and relaxing time in a large family.

Now, the time has changed. The family is smaller, and we live in busier society, and hustle and bustle of life. Eventually, the term of "cha-no-ma" is on its way out. We call the room “ima (literally, existing room)” or “living room” nowadays.

But still, whatever the term is, whatever the size of family is, spending time together among family while having tea will make us mellow out, always.



Sazae san family sitting in their "cha-no-ma"
(One of the most popular manga among men and women of all ages)
- source : japaneseteastory.blogspot.jp


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座敷より茶の間が好きや切山椒
zashiki yori chanoma ga suki ya kirisanshoo

better then the guest room
I like the family living room -
New Year sweets
Tr. Gabi Greve

Ikenouchi Takeshi 池内たけし (1889 - 1974)
The nephew of Takahama Kyoshi 高浜虚子.


. kirizanshoo 切山椒 sweet desert dish .
lit. "cut mountain pepper"
- - kigo for the New Year - -



A kind of sweet made from rice flour, sugar and mountain pepper. It can be cut and served over a bowl of rice for a quick snack. It is usually served steamed, which enhances the fragrance of the pepper. It is supposed to brick luck with money affairs.

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お茶の間は女ばかりや置ごたつ
ochanoma wa onna bakari ya okigotatsu

in the living room
there are only the womenfolk -
this tabel to get warm
Tr. Gabi Greve

竹田小時 Takeda Kotoki



source :　Cleanup Corporation
こたつで本を読む女性たち　 Women reading books in the kotatsu
『絵本常磐草』享保15年(1730)　江戸風俗図絵 - より


. okigotatsu 置炬燵 kotatsu table to put on the floor .
- - kigo for all Winter - -


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膳立の茶の間かしまし謠初
正岡子規 Masaoka Shiki


お茶の間に二月礼者のやや長居 山田弘子
お茶の間に集りやすし庭若葉 星野立子
お茶の間の隅にころげて竹婦人 小山佳栄

茶の間と別に家の一角雛あかり 平井さち子
茶の間にて用済む仲や切山椒 大久保橙青
茶の間には笑初めともなくつゞく 皆吉爽雨
茶の間にも桃の色紙や雛の宿 高橋淡路女
茶の間まだ帰宅そろはず霙降る 亀井糸游
茶の間まで葭戸幾重を見とほしに 大島民郎

どこよりも茶の間が親し福沸 高橋真智子
なまはげのずいと茶の間に踏み込みて 高澤良一
わが雛を母の飾れる茶の間かな 下田実花
ストーブに湯気も影なす茶の間かな 藤井知子
万両の雪に明けある茶の間かな 橋本鶏二
亡き妻の茶の間の画像豆の飯 河野静雲
声まがふ茶の間の父子春の宵 亀井糸游
夕河岸の鯵を囲みて茶の間かな 星野 椿
妻の書架茶の間に小さく花曇 遠藤梧逸
寒い朝巨大空母と茶の間に居り 国 しげ彦

扇風機まはれる茶の間ぬけにけり 芝不器男
春めきて小夜の客ある茶の間かな 松尾 静子
牡蠣豆腐茶の間へ客の座を移す 及川貞 夕焼
玉子酒みんな茶の間にあつまりぬ 市村洋子
百菊もさくや茶の間の南向 嵐竹
破蓮に茶の間より掃く埃かな 比叡 野村泊月
籾摺を昨日に終えし茶の間かな 大島麦邨

行火やめて今宵の茶の間四角なり 臼田亞浪
襖しめて隣茶の間や寒夜客 阿部みどり女 笹鳴
込み入った話に茶の間30Wのジヨーク 平田栄一
電車より茶の間が見える薄暑かな 石川文子
- source : HAIKUreikuDB

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. Japanese Architecture - Interior Design - The Japanese Home .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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kugikakushi

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kugi 釘 nail, hook, Nagel



- quote JAANUS -
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kugi 釘 A nail made of metal, wood or bamboo and shaped according to use.
Traditionally, metal kugi are square, kakukugi 角釘. However there are a great variety of other kugi: flat nails hirakugi 平釘; double pointed bent nails aiorekugi 合折釘; double pointed nails aikugi 合釘; twice bent end nijuu orekugi 二重折釘, a thrice bent nails inazuma orekugi 稲妻折釘; and a bag hanging nails fukurokakekugi 袋掛釘.

