Showing posts with label - - - Architecture. Show all posts
Showing posts with label - - - Architecture. Show all posts

12/05/2014

daidokoro kitchen

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daidokoro 台所 the Japanese kitchen
- Introduction -

- - - - part of the entry about
. Interior Design - The Japanese Home .





- - - kitchen, from my visit to Katsuyama, Okayama

. Kitchen (daidokoro) and hearth (kamado) .
My first introduction, with haiku from Matsuo Basho and others

- under construction !
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- quote - JAANUS
1 Believed to be an abbreviated form of *daibandokoro 台盤所. The most common Japanese term for kitchen. From at least the Heian period, the term was used in the emperor's residential compound, Dairi 内裏, of the imperial palace and in the mansions of the aristocracy to refer to a room used for the final stages of food preparation and serving. By the medieval period the term was used in warrior houses.

2 From the 13c-19c, a building in upper class residences, used to prepare and cook food. Typically, it included an earth-floored area *doma 土間, equipped with a cooking range *kamado 竈, and sometimes a well *ido 井戸, and sink *nagashi 流し. In addition it incorporated a suite of raised floor rooms, some of which were equipped with an open hearth *irori 囲炉裏, where more advanced stages of food preparation and serving took place.

There was generally a smoke louvre *kemuridashi 煙出, in the roof. The building also contained storage space for food and utensils, and particularly in the medieval period, it is believed to have included accommodation for servants and lower members of the household. In large residences, such as the baronial mansions, daimyou yashiki 大名屋敷, of the Edo period, the main kitchen was often divided into two: a lower kitchen *shimodaidokoro 下台所, and an upper kitchen *kamidaidokoro 上台所. Alternative medieval terms for the upper class daidokoro include *mizushidokoro 御厨子所, zendokoro 膳所, and zenbu 膳部. In the Edo period the upper kitchen might alternatively be referred to as *kiyodokoro 清所 or *ryouri-no-ma 料理の間, and the lower kitchen as oodaidokoro 大台所.

3 In vernacular houses *minka 民家 of the Edo period daidokoro was: a term for the earth-floored area doma, in parts of Tokyo, Saitama, Kanagawa, Fukushima and Iwate prefectures: a cooking area in the rear part of the earth-floored area in houses with their entrance on the non-gabled side *hirairi 平入, in the Izumo region of Shimane prefecture ; a timber platform projecting from the raised living area, kyoshitsubu 居室部, into the earth-floored area in parts of Aomori, Yamagata Fukushima and Nagano prefectures and throughtout Hokuriku 北陸. The latter generally had an open hearth irori, cut into the floor and was used for food preparation, dining, and as a place for sedentary work, especially in winter.

4 In vernacular houses minka, of the Edo period in many districts, a term for the main living room *hiroma 広間, which extended the full cross-sectional depth of the building from front to back, in *hiromagata 広間型 houses. The boarded floor was often exposed and there was usually an open hearth irori. It served as a living and dining space and some cooking was done in the irori.

5 In vernacular houses minka of the Edo period with a 4-room or 6-room raised living area kyoshitsubu 居室部, the room in the rear range adjacent to the earth-floored area doma. It was used as a family parlor, dining room and for the preparation of food. It might be open to the doma or divided from it by sliding panels. In certain districts it contained an open hearth irori, though rarely in the Kinki 近畿 region, where the four-room house first emerged as a common minka type. It could also be a space toward the rear of the main living room hiroma, in kobeyatsuki hiromagata 小部屋付広間型 houses.

6 In urban vernacular houses *machiya 町家 of the Edo period, especially in the Kyoto area and regions influenced by it, a room to the rear of the shop *mise 店, adjacent to the earth-floored area doma, used for dining and the preparation of food and as a family parlor. It was also often referred to as the naka-no-ma 中の間. In all regions, daidokoro was often abbreviated to daidoko 台どこ and in certain areas to dedoko でどこ. Daidokoro is sometimes written 大所.
- source : JAANUS

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source :gwald.com/rakugo

長屋の台所風景 Kitchen of a nagaya living quarter in Edo

. nagaya 
長屋 ながや long house, row housing .


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chooriba 調理場 kitchen

chuu, zu, kuriya 厨, chuubo 厨房 chubo, kitchen (closet, cupboard)
..... chuu is a place that gets black (by the smoke) - kuriya 涅屋 a kitchen of a temple
(with a lot of compound word used in haiku - 初厨 - 厨事 - 貧厨 - 厨妻 - 厨窓 - 大厨 - 行厨 . . .)

dedoko でどこ lower-class kitchen

doma 土間 earth-floored area

katte 勝手 kitchen
- - - - - katteguchi 勝手口 special door to enter the kitchen

hetsui, 竈(へ)つ火 "stove with fire", also the name for the Deity.
hettsui へっつい, hitsui, hittsui

hocho, wabocho . 和包丁. Knife, knives (hoochoo, waboochoo)
Japanisches Messer

. ido 井戸 well - and kigo .

. irori 囲炉裏 / いろり open sunken hearth .
- - - - - jizaikagi 自在鈎 pothook and more

. kamado 竈 cooking stove - Haiku introduction .
- okudo, okudosama in Kyoto
- - - - - more details below

. Kamagami 釜神 The Hearth Deity .
Dokujin, dokoojin 土公神 - Kenroo chijin 堅牢地神 Kenro Earth Deity
お荒神様 Aragamisama

kamidaidokoro 上台所 upper kitchen

kemuridashi 煙出 smoke louvre

kittchin キッチン kitchen

kiyodokoro 清所 upper class kitchen

mizushi 水仕, mizushigoto, mizu shigoto 水仕事 washing the dishes, doing "water work"

mizushidokoro 御厨子所 kitchen of the upper class
. . . zendokoro 膳所, zenbu 膳部

. nabe なべ 鍋 pot and pan .

nagashi 流し sink

naka no ma, naka-no-ma 中の間 kitchen of a town house

oodaidokoro 大台所 lower kitchen, lit. "big kitchen"

ryoori no ma, ryoori-no-ma 料理の間 upper class kitchen (place for making food)

shimodaidokoro 下台所 lower kitchen

suiji 炊事, suijiba 炊事場 cooking, place for cooking
- - - - - taku 炊く to boil rice

yuukuriya 夕厨 kitchen work in the evening

. zen 膳 food tray for one person .

zushi 厨子 cupboard

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CLICK for more photos of the Edo kitchen!

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kamadoshi, kamado-shi, kamado shi 竈師 specialist making an earthen hearth
hettsui shokunin 造竃職人 / へっつい屋 hettsuiya


source : edoichiba.jp.kamado...

