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. - Doing Business in Edo - 商売 - Introduction .
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juukumonya 十九文店 shops selling everything for 19 mon
juukumon ya, juukumon no mise
ichimon, ichi mon 一文 one Mon. a penny; a farthing
ein Pfennig; ein Heller
shimonya 四文屋 "Four Mon Shop"
Small shops in Edo where everything cost just one coin, the "Four Mon Coin".
That was the beginning of our 100 Yen Shop, the One Dollar Shop, the One Euro Shop.
Other cheap items in Edo were multiplied with four.
. Money in Edo - coins 銭 zeni .
- Introduction -
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source :oshie-miyabi.com/topics
juuhachi mon 十八文 18 mon dealer
These one-price for all shops began to appear in the Mid-Edo-Period around 1723.
Also written 19文店 or 19文屋.
At that time a bowl of soba buckwheat noodles cost 16 mon, so in our times it would be a price of 400 to 500 Yen.
They did not have fixed shops but sold on the busy streets on sunny days. Spreading a straw mat on the ground they could display their merchandise, from toys to household goods.
There were always many customers and onlookers at their "shop".
There was a time of decline in their popularity, but by 1810 they were back on the streets. Some changed their unified price to 38 mon 38文.
They sold lacquered bowls, hairpins and other more luxury items.
Other shops soon followed with a cheaper unified price of 13 mon 十三文, 13文.
In our modern times, we have
the 100 Yen shops 100円ショップ
where everything has one price (and mostly made in China).
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100円ショップ 大江戸
A modern kit with origami patterns from Edo 折り紙キット
sold at a modern 100 Yen Shop
- source : orioriori.at.webry.info
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- - - - - H A I K U and S E N R Y U - - - - -
十九文見世にいなかゞ五六人
juukumon mise ni inaka ga go roku nin
to the one-price cheap shop
five-six folks from the country come
to have a look
Tr. Gabi Greve
Many were on their way back to the countryside and wanted some cheap souvenirs for the family back home.
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. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
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[ . BACK to WORLDKIGO . TOP . ]- - - - - #edojuukumonya #cheapshops - - - -
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Showing posts with label - - - Business in Edo. Show all posts
Showing posts with label - - - Business in Edo. Show all posts
4/29/2015
4/22/2015
hairstyle
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Hairstyles and hairdressers in Edo - - 髪 kami
CLICK for more photos !
. WKD : hair, hairstyle and kigo .
- Introduction -
- - - - - Edo Tsumami-Kanzashi 江戸つまみ簪 Ornamental Hairpins
- - - - - kanzashi uri かんざし売り hairpin vendor in Edo
. kami no omamori 髪のお守り amulets for hair .
bihatsu kigan 美髪祈願 praying for beautiful hair
- - - - - The words KAMI 神 for deity and KAMI 髪 for hair have a close relationship.
Mikami Jinja 御髪神社 Kyoto
kamizuka 髪塚 hair mound
priest Semimaru 蝉丸法師 and Sakagami Hime 逆髪姫 Princess "hair standing up"
Kushinadahime クシナダヒメ - Kushi inada hime -櫛名田比売 - 奇稲田姫
. okanjake おかんじゃけ / 御髪下 stick with hair made from bamboo .
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katsurashi, katsura shi 鬘師 wig maker
In the Edo period, wigs were not usually worn by normal people, but only by actors.
The wigs had to be carefully adjusted to the face of an actor in a certain role he was going to play.
鬘師の友九郎 The Kabuki wig maker Tomokuro
- source : Kabuki Costume - Ruth Shaver - googlebook -
- quote -
A wig for an actor or for a puppet. 役者や人形のための鬘。
Wigs used in Kabuki 歌舞伎
Japanese wig-making techniques date back to the 17th century Kabuki theater when men, who traditionally shaved the top of their heads, had to play the roles of women, Thus a wig-making industry grew up to serve the onnagata Kabuki actors (men playing the roles of women).
The wig is based on a "daigane" [台金 base-metal], a thin copper plate which is pounded to fit the shape of actor's head, onto which the hair weave (蓑 mino) is attached. It is said that this technique was invented in the Enpo Era (1673-1681). In the late Edo Period, "habutae" [羽二重 a kind of thin silk cloth] was attached to the thin copper plate to make the hairline appear more natural. This made the hair appear as though it were actually growing from the head.
They are basically constituted of 4 parts:
bin 鬢 [the sections of hair on both sides of the face],
tabo 髷 [hair on the back of the head],
mage 髱 [central section of hair done up in various shapes] - and
maegami 前髪 [forelock].
The shape of each of these parts can be changed with use of accessories called kakemono 掛け物 ("things attached") or sashimono さし物 ("things stuck through").
The roles and their characteristics are expressed by variations and combinations of each of these parts. For the same reason as for costumes, the degrees of exaggeration and stylization in Jidaimono are more extreme than for Sewamono.
The variety of wigs for Tachiyaku (male roles) is said to be about 1,000 kinds, but for Onnagata (female roles) there are only about 400, because the roles and their characteristics set for Tachiyaku are more complex.
- source : glopad.org/jparc -
. kamojiya 髪文字屋 / 髢屋 dealer in fallen hair .
ochanai おちゃない female collectors of fallen hair in Edo
kami 髪 お守り amulets for growing hair
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. hatsu kami 初髪 (はつかみ) "first hair"
..... 初結(はつゆい)first combing the hair
having the hair made up for the first time
..... yuizome 、結初(ゆいぞめ)
toshi no kami 年の髪(としのかみ)
sukizome 梳初 (すきぞめ) first combing the hair
hatsu shimada 初島田(はつしまだ)first Shimada-style hair
.......................................................................
kamioki, kami oki 髪置 (かみおき) binding up the hair
..... kushi oki 櫛置(くしおき) using a comb
November 15, the full moon night of the Asian lunar calendar
Boys and girls at age three are combed tn this fashion for the first time. This is a celebration of growing up for the whole family.
A wig is made from white hemp or cotton and put on the head of the children, to show they will grow to ripe old age. After visiting the family deity (ujigami) there is a feast with all the relatives.
Boys are next celebrated at age 5, when they put on their first hakama trousers.