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aikugi　合釘
Also kurekugi 呉釘, kirikugi 切釘. A straight nail with both ends pointed. It is made of wood, bamboo, iron, or bronze and used to join wooden boards. Some are round in cross section and others are square kakuaikugi 角合釘.
Note that maruaikugi 丸合釘 refers to a Western type nail, and not a round aikugi.

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aiorekugi　合折釘
Also called oreaikugi 折合釘 or mageorekugi 曲折釘. A type of double-pointed iron nail, square in section, and bent into an L-shape. Used to attach the frames of opaque paper sliding screens fusuma 襖, to a skeletal framework, hammered down so that they are not visible from the exterior. Aiorekugi typically are spaced about 21cm apart.

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asagaokugi 朝顔釘
Lit. morning glory nail. A two-pronged nail bent into a right angle for the purpose of hanging a flower vase. The nail usually is driven into the bamboo lath of a vine-laced, lattice-reed window shitajimado 下地窓, or on the lath of a small window hana-akarimado 花明窓, found at the side of the tea house alcove tokonoma 床の間. The points of this nail are bent around the bamboo lath of the window lattice after it has been pounded in. Typically, morning glories 'asagao 朝顔', are displayed in this vase hence the name, but sometimes other flowers are displayed.

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fukurokakekugi 袋掛釘 Lit. bag hanging nail.
A bamboo or iron nail inserted into the middle post nakabashira 中柱, of a tea ceremony room. It is used to hang up the tea caddy bag, shifuku 仕服. The nail is bent to form a hook with the under part being bent at a right angle and rounded to make it easy to hang up the bag gracefully. A small guard regulates how far the nail is to be hammered into the post. The nail is positioned about 11cm above the horizontal wooden piece which holds the extended sleeve wall sodekabe 袖壁, and terminated by the nakabashira. This prevents the bag from touching the floor. Example: Kohouan 孤篷庵 Daitokuji 大徳寺 (rebuilt by Matsudaira Fumai 松平不昧 flourished ca. 1800), Kyoto.

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hanakugi 花釘
A nail used to hang a flower vase in a tea ceremony room chashitsu 茶室. Some are hammered into the center of the alcove tokonoma 床の間, wall and others are hammered into the alcove pillar tokobashira 床柱. The former is also called nakakugi 中釘 and the latter hashirakugi 柱釘 or tokobashira hanakugi 床柱花釘. All are metal nails, bent up into an L- shape to form a hook.

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inazuma orekugi 稲妻折釘
Also nijuu orekugi 二重折釘. A twice bent nail that is used under the ceiling molding or under the attached lintel for hanging scrolls. They are created by first bending them 90 degrees and then a second time.
If set in a channel, musou shibuichi 無双四分一, nails of this type can also be moved to the left or right and are also used for hanging scrolls in an alcove. In this case, they are called inazuma hashirikugi 稲妻走釘 (running right angle hook). The bottom part is inserted through the opening in the web of the channel, and the prongs are bent so that they hang on the edges of the web. When a pair or set of three scrolls are hung, these special nails can be slid to the position needed.