- quote -
By the late Edo period (1615-1867), some households had a variety of kamado:
kamado for use in a raised floor space rather than the doma;
small portable kamado (this was also the commonest type in cramped urban tenements;
a large one for preparing fodder for domestic animals; and often
a special one for use only on festive occasions and for preparing rice cakes.
The symbolic significance of the kamado was in proportion to its functional importance as a cooking appliance and adjunct of the hearth.
Its tutelary spirit, kamadogami, was one of the principal household deities, revered as provider of the means to cook and feared as a potential cause of conflagration.
- source : nakedwhiz.com/kamadotheword -

For fear of fire, many homes in a Nagaya living quarter in Edo did not have a stove. Some kitchens did not even have a knife. The vegetables were torn by hand, the Tofu was deliverd as it was eaten and the fish came cut by the fish vendor.
The hearth-making craftsmen were a group in itself with special skills according to the type of hearth to be made.
Homes in Kyoto usually had three "mouths" 三つ口, some even nine 九つ口.
The hetsui hearth of Edo was built with the back to the doma 土間 entrance hall, so the wife could see the living room. Most hearths were coverd with a black coating.



kamado nuri, kamadonuri  竈塗り / 竃塗り repairing the earthen hearth

This was the job of a professional
. shakan, sakan 左官 plasterer, stucco master .

The kamado (also called hettsui へっつい in Edo) was used every day to prepare the meals.
Usually it had two openings to fire up separately.
To put new plaster earth around the hearth as a fire protection was usually done as one of the preparations for the New Year.


source : blogs.yahoo.co.jp/yah1000senn
- - - - - Cooking rice at the Kamado kitchen hearth


竈も化粧をしたる年の暮
hettsui mo keshoo o shitaru toshi no kure

the cooking stove too
likes to have some make-up
at the end of the year


anonymous senryu

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- - - - - fuda 蓋 lid - - - - -



kamabutashi, kamabuta-shi 釜蓋師 making a lid for the iron pot
釜蓋職人

Craftsmen who made these wooden lids made also many other wooden tools for a home and kitchen, for example the wooden cutting boards.
The lids had to fit well to make sure no steam was coming out of the pot.
The wood was about 3 cm thick.


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. kamabuta tsuitachi 釜蓋朔日 opening the chauldron on the first day .
- kigo for early autumn -
On the first day of the seventh lunar month (now August 1) the chauldron of hell was opened to let the souls out for their visit to the family graves.
From this day on, the Urabon ceremonies were started.

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Kamafuta Jinja 釜蓋神社 "Kamafuta Shrine"
射楯兵主神社 Itate Tsuwamono Jinja




The deity of this shrine has long been venerated by the Samurai. To pray for victory before a battle, they came here with an old lid or kettle and offered it with the wish that bullets from the enemy gun would not hit them. So ever more Samurai visited here.
Now people also pray for good luck and luck with a new business, even victory in sports.
They put a lid on their head and walk from the entrance Torii gate of the Shrine building. If the lid does not fall down, their wish will be granted . . .



鹿児島県南九州市頴娃町別府6827 Beppu, Kagoshima, Kyushu
- reference : kamafuta jinja -


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. Washoku 和食歳時記 Japanese Food Culture   .

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- - - - - H A I K U and S E N R Y U - - - - -

. kigo related to the kitchen .

. hatsu kamado 初竈 (はつかまど) first use of the hearth (fire)
. bongama 盆竈 Bon stove .
. kamado neko 竈猫(かまどねこ)cat in the hearth  
. kamabarai 竈祓 (かまばらい) hearth purification .
. kama matsuri 竈祭(かままつり) hearth festival - - - and more

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猫の妻竃の崩れより通ひけり
. neko no tsuma hetsui no kuzure yori kayoi-keri .
and more kitchen haiku by Matsuo Basho and others

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source : edo-tokyo-museum.or.jp

- - - - - kitchen-related haiku collection - - - - -

- source : HAIKUreikuDB

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. Legends and Tales from Japan 伝説 - Introduction .

- reference : nichibun yokai database 妖怪データベース -
kamado 竈 54 to explore
kamado かまど 16 to explore  ・カマド 44 to explore
竈神 4 to explore / 炭竈

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. Japanese Architecture - Interior Design - The Japanese Home .

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. My collection in facebook .


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. - Doing Business in Edo - 商売 - Introduction .


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12/04/2014

chigaidana staggered shelves

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chigaidana, chigai-dana 違い棚 staggered shelves

. . Interior Design - The Japanese Home . .
- Introduction -

. tokonoma 床の間 alcove for decorations .


- CLICK for more photos !
Katsura-dana, Katsuradana 桂棚 at Katsura Rikyu

One of the three most famous chigaidana 天下の三棚.
The other two are
Daigo-dana 醍醐棚 at Daigo-Ji 醍醐寺
and
Kasumi-dana 霞棚 at Shugaku-In 修学院離宮

- source : shyougaiitisekkeisi2581


Daigo-dana, Daigodana 醍醐棚 at 奥宸殿

- source : Daigo-Ji


Kasumi-dana, Kasumidana 霞棚 at Shugaku-In 修学院離宮
"Shelf of Mist"
. . . the design of the shelves resembles mist floating.

- source : www.bokashiya.com

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- quote - JAANUS
Staggered shelves; considered part of the *shoin 書院 style decoration.
One of the room ornaments which became established together with the decorative alcove *tokonoma 床の間 and attached desk *oshi-ita 押板 at the end of the Muromachi period, in the formal reception room *zashiki 座敷. Usually located at the side of the decorative alcove.
Two shelf boards are fixed at different levels, a small pillar *ebizuka 海老束 is inserted between them, and small edge-strips *fudegaeshi 筆返し, are attached at the edge of the top shelf.


Old Yamamoto 山本 house (Nagasaki)

A doored shelf is provided at the top or below the shelf boards, or both. Upper doored shelves are called tenbukuro 天袋 (see *fukurodana 袋棚) and lower ones *jibukuro 地袋. Shelves in dwellings were originally practical, used to store personal belongings close at hand.

In the Muromachi period, ornamental shelves began to be developed at Ashikaga Yoshimasa's 足利義政 (1436-90) mansions, Ogawagosho 小川御所 and Higashiyamadono 東山殿. The Muromachi period text OKAZARIKI 御飾記, describes room ornaments in those two mansions, with drawings of shelves together with oshi-ita, and descriptions of the methods of making shelves and ways of decorating. The chigaidana in the meeting room of Higashigoten 東御殿, Ogawagosho, for example, was constructed at right angles to the oshi-ita, one bay wide (just under 2m), with upper and lower doored shelves, and there were two layers of staggered shelves (an arrangement called *shikiri chigaidana 仕切違い棚). On the top shelf was an incense burner, a tea container on a small tray, a small bowl on a tray, and on the bottom shelf were implements associated with the presentation of kaiseki 懐石 food (refined Kyoto cuisine).

These were typical of items displayed on chigaidana, which also included inkstone *suzuri 硯 boxes and writing paper, books, and tea ceremony implements like teabowls *chawan 茶碗, and bamboo tea whisks. Around this time many art objects were imported from China, so chigaidana had an important function in displaying these.



The oldest extant example of chigaidana can be seen in *Tougudou 東求堂 (Togu-Do) at Jishouji 慈照寺 (jisho-Ji) (1485), Kyoto. The chigaidana, half a bay wide, is built alongside the attached desk in a 4 1/2 mat room called Douninsai 同仁斎 (Doninsai). This set of shelves has a bottom board ji-ita 地板 with a jibukuro on top of it, a staggered shelf in the middle and one shelf board on top.