Shichigosan . Seven-Five-Three Festival
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chonmage ちょんまげ/ 丁髷 topknot
"samurai buns"
traditional hairstyle for samurai in the feudal era
It was originally a method of using hair to hold a samurai helmet steady atop the head in battle, and became a status symbol among Japanese society.
A traditional Edo-era chonmage featured a shaved pate. The remaining hair, which was long, was oiled and tied into a small queue which was folded onto the top of the head in the characteristic topknot.
During the Edo period, men of the hinin outcast class were required to keep their hair cut short without topknots.
Westerners associated the chonmage with backwardness and a lack of civilisation and this was one reason why Japanese cut their hair.
- source : more in the wikipedia
ema 絵馬 votive tablets with cut-off hair of samurai.
. hairstyles, chonmage ちょんまげ topknot .
The law sanpatsu dattoo 散髪脱刀 was enacted in 1871
In 1876, the haitoo-rei廃刀令 forbade non-uniformed personnel from wearing swords.
- quote -
(1871) Japan Abolishes the Samurai Topknot
On August 9, 1871 (Meiji 4), the Japanese government issued the danpatsurei (断髪令, Cropped Hair Edict), encouraging samurai to cut their distinctive chonmage topknot. It created a minor photography boom when samurai rushed to photo studios to get their photo taken before their chonmage was cut off. As a result of the edict, Western hair styles, called zangiri (散切り), became increasingly popular. This became a powerful symbol of the dramatic change overtaking Japanese society.
True reformation of the samurai system started when on January 10, 1873 (Meiji 6), the samurai’s right to be the only armed force was abolished and replaced by a modern, western-style, conscripted army. The new system was called chouheirei (徴兵令, Conscription Ordinance) and was the beginning of the end of the samurai system in Japan.
Samurai now became shizoku (士族). They retained some of their salaries, paid for by the government, but these were so low that many samurai were forced to find new employment.
- source : meijishowa.com/calendar -
Exhibition
The shape of chic : fashion and hairstyles in the Floating World
Yale University Art Gallery, March 18-May 4, 1986 / Shauna J. Goodwin.
Publisher [New Haven] : The Gallery, c1986.
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source : ukiyo-e.org
Actor Nakamura Tomijûrô as a Kamiyui (Hair Dresser)
by Katsukawa Shunsho
kamiyui 髪結い hairdo master, hairdresser
- - - - - motoyui 元結い / mageyui 髷結い
onna kamiyui shi 女髪結師 hairdresser specialized for female hair
Most of the female kamiyui went from home to home in the morning to cater to their regular customers. Some later on opened their own shop.
If a woman worked as a kamiyui, she made enough money to earn her own and feed her husband and family.
source : rakugo-fan.at.webry.info
- quote -
"Kamiyui Tōji" (Hairdresser Tōji)
The famous Kabuki playwright Kawatake Shinshichi II (later known by the name Mokuami),
was also a prominent member of the Suikyō-ren Rakugo group.
He once performed a sandai-banashi impromptu Rakugo narrative based on the following three themes:
"Kokusenya" (the name of a mixed Chinese/Japanese Ming loyalist of the early 17th Century,
also known as Zheng Chenggong or Koxinga), "suckled by others," and "hair dressing."
Shinshichi proceeded to adapt the story for Kabuki at the request of the actor Ichikawa Kodanji IV,
and it was first performed at Edo Ichimura-za Theater in February 1863 (Bunkyū 3).
Kodanji played the role of Kamiyui Wakokubashi-no Tōji (Tōji the hairdresser of Wakokubashi),
while Hiranoya Kōjirō was played by Sawamura Tosshō II,
and Kinchakukiri Takemon-no Tora (Tora the pickpocket of Takemon) was played by Ichimura Kakitsu II.
At this time, the Suikyō-ren and Kyōshō-ren groups presented Shinshichi with a stage curtain.
An aficionado would sometimes present an actor with a stage curtain,
but its presentation to a Kabuki playwright was an exceptional honor,
and represents a noteworthy event in the history of Japanese theater.
Sandai-banashi stories supplied material for not only for traditional Rakugo,
but also Kabuki, stage plays, and other art forms.
Their influence extended to Japanese literature of the late Edo Period and early Meiji Era.
- source : Tokyo Metropolitan Library
- quote -
The Independent Working Woman as Deviant in Tokugawa Japan,
1600-1867
snip
According to historian Nishioka Masako, the first female hairdressers were spotted in Osaka sometime between the Meiwa (1764-71) and Anei (1772-80) eras. While the early hairdressers catered mostly to women of the pleasure quarters, it was not long before they began attracting women of the artisan and merchant classes. Yasukuni has pointed out that popular hairstyles were not only fashionable but also convenient, particularly for the townswomen who could maintain the same set for up to one or two months. By the Kaei (1848-53) era, there were more than 1,400 female hairdressers in Edo alone.
The emergence of the hairdressers exemplifies how far female labor had developed by the mid-Tokugawa period. In writer Tamenaga Shunsui's Shunshoku umegoyomi (1832), one of the female characters is a young hairdresser who is described as a tomboy, otherwise known as "anego" (female boss) among the town youths. While there is no reason to assume that all hairdressers took on a masculine character, it is likely that many were either self-sufficient or less dependent on the ie. Given the phrase, "kamiyui no teishu" (the hairdresser's husband) that referred to a man who lived off a woman's income, historian Seki Tamiko has suggested that the hairdressers' earnings were often on a par with men's.
The newly invented stereotypes that address the hairdressers' potential self-sufficiency must be considered within the context of a rapidly expanding commercial economy that supported the employment of independent wage-earning women and the society's continued fascination with yet denigration of female labor. As historian Susan Hanley has pointed out, during the course of the Tokugawa period the townspeople spent large proportions of their incomes on status goods and gifts to maintain and enhance existing social networks. These acts were serious challenges to the rigid social distinctions of the period and frowned upon by the Tokugawa government. In an episode in businessman Mitsui Takafusa's (1684-1748) Chonin kokenroku (ca. 1730), a merchant of Edo is severely punished when his spendthrift wife is mistaken for a lady by none other than the Shogun himself.
As historian Mikiso Hane has explained, some merchant households lost their fortunes by incurring the wrath of the ruling authorities. Hence the women who catered to the extravagant needs of merchant wives and daughters faced heavy consequences when they violated the official banning of hairdressers in a series of moral reforms in the late eighteenth century. Not only were the hairdressers fined, but their husbands and parents were also held accountable. Nevertheless, the hairdressers were continually brought back by popular demand.