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jikukakekugi 軸掛釘 / Also jikukugi 軸釘, kakemonokugi 掛物釘.
A hook for hanging scrolls kakemono 掛物 that is made of metal or bamboo and hammered into the upper part of the back wall, or the bottom edge of the ceiling molding of a tea ceremony alcove tokonoma 床の間. Metal jikukakekugi are bent twice to form a three-pronged, trident shape. If made of bamboo, the hook is hammered straight into the wall, or with a slight upward incline in a rustic style tea ceremony room.
Bamboo nails are 0.63cm long and are nailed 2.8cm below the ceiling molding, projecting from the wall. Around the late 16c - early 17c, in shoin 書院 style tea rooms one, three, four or eight scrolls were hung and each had a hook. When three hooks, mitsukugi 三ﾂ釘, were used, the right and left ones were made smaller and projected 3cm. When a set of three scrolls, sanpukutsui 三幅対, were hung, in a large shoin style room, a board 6-8mm thick, 12-30cm wide and 180cm long was nailed to the bottom edge of the ceiling molding and a groove was made so that the inserted zigzag shaped nails could be moved easily.

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kaiorekugi 貝折釘
Also written 皆折釘. A large, square, angular nail used for wooden or bamboo fences. Its head is bent at right angles but has a gable-shaped top. It varies from 8-9cm to 20-30cm long.

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musoukugi　無双釘 Musokugi
Also musou orekugi 無双折釘. A type of nail used to hang a scroll in an alcove nakakugi 中釘. A nail which is composed of two parts: a sharply pointed tip and a second part which is bent up at a right angle to form a hook. The pointed part is securely driven into the plastered wall of an alcove and the latter part can be inserted into a fixed pocket and removed at will. This type of nail prevents damage to the scroll. It may also be used to hang a flower vase.

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nakakugi 中釘
Also hanakugi 花釘, tokonakakugi 床中釘 (see orekugi 折釘).
A nail hammered into the center of the back wall of an alcove tokonoma 床の間, on which to hang a flower vase or a scroll in a tea ceremony room. The nail is bent in such a fashion that when it is driven into the wall the back of the scroll is not damaged. Most nakakugi are placed about 1 m above the surface of the straw mat tatami 畳, but this distance varies widely, usually from 90cm-150cm, depending on the height of the ceiling.

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nijuu orekugi　二重折釘
Also called kakemonokugi 掛物釘. A type of hooked nail orekugi 折釘.
A square, double-bent nail that is used to hang scrolls kakemono 掛物. The nail head forms a ' コ' shape. A nail with three bends is called sanjuu orekugi 三重折釘.

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noshigata-no-kugi 熨斗形の釘
An archaic term for taru-no-kuchi 樽の口. Also called kanimekugi 蟹目釘 or noshigashira kugi 熨斗頭釘.
A large, half-dome-shaped nail similar to a present day rivet. The WAMYOUSHOU 倭名抄 describes it as a large, high-headed nail, kashiradaka ookugi 頭高大釘. It is used to secure a gable pendant, gegyo 懸魚 or a non-penetrating tie beams, nageshi 長押.

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orekugi　折釘 A type of hooked nail made from one piece of iron.
It is bent at a right angle and is square in cross section. The name is a corruption of orikugi 折釘. Orekugi are used for both the interior and exterior of a tea ceremony house *chashitsu 茶室. There are many different sizes and most have stops or guards which determine the extent to which the nail can be inserted into a wall, post, or molding. Orekugi are named according to their placement, or purpose. There are many types of bent nails.
These include: fukurokakekugi 袋掛釘; musoukugi 無双釘; asagaokugi 朝顔釘; *tokobashirahana kugi 床柱花釘; tokonakakugi 床中釘; tokokakenaka kugi 床掛中釘; and tokootoshikake kugi 床落掛釘.




折釘に掛た所が粽哉
orekugi ni kaketa tokoro ga chimaki kana

from a hooked nail
they hang here,
these Chimaki dumplings . . .

. Kobayashi Issa 小林一茶 in Edo .

. Chimaki 粽 dumplings for the Boy's festival, May 5 .

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sanjuu orekugi　三重折釘
A nail that is bent in three tines at a ninety degree angle.

Like the twice bent nail, nijuu orekugi 二重折釘, it is used to hang various kinds of decorative objects. Also called *inazuma orikugi 稲妻折釘.