After the Momoyama period, shelves were usually constructed alongside the alcove, and there were many variations in the shape of the shelf boards. Tenbukuro and jibukuro were sometimes included.
Shelves at Katsura Rikyuu 桂離宮 (17c), and Shugakuin Rikyuu 修学院離宮 (1659), both in Kyoto, for example, have complicated structures and are constructed with great technical skill.
- source : JAANUS

ebizuka 海老束
Also written 蝦束; also hinazuka 雛束.
A small strut with chamfered corners used between two staggered shelves *chigaidana 違い棚. The two ends of the strut are cut into dovetail tenons *arihozo 蟻ほぞ and inserted into mortises arihozoana 蟻ほぞ穴 cut into the underside of the upper shelf and the top side of the lower shelf. The width of the strut is about equal to 4/10 the width of the alcove post.

fudegaeshi 筆返し
A curved wooden border attached to the end of a desk or shelf to prevent brushes and scrolls from rolling off. It is also decorative and is found on staggered shelves *chigaidana 違い棚, short writing desks fuzukue 文机 and sutra stands kyoudai 経台.
The tip of the fudegaeshi is called tomari とまり, the main body is called fudegaeshi, the lower convex curve is called hatomune 鳩胸 (pigeon breast). The width of the table or shelf extending beyond the attached border is known as ita-no-de 板の出.


a) fudegaeshi 筆返し b) ebizuka 海老束

Various types of fudegaeshi are distinguished by the shape of their cross-section.
These include: tatsunami 立波 (standing wave); wakaba 若葉 (young leaf); miyakodori 都鳥 (seagull); karaba 唐葉 (Chinese leaf); kaeshinami 返波 (returning wave), and takagashira 鷹頭 (hawks head).
- source : JAANUS


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NHK - Bi no Tsubo NHK 鑑賞マニュアル 美の壺

棚は引き算
棚は、自然のリズムを奏でる
棚は人なり



- source : NHK - Bi no Tsubo
file290 「棚」

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Chigai-dana
It is believed that the chigai-dana (or staggered shelves) evolved from earlier portable shelving systems. This theory is backed up by the continued use of portable-type shelves throughout the Muromachi period outside of the central room. It was in Yoshimasa's time that built-in shelves first appeared.

Furthermore, evidence shows that these were installed in both Yoshimasa's Kokawa palace and his Higashiyama residence. To the left is the Picture Scoll of Kasuga Gongen Miracles from the 14th Century showing the artistic evidence of the built-shelves.



The main purpose of the chigai-dana of this time was to provide a place for the artistic arrangement of books and tea utensils. The function of holding books was a direct influence of Zen monks. During this time there was extensive trade with China and Korea, which resulted in an enormous influx of literary and philosophical texts. Only after these imported texts were tea utensils displayed on these shelves. Typically this included a tea cup, tea caddy, tea whisk, food canister, tea ladle, portable fireplace, feather broom, ember poker, and water bowl.
- source : www.columbia.edu


- English reference -

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Kenninji 建仁寺 Kennin-Ji Kyoto


source : olaf-mama.at.webry


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- - - - - H A I K U and S E N R Y U - - - - -

永き日や何も置かれぬ違ひ棚
nagaki hi ya nani mo okarenu chigaidana

days getting longer -
nothing is placed
on the staggered shelves

Tr. Gabi Greve

Igarashi Bansui 五十嵐播水 (1899-1920)


. WKD : nagaki hi 永き日, hi nagashi 日永し day getting longer .
- - kigo for all spring - -





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鹿啼くやうす埃置く違ひ棚
shika naku ya usubokori oku chigaidana

a deer is calling -
just a little dust
on the staggered shelves

Tr. Gabi Greve

Oomine Akira 大峯あきら Omine Akira


. shika naku 鹿鳴く(しかなく) deer is calling .
- - kigo for all autumn - -

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12/02/2014

Tokonoma

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tokonoma 床の間 alcove for decorations, art nook

- part of the entry about
. Interior Design - The Japanese Home .



- - - More in the Japanese WIKIPEDIA !
tokonoma with a scroll of Daruma だるま

- quote
tokonoma 床の間 lit. alcove room.
A *tatami 畳 mat room with a small alcove. There are various theories about the origin of the alcove. It may have been a sleeping alcove, built just large enough for bedding. Later the alcove floor was raised above the level of the floor. The alcove was then enlarged to the size of two mats, and then it contracted again to one raised mat. The alcove thus became the honored seat for a guest of high rank. The other mat was placed at floor level. On occasion, a cozy alcove was formed by screens surrounding this type of arrangement. In the Kamakura period, to the latter part of the Muromachi period, the alcove had a raised floor and could be used as a seat or a platform.

By the end of the Kamakura period, a Buddhist picture was hung on the wall and was the focal point of the tokonoma. A board to display objects *oshi-ita 押板, was set before the wall hanging, on which were exhibited a vase of flowers, an incense burner and a candlestick. These three things are important to Buddhism and are referred to as the three implements, mitsugusoku 三具足.

In the Muromachi period, it became customary to hang a scroll with a Zen priest's calligraphic inscription, along with the vase of flowers and the incense burner. The candlestick was omitted then. By the Momoyama period, the alcove took on its familiar form and was used principally for displaying treasured art objects.

The size and arrangement of the alcove varied according to the diversified tastes of the tea masters. An old record, for instance, mentions an alcove 180cm long attached to a tea ceremony room *chashitsu 茶室 used by Murata Jukou 村田珠光 (1423-1502). This alcove was pasted with white Japanese paper called *torinokogami 鳥の子紙 and had frames that were covered with black laquer. Takeno Jouou 武野紹鴎 (1502-55) preferred a smaller alcove and tea ceremony room. Sen Rikyuu 千利休 (1522-91) used alcoves with styles familiar today.

Characteristics from both the *shoin 書院 style alcoves and the styles of alcoves found in tea architecture were fused to produce the alcove common to ordinary dwellings. Tokonoma are called a great variety of names such as
kamizadoko上座床 (lit. upper seat alcove), and
shimozadoko
下座床 (lit. lower seat alcove).

Sometimes tokonoma are named after the tea master who designed them, for example *oribedoko 織部床,
or for the particular width of the alcove, such as *daimedoko 台目床.

See *hondoko 本床, plain wooden alcove *itadoko 板床, a tatami mat alcove *tatamidoko 畳床, *fumikomidoko 踏込床, *murodoko 室床, *horadoko 洞床, *fukurodoko 袋床, *kabedoko 壁床, *okidoko 置床, *tsukedoko 付床, *tsuridoko 釣床, *masudoko 桝床, *kasumidoko 霞床, *ensoudoko 円窓床, *gensoudoko 原叟床, *nurimawashidoko 塗回床.
- source : JAANUS




CLICK for more samples !