- - - - - more - source : Shiho Imai
CLICK for more Ukiyo-E with hair dressers.
喜多川歌麿 Kitagawa Utamaro
. Join the Ukiyo-E friends on facebook ! .
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kamiyuidoko 髪結床 hairdresser shop, hairstylist shop
Apart from cutting hair and doing hairstyles, many also offered cutting the beard of men ひげを剃る.
The first shop of this kind was opened by the hairstylist of Tokugawa Ieyasu、北小路藤七郎
Kitakoji Toshichiro. He got the permission to travel freely in Japan and finally settled in 赤羽 Akabane in Edo. In the time of the fourth generation, 幸次郎, he was allowed to open a shop in each suburb of Edo 一町一軒の髪結床.
- - - - - Later there were
source : blog.livedoor.jp/mugai_de_ia
uchidoko 内床 barbers working at home (clients were mostly men)
- and
dedoko 出床 hairdresser setting up a mobile shop at a busy road or bridge. Some also worked there with the order of keeping an eye on the people crossing the bridge (a sort of spy for the local police station).
and
bindarai 鬢盥 hairdresser working in the home of a client
source : blog.livedoor.jp/m-95_72230
「かみいどこ」 kami idoko in the local dialect of Edo.
Exhibit at the Fukagawa Edo Museum 深川江戸資料館
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. Edo Sanza 江戸三座 Kabuki in Edo .
梅雨小袖昔八丈 Tsuyu Kosode Mukashi Hachijô
Kamiyui Shinza 髪結新三 The Barber Shinza
The drama "Tsuyu Kosode Mukashi Hachijô" was premiered at the Nakamuraza in June 1873. It was based on Shunkintei Ryûô III's popular narrative "Shirokoya Seidan", which was about the exploit of the magistrate Ôoka Echizen-no-Kami Tadasuke (1677~1751) to solve the Shirokoya case.
Kawatake Shinshichi II was more interested in a crooked hairdresser than the upright magistrate. As a consequence, the scenes with Ôoka Echizen-no-Kami Tadasuke are rarely performed nowadays.
- summary
Shinza has enticed Chushichi, the Shirakoya clerk, to aid him in kidnapping Okuma, daughter of the Shirakoya's owner. Shinza sent back Yatagoro Genshichi, the gang leader who came to negotiate with him, but the landlord Chobe who comes to see Shinza is more than Shinza can cope with, and Shinza decides to release Okuma in exchange for 30 ryo in cash. But Chobe talks Shinza down and cheats him out of 15 ryo and half of a large bonito. Later, Genshichi ambushes Shinza and kills him to avenge the humiliation he suffered because of Shinza.
Usually this work is performed from the 'Shirakoya misesaki' scene in which Shinza persuades Chushichi to join his plot, to the 'Fukagawa emmadobashi' scene in which Genshichi takes his revenge on Shinza.
- Read the full text of the play here
- source : kabuki21.com/kamiyui_shinza
Kamiyui Shinza 髪結新三 The Barber Shinza
- Costume
Kamiyui Shinza is one of the dramatis personae of a Sewamono which realistically describes the lives of common people of the Edo period, so his costume is not exaggerated compared to the common people's clothing in that period. The characteristics of each role are expressed by the colors and patterns of their kimono. Shinza's costume is blue as shown in the photograph. This blue color shows that he is a stylish character, a fashionable edokko.
A tasuki (cord used to tuck up sleeves) is made by connecting pieces of mottoi (paper cords for tying up hair) used to tie mage (topknot or chignon), showing a customs of the kamiyui (hairdressers) of the period.
- Props
Kamiyui Shinza holds props reproduced so that they are identical to the tools used by ordinary hairdressers in the Edo period, and realistically acts out the situation of dressing hair. The actor playing this role learns in advance how to handle the tools and how to do hairdressing from the artisan called Tokoyama who dresses wigs, so that onstage the actor can look like a real hairdresser.
- source : Japan Arts Council, 2007
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- - - - - H A I K U and S E N R Y U - - - - -
Four haiku by Kobayashi Issa about hairstyle, hairdo, hairdresser
Tr. by David Lanoue
髪結も大小さして初袷
kamiyui mo daishoo sashite hatsu awase
their hairstyles
long and short...
new summer kimonos
髪結も白い仲間や花の陰
kamiyui mo shiroi nakama ya hana no kage
the hairdos
of companions all white...
blossom shade
短よや髪ゆひどのの草の花
mijika yo ya kamiyui dono no kusa no hana
short summer night--
the hairdresser's wildflowers
blooming
夕立や髪結所の鉢の松
yuudachi ya kamiyui-doko no hachi no matsu
rainstorm--
outside the hairdresser's
a potted pine
. Welcome to Kobayashi Issa in Edo ! .
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寒紅や夫の好まぬ髪結はむ
池上不二子
さんざしの花巫女になる髪結うて
今野福子
祭髪結うてひねもす厨事
転馬嘉子
CLICK for more photos !
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髪結いの伊三次 Kamiyui no Isaji
source : blog.goo.ne.jp/aboo-kai/e
He was the hero of a jidaigeki period drama in 1999.
According to a novel by 宇江佐真理 Ueza Mari (1949 - )
髪結い伊三次捕物余話 Kamiyui Isaji Torimono Yowa
- reference -
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- - - To join me on facebook, click the image !
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. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #edohairstyle #kamiyui #katsura - - - -
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Hairstyles and hairdressers in Edo - - 髪 kami
CLICK for more photos !
. WKD : hair, hairstyle and kigo .
- Introduction -
- - - - - Edo Tsumami-Kanzashi 江戸つまみ簪 Ornamental Hairpins
- - - - - kanzashi uri かんざし売り hairpin vendor in Edo
. kami no omamori 髪のお守り amulets for hair .
bihatsu kigan 美髪祈願 praying for beautiful hair
- - - - - The words KAMI 神 for deity and KAMI 髪 for hair have a close relationship.
Mikami Jinja 御髪神社 Kyoto
kamizuka 髪塚 hair mound
priest Semimaru 蝉丸法師 and Sakagami Hime 逆髪姫 Princess "hair standing up"
Kushinadahime クシナダヒメ - Kushi inada hime -櫛名田比売 - 奇稲田姫
. okanjake おかんじゃけ / 御髪下 stick with hair made from bamboo .