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takekugi　竹釘 bamboo nail
Usually the nail is 7.5mm square and made from giant bamboo, madake 真竹 (also nigatake 苦竹). They have a hook on which to hang scrolls and are used in a small room or alcove, tokonoma 床の間. When pounded into a wall, the nail project 27mm with the exterior skin on the upper side. Kobori Enshuu 小堀遠州 (1579-1647) and Kanamori Souwa 金森宗和 (1584-1656) preferred nailing takekugi into a wall with the exterior skin on the under side. Hooked bamboo nails were used in a tea ceremony houses, chashitsu 茶室, kitchen, mizuya 水屋, for hanging up towels used to wipe tea implements.
Bamboo nails made from a smaller variety of bamboo that has a smooth surface with non-protruding joints are used by cabinet makers. Once shaped as nails, they are roasted in an iron pot and therefore have a brownish color.

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tokobashirahana kugi 床柱花釘 / hashirakugi　柱釘
tokonakakugi 床中釘; tokokakenaka kugi 床掛中釘; and tokootoshikake kugi 床落掛釘.
Also hanakugi 花釘. A nail on which a flower vase can be hung. It is nailed onto an alcove post tokohashira 床柱 in a tea ceremony room chashitsu 茶室. Opinion varies on its proper position which ranges from 33cm below the alcove lintel otoshigake 落掛, to 97cm above the straw mat tatami 畳 floor.

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wakugi 和釘
Also called nihonkugi 日本釘. A square nail used during and after the Tumulus period (CE 300-538/552). The nail was made of hand-wrought iron and was from 3cm-60cm long. Wakugi were classified by the shape of the nail head. The oldest nail of this type had a square head. Other heads were flat or spiral in shape. The nails were used to secure roof tiles yanegawara 屋根瓦, to eave ends, *nokisaki 軒先. Double pointed nails were used to join two wooden members to make a line like a seam, nuime 縫目. This method appeared during the Heian period (794-1185). At the Houryuuji Gojuu-no-tou 法隆寺五重塔, 27 different types of nails have been identified, ranging in length from slightly over 3.03,to over 60.9.

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yanagikugi 柳釘
Also yanagikakekugi 柳掛け釘. A nail hammered into a partially plastered post yanagibashira 柳柱 (see youjibashira 楊子柱), usually found in a 4 1/2 mat tea ceremony room chashitsu 茶室. The nail is hammered into the upper part of the post (the unplastered part) and a hanging flower vase is hung from it. According to Sen Soutan 千宗旦 (1578-1658) the nail gets its name from springs of willow draped from the nail at New Years. Examples can be seen at Yuuin 又隠 at Urasenke 裏千家, and Onigawara-no-seki 鬼瓦席 at Koudaiji 高台寺 both in Kyoto.

- source : JAANUS -
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. kasugai 鎹 / かすがい clamp, cramp, cleat, staple .

. yanefuki 屋根葺き roofer, craftsman making roofs .
using nails

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deru kugi wa utareru 出る釘は打たれる "A nail that sticks out will be hammered"
deru kui wa utareru 出る杭は打たれる "A stake that sticks out will be hammered"

. The nail that sticks out . . . .




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kui　杭 - kigui 木杭 Pile
A wooden stake or post driven into the ground.
Closely placed round wooden posts, often shaved to a point, pounded into the ground to form a base that can transfer the down bearing load from the superstructure through the footing, sills, or foundation to the ground. This system has been used from very ancient periods for foundation ground work. Pine logs were most common, but Japanese cedar, sugi 杉, and evergreen oak, kashi 樫, were also used. The stakes had to reach down below the water table, as they decayed if they dried up. In order to strengthen the tip of the kui when driving into hard ground, a protective metal band called a pile shoe, kutsukanamono 沓金物, was sometimes added.

hikaegui　控杭 pole, post
Any upright pole or post added to the inside of a castle wall for extra support. While hikaegui increased the strength of the wall, they did make it more difficult to move around close to the wall on the interior because the light was dim and people could easily fall against these protections.
- source : JAANUS -


国分尼寺守る杭打つ初仕事
Kokubun Niji mamoru kui utsu hatsu shigoto

first work of the year
to strengthen the piles
of nunnery Kokubun-ji

土屋尚 Tsuchiya Masa

. Kokubunji 国分寺 Kokubun-Ji .