- quote
Tokobashira 床柱 alcove post
Also called nihonbashira 二本柱, because originally both the pillars to the left and right of the alcove, *tokonoma 床の間, were considered as central pillars.

The pillar closest to the center of the tea ceremony room, and the second of two pillars dictate the width of the alcove. As in formal shoin style *shoin-zukuri 書院造 tea ceremony rooms, tokobashira are chamfered. They are made of cypress or rarer woods. In semi-formal rustic type tea ceremony rooms, pine, maple, mulberry, sandalwood and ebony are employed. In the simplest, most unpretentious style tea ceremony rooms, polished logs of Japanese cedar, chestnut, bamboo and other unusual kinds of timber are used.

The diary MATSUO NIKKI 松尾日記, mid. 19c, states that the alcove post which retained the bark was first used by Furuta Oribe 古田織部 (1554-1615). Even material from old historical buildings was sometimes used. Since the alcove pillar is an important part of the interior design, in *sukiya 数奇屋 style tea houses it occasionally bears the marks of having been scraped by an adze to give it a rough finish.

Chamfered posts were used to produce a dignified appearance in *shoin 書院 rooms. There are many extant examples of alcove pillars in tea ceremony rooms dating from the late 16c-early 17c that were made of chestnut wood with an adze finish.
- source : JAANUS

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Giving Daruma a smoke.
Present only as a painting on a hanging scroll in the tokonoma, Daruma is stirred to life by a courtesan. As he leans toward her, she turns and offers him her pipe.
Ink Sketch. Farland Collection
http://wwar.com/masters/s/suzuki_harunobu.html

. Daruma and the Courtesans 芸者,花魁とだるま、女だるま .

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Noto Peninsula 能登半島 Noto Hantoo
ae no koto, aenokoto あえのこと / アエノコト / 饗事
Entertaining the God of the Fields

Nowadays there are few families who continue this ritual, which is passed on from father to son. It is an intangible cultural property of Japan and the UNESCO.

CLICK for more photos

On November 5 of the old lunar calendar, now December 5, the God of the Fields is invited into the home by the elder of the family, clad in formal hakama trousers and a robe with the family crest. He gets a great offering from the harvest. The elder sits in front of the tokonoma, where a scroll with the blind deity is hung. He tells him all the things. One important item is a two-pronged large radish, to symbolize fertility. All food offerings are given in two portions, for the God of the Fields and his Wife. There are two sets of chopsticks for the deities.

. Ta no Kami, God of the Rice Fields 田の神さま .

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Akamai Sama - The red rice of Tsushima, Nagasaki
長崎・対馬の漁師に伝わる赤米さまと不思議な神事
akamai shinji 赤米神事 ritual of the red rice

Tsushima is an island between Japan and Korea, and was an important trade stop-over for the sea trade since olden times. Rice from the mainland came via this island to Japan.


In the "fields of the Gods" at Takuzutama Shrine (た くずたまじんじゃ 多久虫玉神社) there are 15 farmer families who keep the tradition. They cultivate the rice for offerings. Each family is leading the ceremonies for one year. After the harvest they prepare a large tawara straw bag with seed rice of the first harvest, called the "tanemomidawara 種籾俵" and hang it high in the tokonoma space for prayers.
They add some special seaweed, nezumi mo ねずみ藻, to the decoration to appease the god of the sea.
The deity in residence at the shrine is Takamimusubi no mikoto 高皇産霊尊 at a special shrine, Takamimusubi jinja 高御魂神社.

. Rice plant (ine 稲, sanae 早苗 ) .

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Tsukimachi, Himachi  月待ち ・ 日待ち
"Waiting for the Moon," and "Waiting for the Sun." 

"Waiting for the moon" is an occasion when people gather on particular evenings of a lunar cycle (e.g. the seventeenth, nineteenth, twenty second, and twenty third) to eat, drink, and pay homage to the moon as they wait for it to appear. The gatherings are often organized by religious organizations known as kō, whose members assemble at their established meeting place (tōya, usually the organizer's home), hang a scroll of the moon god, Tsukuyomi no Mikoto 月讀尊, in the tokonoma alcove, light (a) votive candle(s), and wait for the moon to appear.
source : Iwai Hiroshi . Kokugakuin University

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. Tengupedia - 天狗ペディア - Tengu ABC-List.


source : geocities.jp/sanmoku0359...

tokobashira 床柱 alcove post
Once a man went 奥道後 deep in the forest of Dogo and cut a tree to make an alcove post for his home.
But the man developed a high fever and died shortly after.
A diviner told the family that this was a divine tree and the man had been thrown around by a Tengu as punishment.

. Tengu Legends from Ehime .


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Kakejiku 掛け軸 Scroll with Daruma




From a Japanese Meditating Room
Shared by a Daruma friend

. Kakejiku 掛け軸 Scroll and the Tokonoma .

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- - - - - H A I K U and S E N R Y U - - - - -





重陽やリヤドロ雛を床の間に  
chooyoo ya riyadoro-bina o tokonoma ni

double nine day -
we decorate Lladro-dolls
in the tokonoma


source : 京羅坊(kyorabo)

. Chrysanthemum Festival (chooyoo 重陽) .

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炉塞ぎや床は維摩(ゆいま)に掛け替る
ro fusagi ya toko wa yuima ni kakekaeru

fermant l’âtre,
je remplace la peinture dans l’alcôve
par une de Yuima

(Tr. Daniel Py)

Quand on ferme l’âtre, au printemps, on change la peinture dans le tokonoma, l’alcôve. Le printemps est arrivé avec toute sa joie et son activité, mais nous disons au-revoir à l’âtre, ce vieil ami, et un léger sentiment de solitude nous envahit. Pour cette raison il choisit une peinture de Yuima, malade parce que le monde entier était malade, et qui, quand on lui demanda la signification des choses, répondit par le silence. (. . .)
R.H. Blyth.

. Yosa Buson 与謝蕪村 - Introduction .


source : 石川晴彦Ishikawa Haruhiko

. Yuima Koji (Vimalakirti) 維摩居士 .
a layman Buddhist from India


. ro fusagi 炉塞 (ろふさぎ) closing the irori open hearth .
ro no nagori 炉の名残(ろのなごり)
..... robuta 炉蓋(ろぶた)cover for the irori
- - kigo for late spring

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すが漏のあと床の間の壁にあり
sugamori no ato toko no ma no kabe ni ari

leaks from melted ice
make patterns on the wall
of the tokonoma . . .


Takizawa Iyoji 瀧澤伊代次




sugamori すが洩り (すがもり) leeking of melting icewater
... suga more すが漏(すがもれ)
- - kigo for late winter

suga is dialect of Northern Japan. Snow and ice around the home begin to melt and leek through the apertures in the roof or windows or below doors.

. WKD - kigo for winter at home .


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Tokobashira 床柱 alcove post

春雨や仮鬚掛けたる床柱
笋や行末はたが床柱
行く春のもたれ心や床柱
床柱鼻もうたずに郭公
弓靱紫苑生けたり床柱

. Masaoka Shiki 正岡子規 .