..............................................................................................................................................
katsurashi, katsura shi 鬘師 wig maker
In the Edo period, wigs were not usually worn by normal people, but only by actors.
The wigs had to be carefully adjusted to the face of an actor in a certain role he was going to play.
鬘師の友九郎 The Kabuki wig maker Tomokuro
- source : Kabuki Costume - Ruth Shaver - googlebook -
- quote -
A wig for an actor or for a puppet. 役者や人形のための鬘。
Wigs used in Kabuki 歌舞伎
Japanese wig-making techniques date back to the 17th century Kabuki theater when men, who traditionally shaved the top of their heads, had to play the roles of women, Thus a wig-making industry grew up to serve the onnagata Kabuki actors (men playing the roles of women).
The wig is based on a "daigane" [台金 base-metal], a thin copper plate which is pounded to fit the shape of actor's head, onto which the hair weave (蓑 mino) is attached. It is said that this technique was invented in the Enpo Era (1673-1681). In the late Edo Period, "habutae" [羽二重 a kind of thin silk cloth] was attached to the thin copper plate to make the hairline appear more natural. This made the hair appear as though it were actually growing from the head.
They are basically constituted of 4 parts:
bin 鬢 [the sections of hair on both sides of the face],
tabo 髷 [hair on the back of the head],
mage 髱 [central section of hair done up in various shapes] - and
maegami 前髪 [forelock].
The shape of each of these parts can be changed with use of accessories called kakemono 掛け物 ("things attached") or sashimono さし物 ("things stuck through").
The roles and their characteristics are expressed by variations and combinations of each of these parts. For the same reason as for costumes, the degrees of exaggeration and stylization in Jidaimono are more extreme than for Sewamono.
The variety of wigs for Tachiyaku (male roles) is said to be about 1,000 kinds, but for Onnagata (female roles) there are only about 400, because the roles and their characteristics set for Tachiyaku are more complex.
- source : glopad.org/jparc -
. kamojiya 髪文字屋 / 髢屋 dealer in fallen hair .
ochanai おちゃない female collectors of fallen hair in Edo
kami 髪 お守り amulets for growing hair
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. hatsu kami 初髪 (はつかみ) "first hair"
..... 初結(はつゆい)first combing the hair
having the hair made up for the first time
..... yuizome 、結初(ゆいぞめ)
toshi no kami 年の髪(としのかみ)
sukizome 梳初 (すきぞめ) first combing the hair
hatsu shimada 初島田(はつしまだ)first Shimada-style hair
.......................................................................
kamioki, kami oki 髪置 (かみおき) binding up the hair
..... kushi oki 櫛置(くしおき) using a comb
November 15, the full moon night of the Asian lunar calendar
Boys and girls at age three are combed tn this fashion for the first time. This is a celebration of growing up for the whole family.
A wig is made from white hemp or cotton and put on the head of the children, to show they will grow to ripe old age. After visiting the family deity (ujigami) there is a feast with all the relatives.
Boys are next celebrated at age 5, when they put on their first hakama trousers.
Shichigosan . Seven-Five-Three Festival
..............................................................................................................................................
chonmage ちょんまげ/ 丁髷 topknot
"samurai buns"
traditional hairstyle for samurai in the feudal era
It was originally a method of using hair to hold a samurai helmet steady atop the head in battle, and became a status symbol among Japanese society.
A traditional Edo-era chonmage featured a shaved pate. The remaining hair, which was long, was oiled and tied into a small queue which was folded onto the top of the head in the characteristic topknot.
During the Edo period, men of the hinin outcast class were required to keep their hair cut short without topknots.
Westerners associated the chonmage with backwardness and a lack of civilisation and this was one reason why Japanese cut their hair.
- source : more in the wikipedia
ema 絵馬 votive tablets with cut-off hair of samurai.
. hairstyles, chonmage ちょんまげ topknot .
The law sanpatsu dattoo 散髪脱刀 was enacted in 1871
In 1876, the haitoo-rei廃刀令 forbade non-uniformed personnel from wearing swords.
- quote -
(1871) Japan Abolishes the Samurai Topknot
On August 9, 1871 (Meiji 4), the Japanese government issued the danpatsurei (断髪令, Cropped Hair Edict), encouraging samurai to cut their distinctive chonmage topknot. It created a minor photography boom when samurai rushed to photo studios to get their photo taken before their chonmage was cut off. As a result of the edict, Western hair styles, called zangiri (散切り), became increasingly popular. This became a powerful symbol of the dramatic change overtaking Japanese society.
True reformation of the samurai system started when on January 10, 1873 (Meiji 6), the samurai’s right to be the only armed force was abolished and replaced by a modern, western-style, conscripted army. The new system was called chouheirei (徴兵令, Conscription Ordinance) and was the beginning of the end of the samurai system in Japan.
Samurai now became shizoku (士族). They retained some of their salaries, paid for by the government, but these were so low that many samurai were forced to find new employment.
- source : meijishowa.com/calendar -
Exhibition
The shape of chic : fashion and hairstyles in the Floating World
Yale University Art Gallery, March 18-May 4, 1986 / Shauna J. Goodwin.
Publisher [New Haven] : The Gallery, c1986.
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source : ukiyo-e.org
Actor Nakamura Tomijûrô as a Kamiyui (Hair Dresser)
by Katsukawa Shunsho
kamiyui 髪結い hairdo master, hairdresser
- - - - - motoyui 元結い / mageyui 髷結い
onna kamiyui shi 女髪結師 hairdresser specialized for female hair
Most of the female kamiyui went from home to home in the morning to cater to their regular customers. Some later on opened their own shop.
If a woman worked as a kamiyui, she made enough money to earn her own and feed her husband and family.
source : rakugo-fan.at.webry.info
- quote -
"Kamiyui Tōji" (Hairdresser Tōji)
The famous Kabuki playwright Kawatake Shinshichi II (later known by the name Mokuami),
was also a prominent member of the Suikyō-ren Rakugo group.
He once performed a sandai-banashi impromptu Rakugo narrative based on the following three themes:
"Kokusenya" (the name of a mixed Chinese/Japanese Ming loyalist of the early 17th Century,
also known as Zheng Chenggong or Koxinga), "suckled by others," and "hair dressing."