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. Legends and Tales from Japan　伝説 - Introduction .

. kugi 釘 伝説　Legends about nails and curses .

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折釘に烏帽子かけたり春の宿
orekugi ni eboshi kaketari haru no yado

On a bent hook
hangs an official's cap,
the lodging house in spring.
Tr. Yuki Sawa

. Yosa Buson - Collection - 蕪村句集 Kushu .


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kugikakushi, kugi kakushi 釘隠し "hiding the nails" nail-hiding ornament

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kugikakushi　釘隠
An ornament used to conceal the head of a large nail on a pressing tie rail *nageshi 長押 and on doors. Made of wood, copper, iron, or gilt bronze. From the Momoyama period techniques of cloisonne *shippou 七宝, inlay *zougan 象嵌, and openwork *sukashibori 透彫, decoration were used, and new materials such as ceramics were introduced. Pre-10c kugikakushi were hemispherical in shape and known as *bai 唄, manjuu kanamono 饅頭金物 (see *manjuugata 饅頭形) or *chichikanamono 乳金物.
From about the 10c, kugikakushi were designed using a circle of flower-petal shapes.
The most common types were the four-petalled *shiyou 四葉, six-petalled *rokuyou 六葉, and eight-petalled *hachiyou 八葉. They consisted of a central projection *taru-no-kuchi 樽の口 (cask plug), a round body *kikuza 菊座, and surrounding petal shapes *zagane 座金.
- source : JAANUS


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Decorative Nail Covers
Colored in various hues, these pieces are thought to be reproductions of nail covers with inlaid cloisonné. The attributed artist Ninsei (also known as Nonomura Seiemon, d. 1694), the prominent Kyoto ware ceramicist of the latter half of the seventeenth century, was a master in the technique of overglaze enamels.



Although these small pieces have no identifiable stamp or inscription, the variegated paints of gold, silver, red, blue, and green, demonstrate the features of Ninsei's Omuro ware. Moreover, considering that these pieces came from the Marugame Kyôgoku clan, which is known for its rich collection of Ninsei works, it appears highly likely that these pieces are authentic.
- source : www.emuseum.jp/detail -


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雛の間へ一間ごとの釘隠し
hina no ma e hitoma goto no kugi kakushi

to the room with Hina dolls
every room is decorated
with nail-hiding ornaments

Yasome Aiko 八染藍子 (1934 - )

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釘隠しまでも梅鉢あたかかし　
kugi kakushi made mo umebachi atatakashi

even the nail-hiding ornaments
like a plum-blossom
feels so warm 　

Gotoo Yahan 後藤夜半 Goto Yahan (1895 - 1976)




umebachi was the family crest of the Maeda clan.
Kaga-umebachi kamon
Umebachi kamon in the shape of an ume blossom is the family crest of the Maedas of Daishoji clan (a branch family of Kaga clan) who originated Kutaniyaki Porcelain. An ume, together with a chrysanthemum, bamboo and an orchid was one of four flowers likened to wise man in old China, and the crest has deep relation with Tenjin faith.
The design is classified roughly into two patterns －realistic pattern and geometric pattern in the shape of ume blossom with five single petals. The Maedas used design to be called Kaga-umebachi that intended particular distinction from other similar family crests in shape of ume blossom.
source : kutanimus-volunteers.com


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啓蟄の日がとどきたり釘隠
小室善弘

春荒れのひと夜や鶴の釘隠し
長崎玲子

水亭は釘隠さへかきつばた
飴山實

行く春や緑青をふく釘隠し
渡部義雄

釘隠良夜の釘を隠しをり
真鍋呉夫

黴の戸の栄枯高きに釘隠
古舘曹人


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. Japanese Architecture - Interior Design - The Japanese Home .


. senryu, senryū 川柳　Senryu poems in Edo .


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