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ほととぎすむかしの宿や床柱 調巴
何処からも見える越後の床柱 松下雅静
元日の夕日さしをり床柱 金尾梅の門
六月の京より届く床柱 生野照子
六月や月光しばし床柱 黒田杏子
冬麗のまんなかにある床柱 桂信子
鏡中に昭和果てたる床柱 桂信子
利休忌や楓の細き床柱 井水貞子
師の声の聞えて涼し床柱 深見けん
後の雛濤音ひびく床柱 田中英子
春浅く短冊換へぬ床柱 高濱年尾
春眠やよろけて凭る床柱 木内美恵子
桃一つ残りて黒き床柱 柿本多映
正客や暑さぞまさる床柱 雪色 選集
濃紫陽花一輪匂う床柱 中嶋正子
秋すでに傷ふかく立つ床柱 中村苑子
秋袷端折りて拭きし床柱 金龍綵子
臘梅をいけて無骨な床柱 京極杞陽
苧殻火を映せる父の床柱 沼尻巳津子
蓬莱や父の背に負ふ床柱 加藤耕子
行く秋の光澄む古き床柱 石塚友二
褞袍着て背に明るさの床柱 井出節子
避寒して海の入日に床柱 波多野爽波
雑巾や杉に時雨る床柱 一滴 「板東太郎」
雪の夜は梢をおもふ床柱 正木ゆう子
霧の夜の村を捨てたい床柱 室生幸太郎
青葉冷えこのしづけさに床柱 中村祐子
青葉寒む翁も倚りし床柱 岡本差知子

床柱拭く手見えゐる除夜旧家 鷲谷七菜子
床柱磨くことより年用意 水谷成一
床柱輪飾かけていや古りし 吉屋信子

- source : HAIKUreikuDB

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new year decoration with willow branches
kake yanagi, kakeyanagi 掛柳 (かけやなぎ)

..... yanagi kakeru 柳掛くる(やなぎかくる)
binding willow branches, musubi yanagi 結柳(むすびやなぎ),むすび柳
- - kigo for the New Year

Willow branches are hung out of a freshly cut bamboo vase in the tokonoma or over the hearth before making the first fire. The longer the branches hang down, the better. Sometimes even up to 5 meters long ! Long branches are also wound together to a ring, as a celebration to the sun gaining new strength for the coming year.

. yanagi 柳 the willow and its kigo .

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. Japanese Architecture - Interior Design - The Japanese Home .

. chigaidana, chigai-dana 違い棚 staggered shelves .

. irori 囲炉裏 / いろり open sunken hearth .
- - - - - jizaikagi 自在鈎 pothook and more


. - Doing Business in Edo - 商売 - Introduction .

. Japanese Architecture - Interior Design - The Japanese Home .

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. My collection in facebook .


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[ . BACK to WORLDKIGO . TOP . ]
- #tokonoma -
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Interior Design Japan

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Interior Design - The Japanese Home

. Japanese Architecture 日本建築 - Introduction .


Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学
The most common terms for aesthetics and design are introduced here.
. Japanese Aesthetics .


CLICK for more photos !

Japanese interior design
Japanese interior design has a unique aesthetic derived from Taoism, Zen Buddhism, specific religious figures and the west. This aesthetic has in turn influenced western style, particularly Modernism.
Interiors are very simple, highlighting minimal and natural decoration. Traditional Japanese interiors, as well as modern, incorporate mainly natural materials including fine woods, bamboo, silk, rice straw mats, and paper shōji screens. Natural materials are used to keep simplicity in the space that connects to nature. Natural color schemes are used and neutral palettes including black, white, off-white, gray, and brown.
- snip -
Traditional materials of the interior
Japanese interior design is very efficient in the use of resources. Traditional and modern Japanese interiors have been flexible in use and designed mostly with natural materials. The spaces are used as multifunctional rooms. The rooms can be opened to create more space for a particular occasion or for more privacy, or vice versa closed-off by pulling closed paper screens called shōji.

Walls made of shōji screens ...
Tatami mats ...
Bamboo ...
Paper, or washi ...
Wood ...

A recessed space called tokonoma is often present in traditional as well as modern Japanese living rooms. This is the focus of the room and displays Japanese art, usually a painting or calligraphy.
- - - More in the WIKIPEDIA !

under construction
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. butsuma 仏間 room for the Buddhist house altar .
. . . . . butsudan 仏壇 Buddhist house altar

. byoobu, tsuitate 屏風、衝立 folding screen .

byooshitsu 病室 room for a sick person

. chabudai ちゃぶ台 / 卓袱台 / 茶部台 table for tatami rooms .
shippoku しっぽく
karazukue 唐机(からづくえ) "Chinese Tang Table"


. chanoma 茶の間 private living room "tea room" .
cha no ma, cha-no-ma

. chigaidana, chigai-dana 違い棚 staggered shelves .

chikachitsu 地下室 underground room

choozu 手水 place to wash your hands

chuunikai, chuu nikai 中二階 mezzanine "middle second floor"

. daidokoro 台所 kitchen - Introduction .
- - - - - irori 囲炉裏 / いろり open sunken hearth - and more vocabulary

daikokubashira 大黒柱 main support pillar of a wooden home "Daikoku-pillar"

doma 土間 dirt floor pit, parterre
- - - - - hiradoma 平土間 pit, orchestra, parquet

. furo 風呂, basuruumu バスルーム bathroom .
- - - - - yudono 湯殿, yokushitsu 浴室 $

. fusuma 襖 and shoji 障子 sliding door .

futobashira 太柱 core pillar

. fuyuzashiki, fuyu-zashiki 冬座敷 Japanese living room in winter .


genkan 玄関 entrance, entrance hall

gootenjoo 格天井 gotenjo, coffered ceiling

hitoma 一間 one room, one-room appartment / ikken - measure, about 1.8 m

hiroma 広間 large room (for gatherings or entertainment)


ima 居間 living room

ita no ma 板の間


kaidan 階段 staircase
- - - - - hashigodan 梯子段 (a flight of) stairs "like a ladder"

. kagu 家具 furniture // wa kagu 和家具 Japanese furniture .