Shinshichi proceeded to adapt the story for Kabuki at the request of the actor Ichikawa Kodanji IV,
and it was first performed at Edo Ichimura-za Theater in February 1863 (Bunkyū 3).
Kodanji played the role of Kamiyui Wakokubashi-no Tōji (Tōji the hairdresser of Wakokubashi),
while Hiranoya Kōjirō was played by Sawamura Tosshō II,
and Kinchakukiri Takemon-no Tora (Tora the pickpocket of Takemon) was played by Ichimura Kakitsu II.
At this time, the Suikyō-ren and Kyōshō-ren groups presented Shinshichi with a stage curtain.
An aficionado would sometimes present an actor with a stage curtain,
but its presentation to a Kabuki playwright was an exceptional honor,
and represents a noteworthy event in the history of Japanese theater.
Sandai-banashi stories supplied material for not only for traditional Rakugo,
but also Kabuki, stage plays, and other art forms.
Their influence extended to Japanese literature of the late Edo Period and early Meiji Era.
- source : Tokyo Metropolitan Library
- quote -
The Independent Working Woman as Deviant in Tokugawa Japan,
1600-1867
snip
According to historian Nishioka Masako, the first female hairdressers were spotted in Osaka sometime between the Meiwa (1764-71) and Anei (1772-80) eras. While the early hairdressers catered mostly to women of the pleasure quarters, it was not long before they began attracting women of the artisan and merchant classes. Yasukuni has pointed out that popular hairstyles were not only fashionable but also convenient, particularly for the townswomen who could maintain the same set for up to one or two months. By the Kaei (1848-53) era, there were more than 1,400 female hairdressers in Edo alone.
The emergence of the hairdressers exemplifies how far female labor had developed by the mid-Tokugawa period. In writer Tamenaga Shunsui's Shunshoku umegoyomi (1832), one of the female characters is a young hairdresser who is described as a tomboy, otherwise known as "anego" (female boss) among the town youths. While there is no reason to assume that all hairdressers took on a masculine character, it is likely that many were either self-sufficient or less dependent on the ie. Given the phrase, "kamiyui no teishu" (the hairdresser's husband) that referred to a man who lived off a woman's income, historian Seki Tamiko has suggested that the hairdressers' earnings were often on a par with men's.
The newly invented stereotypes that address the hairdressers' potential self-sufficiency must be considered within the context of a rapidly expanding commercial economy that supported the employment of independent wage-earning women and the society's continued fascination with yet denigration of female labor. As historian Susan Hanley has pointed out, during the course of the Tokugawa period the townspeople spent large proportions of their incomes on status goods and gifts to maintain and enhance existing social networks. These acts were serious challenges to the rigid social distinctions of the period and frowned upon by the Tokugawa government. In an episode in businessman Mitsui Takafusa's (1684-1748) Chonin kokenroku (ca. 1730), a merchant of Edo is severely punished when his spendthrift wife is mistaken for a lady by none other than the Shogun himself.
As historian Mikiso Hane has explained, some merchant households lost their fortunes by incurring the wrath of the ruling authorities. Hence the women who catered to the extravagant needs of merchant wives and daughters faced heavy consequences when they violated the official banning of hairdressers in a series of moral reforms in the late eighteenth century. Not only were the hairdressers fined, but their husbands and parents were also held accountable. Nevertheless, the hairdressers were continually brought back by popular demand.
- - - - - more - source : Shiho Imai
CLICK for more Ukiyo-E with hair dressers.
喜多川歌麿 Kitagawa Utamaro
. Join the Ukiyo-E friends on facebook ! .
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kamiyuidoko 髪結床 hairdresser shop, hairstylist shop
Apart from cutting hair and doing hairstyles, many also offered cutting the beard of men ひげを剃る.
The first shop of this kind was opened by the hairstylist of Tokugawa Ieyasu、北小路藤七郎
Kitakoji Toshichiro. He got the permission to travel freely in Japan and finally settled in 赤羽 Akabane in Edo. In the time of the fourth generation, 幸次郎, he was allowed to open a shop in each suburb of Edo 一町一軒の髪結床.
- - - - - Later there were
source : blog.livedoor.jp/mugai_de_ia
uchidoko 内床 barbers working at home (clients were mostly men)
- and
dedoko 出床 hairdresser setting up a mobile shop at a busy road or bridge. Some also worked there with the order of keeping an eye on the people crossing the bridge (a sort of spy for the local police station).
and
bindarai 鬢盥 hairdresser working in the home of a client
source : blog.livedoor.jp/m-95_72230
「かみいどこ」 kami idoko in the local dialect of Edo.
Exhibit at the Fukagawa Edo Museum 深川江戸資料館
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. Edo Sanza 江戸三座 Kabuki in Edo .
梅雨小袖昔八丈 Tsuyu Kosode Mukashi Hachijô
Kamiyui Shinza 髪結新三 The Barber Shinza
The drama "Tsuyu Kosode Mukashi Hachijô" was premiered at the Nakamuraza in June 1873. It was based on Shunkintei Ryûô III's popular narrative "Shirokoya Seidan", which was about the exploit of the magistrate Ôoka Echizen-no-Kami Tadasuke (1677~1751) to solve the Shirokoya case.
Kawatake Shinshichi II was more interested in a crooked hairdresser than the upright magistrate. As a consequence, the scenes with Ôoka Echizen-no-Kami Tadasuke are rarely performed nowadays.
- summary
Shinza has enticed Chushichi, the Shirakoya clerk, to aid him in kidnapping Okuma, daughter of the Shirakoya's owner. Shinza sent back Yatagoro Genshichi, the gang leader who came to negotiate with him, but the landlord Chobe who comes to see Shinza is more than Shinza can cope with, and Shinza decides to release Okuma in exchange for 30 ryo in cash. But Chobe talks Shinza down and cheats him out of 15 ryo and half of a large bonito. Later, Genshichi ambushes Shinza and kills him to avenge the humiliation he suffered because of Shinza.
Usually this work is performed from the 'Shirakoya misesaki' scene in which Shinza persuades Chushichi to join his plot, to the 'Fukagawa emmadobashi' scene in which Genshichi takes his revenge on Shinza.