. kawaya 厠, setchin 雪隠, habakari 憚り, benjo 便所 toilet .
. . . . . kooka 後架 toilet, gofujoo 御不浄

kodomobeya 子供部屋 room for children

koshitsu 個室 private room, individual room


. kugikakushi, kugi kakushi 釘隠し "hiding the nails" nail-hiding ornament .  
and all about kugi 釘, Japanese nails
. kugi 釘 nail, Nagel - Introduction .

kyakushitsu, kyakuma 客室 / 客間 guest room


. mado 窓 window .
- - - - - mado no shikii 窓の敷居 windowsill

. menkawabashira 面皮柱 Menkawa pillar or post .


nagaoshi, naga-oshi 長押 beam running between columns

nakaniwa 中庭 "inner garden" - see Japanese Garden tba

nando 納戸 storage room, closet, back room

. natsuzashiki, natsu-zashiki夏座敷 living room in summer .


nihonma, Nihon-ma 日本間 "Japanese room"

oku no ma 奥の間 - see
. okuzashiki 奥座敷 living room in the back .

oohiroma 大広間 banquet hall, reception hall
oosetsuma 応接間 parlor, reception room

. ranma 欄間 transom, open panel carvings .

robii ロビー loby

sanruumu サンルーム sun room

saron サロン saloon

senmenjo 洗面所 wash room, washroom

shikii, shiki-i 敷居 a wooden groove at the boundary of rooms in which sliding doors move, threshold

shinshitsu 寝室 bedroom
- - - - - nedokoro 寝所 / shinjo 寝所
- - - - - nema 寝間
- - - - - kei 閨 woman's bedroom

shoin 書院 study, drawing room
- - - - - shosai 書斎 study, library
- - - - - shoya 書屋 room for books

shokudoo 食堂 dining room

sujikai 筋交い diagonal brace


. tatami 畳 floor mats .
- - - - - tatami no ma 畳の間 $

. tansu 箪笥 / 簞笥 -- たんす chest of drawers, Kommode .


tearai, te-arai 手洗い place to wash your hands, often toilet

tenjoo 天井 ceiling

tenmado 天窓 rooflight, "window to see heaven"

. tokonoma 床の間 alcove for decorations, art nook .
- - - tokobashira 床柱 tokonoma post, alcove post

tooriniwa, toori-niwa 通り庭 earthfloored area, long doma -
. tooriniwa - inour facebook gallery .
..... tsuuro 通路, tooridoma 通り土間
- 通り庭ある京の家炭を挽く 神田敏子

tsugi no ma 次の間 ante-room, antechamber

. uguisubari うぐいす張 / 鴬張 / 鶯張り nightingale floor .

washitsu 和室 Japanese-style room

yooshitsu 洋室 / yooma 洋間 Western-style room

. zabuton 座布団 sitting cushion .

. zashiki 座敷 guest room, drawing room, sitting room .
..... zashiki karakuri 座敷からくり mechanical dolls
..... zashiki warashi 座敷童子 / ざしきわらし girl spooks



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. My collection in facebook .


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- - - - - Literature and Reference


The Japanese House: Architecture and Interiors
Alexandra Black、 Noboru Murata
The simple beauty of Japanese architecture and design has inspired many of the world's top architects and designers-Bruno Taut, Frank Lloyd Wright, and Terence Conran, to name just a few. The grace and elegance of the Japanese sensibility is reflected in both modern and traditional Japanese homes, from their fluid floor plans to their use of natural materials. In The Japanese House, renowned Japanese photographer Noboru Murata has captured this Eastern spirit with hundreds of vivid color photographs of 15 Japanese homes. As we step behind the lens with Murata, we're witness to the unique Japanese aesthetic-to the simple proportions modeled after the square of the tatami mat; to refined, rustic decor; to earthy materials like wood, paper, straw, ceramics, and textiles. This is a glorious house-tour readers can return to again and again-for ideas, inspiration, or simply admiration.
- source : www.amazon.co.jp

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Living in Japan
Alex Kerr / Kathy Arlyn Sokol (Author), Angelika Taschen (Editor), Reto Guntli (Photographer)
So rich and unique is traditional Japanese architecture that it’s hard to improve upon. Yet contemporary Japanese designers and architects keep finding new ways to refurbish and take inspiration from the ways of old. Whether it’s a pristinely preserved traditional house or a cutting-edge apartment, the best Japanese homes share a love of cleverly designed spaces and warm materials such as wood, bricks, and bamboo.
From a thatched roof farmhouse occupied by a Zen priest to Tadao Ando’s experimental 4x4 House, Shigeru Ban’s conceptual Shutter House, and a beautiful homage to bamboo in the form of a home, this book traverses the multifaceted landscape of Japanese living today. Also included is a list of addresses and a glossary of terms, such as tatami.
Text in English, French, and German
- source : www.amazon.com

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Japan the Art of Living
Amy Slyvester Katoh、 Shin Kimura

Japan Style: Architecture
Geeta Mehta

Japan: The Art of Living
Amy Sylvester

Japan Home
リサ パラモア

and more on amazon com
- source : www.amazon.co.jp/Japanese-House-Architecture-Interiors

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Modern Japanese Interior Design:
Nature atmosphere inside Home

Basically, there are thousands great ideas about home interior design that will inspire you in deciding the right home interior design, western interior design, European home interior design or maybe Asian home interior design. Asian interior design is one of great ideas; one of Asian home interior design which maybe can be great inspiration for you is Modern Japanese interior design.

Special characteristic from Modern Japanese interior design is the minimalist design; commonly Japanese homes are small home that is occupied by one family. The other Japanese home character is, commonly Japanese home involve hallway, and the hallway is located between one room and the other. The hallway is used to connect the rooms of the home. Common modern Japanese home interior design provides an outdoor terrace inside home; this way is done to give fresh air for home.

Modern Japanese interior design is inspired from Traditional Japanese home.
- source : lookhomedesign.com


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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10/12/2014

Aesthetics bigaku

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Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学

The most common terms for aesthetics and design will be introduced here.


CLICK for more photos !

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. basara ばさら / 婆娑羅 / バサラ flamboyant elegance .


. fuuryuu 風流 elegant, tasteful refined .
fuuga, fūga 風雅 fuga, elegance, sincerity
fuukyoo, fûkyô 風狂 fukyo, poetic eccentricity
fuugetsu, fūgetsu 風月 fugetsu, to enjoy the beauty of nature, lit, "wind and moon"


. iki いき / イキ / 粋 / 意気 the CHIC of Edo .


karei 華麗 gorgeous, magnificent elegance


kazari 飾り ornamentation, decoration


. koogei, kôgei 工藝 / 工芸 Kogei, industrial art .

. Mingei 民芸 Beauty of Folk Art and Craft .   


. miyabi 雅 / みやび court elegance .


. mono no aware ものの哀れ the pity / pathos of things .


. shibui 渋い / shibusa 渋さ subdued elegance .


. Storytelling in Japanese Art .


. yuugen 幽玄 yugen. deep, mysterious elegance .
and the Noh theater 能楽


. wabi and sabi 侘び 寂び .
wabi ... simple and quiet, austere refinement
sabi ... elegant simplicity, patina, rusty


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Japanese Aesthetics
First published Mon Dec 12, 2005;
Stanford Encyclopedia of Philosophy

Although the Japanese have been producing great art and writing about it for many centuries, the philosophical discipline in Japan corresponding to Western “aesthetics” did not get underway until the nineteenth century. A good way to survey the broader field is to examine the most important aesthetic ideas that have arisen in the course of the tradition, all of them before aesthetics was formally established as a discipline: namely, mono no aware (the pathos of things), wabi (subdued, austere beauty), sabi (rustic patina), yūgen (mysterious profundity), iki (refined style), and kire (cutting).