- Read the full text of the play here
- source : kabuki21.com/kamiyui_shinza
Kamiyui Shinza 髪結新三 The Barber Shinza
- Costume
Kamiyui Shinza is one of the dramatis personae of a Sewamono which realistically describes the lives of common people of the Edo period, so his costume is not exaggerated compared to the common people's clothing in that period. The characteristics of each role are expressed by the colors and patterns of their kimono. Shinza's costume is blue as shown in the photograph. This blue color shows that he is a stylish character, a fashionable edokko.
A tasuki (cord used to tuck up sleeves) is made by connecting pieces of mottoi (paper cords for tying up hair) used to tie mage (topknot or chignon), showing a customs of the kamiyui (hairdressers) of the period.
- Props
Kamiyui Shinza holds props reproduced so that they are identical to the tools used by ordinary hairdressers in the Edo period, and realistically acts out the situation of dressing hair. The actor playing this role learns in advance how to handle the tools and how to do hairdressing from the artisan called Tokoyama who dresses wigs, so that onstage the actor can look like a real hairdresser.
- source : Japan Arts Council, 2007
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- - - - - H A I K U and S E N R Y U - - - - -
Four haiku by Kobayashi Issa about hairstyle, hairdo, hairdresser
Tr. by David Lanoue
髪結も大小さして初袷
kamiyui mo daishoo sashite hatsu awase
their hairstyles
long and short...
new summer kimonos
髪結も白い仲間や花の陰
kamiyui mo shiroi nakama ya hana no kage
the hairdos
of companions all white...
blossom shade
短よや髪ゆひどのの草の花
mijika yo ya kamiyui dono no kusa no hana
short summer night--
the hairdresser's wildflowers
blooming
夕立や髪結所の鉢の松
yuudachi ya kamiyui-doko no hachi no matsu
rainstorm--
outside the hairdresser's
a potted pine
. Welcome to Kobayashi Issa in Edo ! .
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寒紅や夫の好まぬ髪結はむ
池上不二子
さんざしの花巫女になる髪結うて
今野福子
祭髪結うてひねもす厨事
転馬嘉子
CLICK for more photos !
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髪結いの伊三次 Kamiyui no Isaji
source : blog.goo.ne.jp/aboo-kai/e
He was the hero of a jidaigeki period drama in 1999.
According to a novel by 宇江佐真理 Ueza Mari (1949 - )
髪結い伊三次捕物余話 Kamiyui Isaji Torimono Yowa
- reference -
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. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
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[ . BACK to WORLDKIGO . TOP . ]- - - - - #edohairstyle #kamiyui #katsura - - - -
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3/22/2015
yakitsugiya
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. - Doing Business in Edo - 商売 - Introduction .
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yakitsugiya, yakitsugi-ya 焼継屋 repairing broken pottery
yakitsugishi, yakitsugi-shi
yakitsugi 焼き接ぎ / 焼接ぎ
source : facebook
- quote
Kintsugi (金継ぎ) (Japanese: golden joinery) or
Kintsukuroi (金繕い) (Japanese: golden repair)
is the Japanese art of fixing broken pottery with lacquer resin dusted or mixed with powdered gold, silver, or platinum a method similar to the maki-e technique.
As a philosophy it speaks to breakage and repair becoming part of the history of an object, rather than something to disguise.
- - More in the WIKIPEDIA !
. yakimono 焼物 pottery .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The yakitsugiya walked around in Edo, with a pole on his shoulders, carrying the tools on one side and a fire pot on the other.
Repairing broken bowls, plates and other pottery by baking, burning it again with a kind of glue, sometimes adding metal (usually gold) to it.
Others used urushi うるし laquer
or a white powder called shiratamako 白玉粉 with 鉛 lead.
funori ふのり seaweed glue was also used.
He called out
yakitsugiii, yakitsugiiiii 焼き継ぎぃ~、焼き継ぎぃ~
When someone asked for his service, he would sit down on the spot and start working.
. funori 海蘿, 布海苔 red algae .
also used in Edo by the
. shakan, sakan 左官 plasterer, stucco master .
..............................................................................................................................................
お菊と焼継屋 O-Kiku and the Yakitsugiya
歌川広重 Utagawa Hiroshige
This is a scene from the famous ghost story
Sara yashiki 皿屋敷 "the Dish Mansion" - where the ghost of O-Kiku comes out of a well.
- quote -
Banchō Sarayashiki or Bancho Sarayashi (番町皿屋敷 The Dish Mansion at Banchō)
is a Japanese ghost story (kaidan) of broken trust and broken promises, leading to a dismal fate.
The story of Okiku and the Nine Plates is one of the most famous in Japanese folklore, and continues to resonate with audiences today.
The story of Okiku is an old one, whose true origins are unknown; however, it first appeared under the title Bancho Sarayashiki in July 1741 at the Toyotakeza theater. The familiar ghost legend had been adapted into a ningyō jōruri production by Asada Iccho and Tamenaga Tarobei I. Like many successful puppet shows, a Kabuki version followed and in September 1824, Banchō Sarayashiki was staged at the Naka no Shibai theater starring Otani Tomoemon II and Arashi Koroku IV in the roles of Aoyama Daihachi and Okiku.
A one-act Kabuki version was created in 1850 by Segawa Joko III, under the title Minoriyoshi Kogane no Kikuzuki, which debuted at the Nakamura-za theater and starred Ichikawa Danjūrō VIII and Ichikawa Kodanji IV in the roles of Tetsuzan and Okiku. This one-act adaptation was not popular, and quickly folded, until it was revived in June 1971 at the Shimbashi Embujō theater, starring the popular combination of Kataoka Takao and Bando Tamasaburō V in the roles of Tetsuzan and Okiku.
The most familiar and popular adaptation of Banchō Sarayashiki, written by Okamoto Kido, debuted in February 1916 at the Hongō-za theater, starring Ichikawa Sadanji II and Ichikawa Shōchō II in the roles of Lord Harima and Okiku. It was a modern version of the classic ghost story in which the horror tale was replaced by a deep psychological study of the two characters' motivations.