1. Introduction
2. Mono no aware: the Pathos of Things
3. Wabi: Subdued, Austere Beauty
4. Sabi: Rustic Patina
5. Yūgen: Mysterious Grace
6. Iki: Refined Style
7. Kire: Cutting
8. Ozu Yasujirō: Cinematic Cuts
Bibliography / Academic Tools / Other Internet Resources / Related Entries
- source : plato.stanford.edu

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CLICK for more photos !

Nihon no Bigaku 日本の美学 - monthly magazine


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- quote
Japanese Aesthetics, Wabi-Sabi, and the Tea Ceremony
Aesthetics (snip)
...
Japanese Aesthetics
To understand the art and aesthetics of Japan, it is necessary to investigate a Japanese world view, ideas about the nature of art, and influences brought about through contact with other cultures. The aesthetics of Japan developed in a unique fashion, partly because of its geographic location, a string of islands about 100 miles from Korea and 500 miles from China. Its isolation by the sea helped protect Japan from foreign invasion and allowed its rulers to control contact with other nations.

During long periods of self-imposed isolation, art forms and aesthetic ideas developed which were specifically Japanese. Over the centuries, when interactions with foreign cultures occurred, they influenced the traditional arts and aesthetics of Japan. For the purposes of this discussion, the focus will be on what remained essentially Japanese.

Traditional Japanese art and aesthetics we are most affected by the Chinese and by Buddhism, but influences from the West are also evident. For example, the Japanese made no distinction between fine arts and crafts prior to the introduction of such ideas by Europeans in the 1870s. The Japanese word that best approximates the meaning of "art" is katachi.
Katachi translates to mean "form and design," implying that art is synonymous with living, functional purpos e, and spiritual simplicity.

The primary aesthetic concept at the heart of traditional Japanese culture is the value of harmony in all things. The Japanese world view is nature-based and concerned with the beauty of studied simplicity and harmony with nature. These ideas are still expressed in every aspect of daily life, despite the many changes brought about by the westernization of Japanese culture. This Japanese aesthetic of the beauty of simplicity and harmony is called wabi-sabi.
- source : ntieva.unt.edu

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. Tea Ceremony Aesthetics .
Datsuzoku (脱俗) Freedom from habit or formula.
Fukinsei (不均整) Asymmetry or irregularity.
Kanso (簡素) Simplicity or elimination of clutter.
Seijaku (静寂)Tranquility.
Shibui/Shibumi (渋味) Beautiful by being understated,
Shizen (自然) Naturalness.
Yugen (幽玄) Profundity or suggestion rather than revelation.


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- - - - - Japanese aesthetics - wikipedia - - - - -
1 Shinto-Buddhism
2 Wabi-sabi
3 Miyabi
4 Shibui
5 Iki
6 Jo-ha-kyū
7 Yūgen
8 Geidō
9 Ensō
- - -Fukinsei: asymmetry, irregularity; Kanso: simplicity; Koko: basic, weathered; Shizen: without pretense, natural; Yugen: subtly profound grace, not obvious; Datsuzoku: unbounded by convention, free; Seijaku: tranquility.
© More in the WIKIPEDIA !

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The one thing we can always count on in Japanese design is that aesthetics are important not only in the design industry, but also in the lifestyle of the citizens. From the culinary arts, to religion, to fashion, the visual aspect of life is an important part of Japanese culture. How a food is presented is just as important as how it tastes, if not more. It is then important to note how much aesthetics are important in the automotive industry of Japan.

Leon, an automotive design student at RMIT in Melbourne, Australia, has broken down the basic principles of Japanese aesthetics, and how they can help us better understand and work to Japanese design.
- source : vehicle4change.wordpress.com


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Kenya Hara On Japanese Aesthetics
by Oliver Reichenstein, 2009

What makes Japanese design so special? Basically, it’s a matter of simplicity; a particular notion of simplicity, different from what simplicity means in the West. So are things in general better designed in Japan? Well, actually, it’s not that simple…

The New York Times asked us to put them in touch with Kenya Hara, creative director of MUJI and professor at the Musashino Art University. The NYT wanted to know whether everything in Japan was designed as well as the famous bento boxes. Mr Hara gave an answer worth reading and contemplating. The text in the New York Times was shortened down to fit their format. We are proud to be able to provide the full text in English and in Japanese.

Why does it seem like Japan is more attuned to the appreciation of beauty? Do the Japanese value the aesthetic component and experience more than other places? Are things in general better designed in Japan?
When coming back to Tokyo from abroad, my first impression usually is: what a dull airport! And yet it’s clean, neat and the floors deeply polished. To the Japanese eye, there’s a particular sense of beauty in the work of the cleaning staff. It’s in the craftman’s spirit — “shokunin kishitsu” — which applies to all Japanese professionals, be they street construction workers, electricians or cooks.

A Japanese cleaning team finds satisfaction in diligently doing its job. The better they do it the more satisfaction they get out of it.

The craftman’s spirit, I think, imbues people with a sense of beauty, as in elaboration, delicacy, care, simplicity (words I often use). Obviously, this also applies to bento-making and the pride people take in making them as beautiful as they can.

There is a similar craftman’s spirit (“shokunin kishitsu” or “shokunin katagi“) in Europe. Yet in Europe I can see it coming alive only from a certain level of sophistication. In Japan, even ordinary jobs such as cleaning and cooking are filled with this craftman’s spirit. It is is common sense in Japan.

While Japanese are known for their particular aesthetic sense, I would say we also have an incapacity to see ugliness. How come?

We usually focus fully on what’s right in front of our eyes. We tend to ignore the horrible, especially if it is not an integral part of our personal perspective. We ignore that our cities are a chaotic mess, filled with ugly architecture and nasty signage. And so you have the situation where a Japanese worker will open a beautiful bento box in a stale conference room or on a horrendous, crowded sidewalk.

Are things in general better designed in Japan?
A central aesthetic principle in Japan is simplicity, but it is different from simplicity in the West. Let me explain the difference by comparing cooking knives. For example, the knives made by the German company Henckel are well crafted and easy to use because they are highly ergonomic. The thumb automatically finds its place when you grab the knife.

HENCKEL knife, photo by Kenya Hara
Japanese cooks who have special skills prefer knives without any ergonomic shape. A flat handle is not seen as raw or poorly crafted. On the contrary, its perfect plainness is meant to say, “You can use me whichever way suits your skills.” The Japanese knife adapts to the cook’s skill (not to the cook’s thumb). This is, in a nutshell, Japanese simplicity.

YANAGIBA knife, photo by Kenya Hara
The knife’s simple shape is not seen as poor or raw. Beauty beyond fanciness is an aesthetic principle that is sleeping at the bottom of Japanese perception. It’s also a guiding principle to Japanese high tech architecture, and the minimal products of Muji.

Applied to the bento this simply means: don’t try to be fancy; don’t overdo it. A beautiful bento is done using seasonal ingredients; it is done quickly and easily.
- source and Japanese text : ia.net/blog


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A History of Modern Japanese Aesthetics
by Michael F. Marra / Michele F Marra, 2001

This collection of twenty-one essays, a companion volume to Modern Japanese Aesthetics, constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources, the essays cover topics related to the study of beauty in art and nature.
- source : books.google.co.jp

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The Aesthetic Feeling of the Japanese - 日本人の美意識

INSPIRED DESIGN - Japan's Traditional Arts
by Michael Dunn

anji, "suggestivity"; 暗示
kanso, "simplicity"; 簡素
fukinkoo,"asymmetry"; 不均衡
hakanasa, "transience"; 儚さ, 果敢なさ
ma, "space."  間
. Japanese Design and Daruma .