Folk version
Ningyō Jōruri version
Okamoto Kido version
Okiku and Ukiyo-e
Influences on Japanese culture
- - - - - Read the details
- source : wikipedia
- and a senryu to go with it
番町の古井戸で呼ぶ焼継屋
banchoo no furu ido de yobu yakitsugiya
from the old well
at Bancho she calls
the pottery repariman
Tr. Gabi Greve
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- - - - - H A I K U and S E N R Y U - - - - -
焼継屋わが娘のは直しかね
yakitsugiya waga musume no wa naoshikane
the pottery repairman
unfortunately can not repair
my dear daughter
There was a limit to the art of repairing broken things . .
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. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #edoyakitsugi #yakitsugi - - - -
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. - Doing Business in Edo - 商売 - Introduction .
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yakitsugiya, yakitsugi-ya 焼継屋 repairing broken pottery
yakitsugishi, yakitsugi-shi
yakitsugi 焼き接ぎ / 焼接ぎ
source : facebook
- quote
Kintsugi (金継ぎ) (Japanese: golden joinery) or
Kintsukuroi (金繕い) (Japanese: golden repair)
is the Japanese art of fixing broken pottery with lacquer resin dusted or mixed with powdered gold, silver, or platinum a method similar to the maki-e technique.
As a philosophy it speaks to breakage and repair becoming part of the history of an object, rather than something to disguise.
- - More in the WIKIPEDIA !
. yakimono 焼物 pottery .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The yakitsugiya walked around in Edo, with a pole on his shoulders, carrying the tools on one side and a fire pot on the other.
Repairing broken bowls, plates and other pottery by baking, burning it again with a kind of glue, sometimes adding metal (usually gold) to it.
Others used urushi うるし laquer
or a white powder called shiratamako 白玉粉 with 鉛 lead.
funori ふのり seaweed glue was also used.
He called out
yakitsugiii, yakitsugiiiii 焼き継ぎぃ~、焼き継ぎぃ~
When someone asked for his service, he would sit down on the spot and start working.
. funori 海蘿, 布海苔 red algae .
also used in Edo by the
. shakan, sakan 左官 plasterer, stucco master .
..............................................................................................................................................
お菊と焼継屋 O-Kiku and the Yakitsugiya
歌川広重 Utagawa Hiroshige
This is a scene from the famous ghost story
Sara yashiki 皿屋敷 "the Dish Mansion" - where the ghost of O-Kiku comes out of a well.
- quote -
Banchō Sarayashiki or Bancho Sarayashi (番町皿屋敷 The Dish Mansion at Banchō)
is a Japanese ghost story (kaidan) of broken trust and broken promises, leading to a dismal fate.
The story of Okiku and the Nine Plates is one of the most famous in Japanese folklore, and continues to resonate with audiences today.
The story of Okiku is an old one, whose true origins are unknown; however, it first appeared under the title Bancho Sarayashiki in July 1741 at the Toyotakeza theater. The familiar ghost legend had been adapted into a ningyō jōruri production by Asada Iccho and Tamenaga Tarobei I. Like many successful puppet shows, a Kabuki version followed and in September 1824, Banchō Sarayashiki was staged at the Naka no Shibai theater starring Otani Tomoemon II and Arashi Koroku IV in the roles of Aoyama Daihachi and Okiku.
A one-act Kabuki version was created in 1850 by Segawa Joko III, under the title Minoriyoshi Kogane no Kikuzuki, which debuted at the Nakamura-za theater and starred Ichikawa Danjūrō VIII and Ichikawa Kodanji IV in the roles of Tetsuzan and Okiku. This one-act adaptation was not popular, and quickly folded, until it was revived in June 1971 at the Shimbashi Embujō theater, starring the popular combination of Kataoka Takao and Bando Tamasaburō V in the roles of Tetsuzan and Okiku.
The most familiar and popular adaptation of Banchō Sarayashiki, written by Okamoto Kido, debuted in February 1916 at the Hongō-za theater, starring Ichikawa Sadanji II and Ichikawa Shōchō II in the roles of Lord Harima and Okiku. It was a modern version of the classic ghost story in which the horror tale was replaced by a deep psychological study of the two characters' motivations.
Folk version
Ningyō Jōruri version
Okamoto Kido version
Okiku and Ukiyo-e
Influences on Japanese culture
- - - - - Read the details
- source : wikipedia
- and a senryu to go with it
番町の古井戸で呼ぶ焼継屋
banchoo no furu ido de yobu yakitsugiya
from the old well
at Bancho she calls
the pottery repariman
Tr. Gabi Greve
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- - - - - H A I K U and S E N R Y U - - - - -
焼継屋わが娘のは直しかね
yakitsugiya waga musume no wa naoshikane
the pottery repairman
unfortunately can not repair
my dear daughter
There was a limit to the art of repairing broken things . .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #edoyakitsugi #yakitsugi - - - -
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2/22/2015
ikakeya tinker
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. Repairmen in Edo 修理屋 .
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ikakeya 鋳掛屋 / 鋳掛け屋 / いかけや tinker, repairing metal tools, pots and pans
ikakeshi 鋳掛け師
A popular job from the Edo to the Showa period. He repaired the metal home items, which were prone to damage, getting holes and splitting of all kinds.
Every little damage was repaired carefully, till a pot could not be used any longer.
『守貞謾稿』- Illustration from Morisada Manko
The tinker walked around in Edo and the villages of Japan, calling out for his service. He carried his tools in a wooden box and also had to carry a little fuigo bellows. He had to heat the metal in a small fire and blend the hot metal over the split.
金属を「鋳て」(溶かして)「かける」から「いかけや」
source : wikidedia - Kusakabe Kinbei 日下部金兵衛
During the Meiji and then Showa period the pots and pans were made of better quality to start with and easier to buy in the stores. So the job of the tinker slowly died out.
source : Cony のブログ
Until about 1965, the roadside tinkers were still working in Osaka 大阪.
They used to call out:
いかけ、鍋釜、バケツいか〜け
ikake nabe kama baketsu ikaaaake
the tinker is here -
pots and pans, buckets for the tinker
The word ikakeya いかけ屋 in Osaka was used to describe a happy couple that went out together. Since around 1810 there were a few female tinkers working in Osaka.
今日は徳さんとこ、芝居行くンかいな。いかけ屋やなあ
There is also a famous rakugo story from Kamigata (Osaka)
いかけ屋 Ikakeya
「鋳掛屋だけによくくっつくな」「鋳掛屋は鋳掛屋どうしくっつくな」
source : shobuen2
The village children surround the tinker and try to divert him from paying attention to his job. They ask him silly questions and wait for his answer.