Traditional Japanese Design: Five Tastes
Michael Dunn
Japanese craftsmen, fusing a love of natural materials like wood, bamboo, and clay with an eye for bold, essential form, elevated the design of utilitarian objects to an art unparalleled elsewhere in the world. Today the finest of these objects created for daily use are hugely popular-and eminently collectible.
This richly illustrated book, which accompanies a major exhibition organized by the Japan Society, is divided by five aesthetic tastes. It presents a superb selection of objects of lacquer, ceramics, metalwork, basketry, and textiles-ranging from humble tools for farmers to spectacular arms and armor, and refined utensils associated with the tea ceremony. Craft lovers, collectors, artists, and designers will welcome this tribute to these highly influential Japanese crafts.
- source : http://www.amazon.com


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John LaFarge -  ジョン・ラファージ 
(March 31, 1835 – November 14, 1910)
He was a pioneer in the study of Japanese art.
. AN ARTIST'S LETTERS FROM JAPAN .


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Japanese Design: Art, Aesthetics and Culture
Patricia J. Graham - Spetember 2014
What exactly is the singular attraction of Japanese design? And why does Japanese style speak so clearly to so many people all over the world?
The Japanese sensibility often possesses an intuitive, emotional appeal, whether it's a silk kimono, a carefully raked garden path, an architectural marvel, a teapot, or a contemporary work of art. This allure has come to permeate the entire culture of Japan—it is manifest in the most mundane utensil and snack food packaging, as well as in Japanese architecture and fine art.
In Japanese Design, Asian art expert and author Patricia J. Graham explains how Japanese aesthetics based in fine craftsmanship and simplicity developed. Her unusual, full-color presentation reveals this design aesthetic in an absorbing way, using a combination of insightful explanations and more than 160 stunning photos. Focusing upon ten elements of Japanese design, Graham explores how visual qualities, the cultural parameters and the Japanese religious traditions of Buddhism and Shinto have impacted the appearance of its arts.
Japanese Design is a handbook for the millions of us who have felt the special allure of Japanese art, culture and crafts. Art and design fans and professionals have been clamoring for this—a book that fills the need for an intelligent, culture-rich overview of what Japanese design is and means.
- source : www.amazon.com


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Elements of Japanese Design
Boye Lafayette De Mente
Learn the elements of the timeless beauty that is Japanese design in this concise reference volume.
Japanese design is known throughout the world for its beauty, its simplicity, and its blending of traditional and contemporary effects. This succinct guide describes the influence and importance of 65 key elements that make up Japanese design, detailing their origins—and their impact on fields ranging from architecture and interior design to consumer products and high fashion.
Learn, for example, how the wabi sabi style that's so popular today developed from the lifestyle choices made by monks a thousand years ago. And how unexpected influences—like tatami (straw mats) or seijaku (silence)—have contributed to contemporary Japanese design.
Elements of Japanese Design offers new insights into the historical and cultural developments at the root of this now international aesthetic movement. From wa (harmony) to kaizen (continuous improvement), from mushin (the empty mind) to mujo (incompleteness), you'll discover how these elements have combined and evolved into a powerful design paradigm that has changed the way the world looks, thinks and acts.
- - - Chapters include:
Washi, Paper with Character
Ikebana, Growing Flowers in a Vase
Bukkyo, The Impact of Buddhism
Shibui, Eliminating the Unessential
Kawaii, The Incredibly "Cute" Syndrome
Katana, Swords with Spirit
- source : www.amazon.com


. Nichōsai 耳鳥斎 Nichosai, Nicho-sai and Kawaii 可愛い .
(?1751 - 1802/03) - - A painter from Osaka.

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Japan Style
by Gian Carlo Calza
Japan Style, written by one of the world's most respected scholars of Japanese art and culture, is an authoritative and wide-ranging visual essay on the aesthetics of Japan.It serves as a unique handbook that aids an understanding of Japanese culture through its architecture, arts, crafts, cinema, and literature.
It gives an insight into the essence of Japanese culture, identifying its specific qualities and characteristics from ukiyo-e to Tadao Ando. The author draws connections between art, religion, history, philosophy, and mythology, using the links to frame specific examples of Japanese cultural memes.
The book features over 150 illustrations ranging from the traditional to the contemporary. Japan Style is a perfect introduction to Japanese style and culture.
- source : www.amazon.com




A Grammar of Japanese Ornament and Design
by Thomas W. Cutler
With the opening of Japan to the West in the mid-19th century, much of Japanese life that had been sealed off from the rest of the world for centuries was now revealed to the public at large — including the artistic styles and subjects depicted in this excellent collection. Rendered by a trained British architect, the images comprise one of the most comprehensive surveys of Japanese art and ornamentation. Included are graceful details from landscapes, floral motifs, abstracts, sea life, and other designs — ideal for use in modern textiles, graphics, and a host of other art and craft projects.
A delight for anyone interested in Japanese art and culture, this volume will be an invaluable source of permission-free graphics for designers and decorators in search of new subjects with authentic Japanese flavor. Over 300 figures on 65 plates.
- source : www.amazon.com


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WA: The Essence of Japanese Design
Stefania Piotti
Explore the enduring beauty of Japanese design through some 250 objects, ranging from bento boxes, calligraphy brushes, and Shoji sliding doors to Noguchi’s Akari lamp, the iconic Kikkoman soy sauce bootle, and a modern‐day kimono designed by Issey Miyake.
Printed on craft paper and bound in the traditional Japanese style, WA features stunning, full‐page illustrations and an introduction by MUJI art director Kenya Hara.
- source : www.amazon.com


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Influence of Japanese Art on Design
Hannah Sigur, 2008
This stunning book explores the story of Japan as the catalyst of modern design in the Gilded Age. Author Hannah Sigur juxtaposes glass, silver and metal arts, ceramics, textiles, furniture, jewelry, advertising, and packaging with a spectrum of Japanese materials ranging from one-of-a-kind art crafts to mass-produced ephemera, showing the ways that Japanese arts and ideas about Japan changed the world.
The "Japan Craze" came at a time of radical change in society. Western culture was yearning for the values of a past it believed were embodied in Japanese traditional arts, and Japan felt the demand for modernity it saw embodied in the West. During this time, both traditional arts and modern manufactures from Japan became the focus of an international coterie of artists, dealers, and thinkers who proselytized Japanese aesthetics as a model.
- source : www.amazon.com

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Zen and the Fine Arts
Shin'ichi Hisamatsu (Author), G. Tokiwa (Translator)

Examples of painting, architecture, gardens, drama and ceramics probe the relationship between Zen Buddhism and the fine arts.

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- further reference and books


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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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