When he asks the kids to go away, they never do. . . .
- - - More in the Japanese WIKIPEDIA !
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There is a famous proverb
月夜に釜を抜かれる
tsukiyo ni kama o nukareru
An iron pot is stolen in a moonlight night.
In a dark night, people would be careful and watch out for thieves, but on a moonlit night . . .
to be completely taken unawares, to be taken by surprise, to be off my guard
Even in the Edo period, the metal of pots and pans was worth to be stolen.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - reference - Japanese WIKIPEDIA !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U and S E N R Y U - - - - -
source : blog.goo.ne.jp/aboo-kai
天高く いかけやなべ底たたく音
ten takaku ikakeya nabe soko tataku oto
bright autumn sky -
the sound of the tinker hitting
the bottom of the pot
. WKD : ten takashi 天高し "high sky", "high heaven" .
clear autumn sky
- - kigo for all autumn - -
..............................................................................................................................................
鍋鋳掛けすてっぺんから煙草にし
nabe ikake suteppen kara tabako ni shi
a pot for the tinker -
but first he takes a smoke
from his pipe
The people of Edo observed well. The tinker had to make the fire really hot before he could start to work, so he used that time to have a smoke himself.
source : jti - tobacco-world
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- - - - - #edoikakeya #ikakeya #tinker - - - -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Repairmen in Edo 修理屋 .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
ikakeya 鋳掛屋 / 鋳掛け屋 / いかけや tinker, repairing metal tools, pots and pans
ikakeshi 鋳掛け師
A popular job from the Edo to the Showa period. He repaired the metal home items, which were prone to damage, getting holes and splitting of all kinds.
Every little damage was repaired carefully, till a pot could not be used any longer.
『守貞謾稿』- Illustration from Morisada Manko
The tinker walked around in Edo and the villages of Japan, calling out for his service. He carried his tools in a wooden box and also had to carry a little fuigo bellows. He had to heat the metal in a small fire and blend the hot metal over the split.
金属を「鋳て」(溶かして)「かける」から「いかけや」
source : wikidedia - Kusakabe Kinbei 日下部金兵衛
During the Meiji and then Showa period the pots and pans were made of better quality to start with and easier to buy in the stores. So the job of the tinker slowly died out.
source : Cony のブログ
Until about 1965, the roadside tinkers were still working in Osaka 大阪.
They used to call out:
いかけ、鍋釜、バケツいか〜け
ikake nabe kama baketsu ikaaaake
the tinker is here -
pots and pans, buckets for the tinker
The word ikakeya いかけ屋 in Osaka was used to describe a happy couple that went out together. Since around 1810 there were a few female tinkers working in Osaka.
今日は徳さんとこ、芝居行くンかいな。いかけ屋やなあ
There is also a famous rakugo story from Kamigata (Osaka)
いかけ屋 Ikakeya
「鋳掛屋だけによくくっつくな」「鋳掛屋は鋳掛屋どうしくっつくな」
source : shobuen2
The village children surround the tinker and try to divert him from paying attention to his job. They ask him silly questions and wait for his answer.
When he asks the kids to go away, they never do. . . .
- - - More in the Japanese WIKIPEDIA !
..............................................................................................................................................
There is a famous proverb
月夜に釜を抜かれる
tsukiyo ni kama o nukareru
An iron pot is stolen in a moonlight night.
In a dark night, people would be careful and watch out for thieves, but on a moonlit night . . .
to be completely taken unawares, to be taken by surprise, to be off my guard
Even in the Edo period, the metal of pots and pans was worth to be stolen.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - reference - Japanese WIKIPEDIA !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U and S E N R Y U - - - - -
source : blog.goo.ne.jp/aboo-kai
天高く いかけやなべ底たたく音
ten takaku ikakeya nabe soko tataku oto
bright autumn sky -
the sound of the tinker hitting
the bottom of the pot
. WKD : ten takashi 天高し "high sky", "high heaven" .
clear autumn sky
- - kigo for all autumn - -
..............................................................................................................................................
鍋鋳掛けすてっぺんから煙草にし
nabe ikake suteppen kara tabako ni shi
a pot for the tinker -
but first he takes a smoke
from his pipe
The people of Edo observed well. The tinker had to make the fire really hot before he could start to work, so he used that time to have a smoke himself.
source : jti - tobacco-world
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- - - - - #edoikakeya #ikakeya #tinker - - - -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
12/16/2014
Kitamaebune ships
[ . BACK to DARUMA MUSEUM TOP . ]
. Ezo, Emishi 蝦夷 エゾ Ainu Culture アイヌの文化 .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Kitamaebune 北前船 North-bound trade ships
“Kitame-bune” “Kitamae-bune”
Matsumaebune 松前船 Matsumae trade ships to Hokkaido
source : tsclip.net/ship
- quote
The Kitamaebune (北前船 literally northern-bound ship)
was a shipping route (and also the ships involved) in Japan from the Edo to the Meiji periods. The route went from Osaka through the Seto Inland Sea and the Kanmon Straits to ports in Hokuriku on the Sea of Japan and later to Hokkaidō.
The Kaga Domain, which sold approximately 70,000 koku of rice every year in Osaka, succeeded in sending 100 koku by boat through this route in 1639. The Tokugawa Shogunate also received rice from Dewa Province through merchant Kawamura Zuiken in 1672, but it is thought to be a response from these ships. Japanese ships at the time normally could only make one trip per year, but with the arrival of Western schooners in the Meiji Period, ships were able to make up to four trips annually.
A house of kitamaebune sailors, now a museum in Kaga, Ishikawa.
However, the Meiji Restoration also brought the end of the feudal system and the introduction of the telegraph, getting rid of gaps between regional markets and making it difficult for the shipping routes to make large profits. The national construction of railroads further led to the end of the Kitamaebune.
Currently, the Shin-Nihonkai Ferry is sometimes called the modern Kitamaebune, with stops along the old route at Maizuru, Niigata, Akita, Tomakomai, Hokkaidō, and Otaru.
- source : wikipedia
CLICK for more photos !
Kitamaebune Ship Museum
I-Otsu 1-1 Hashitate-machi, Kaga town
- quote
The Kitamaebune is a shipping route mainly through the Sea of Japan from late Edo Period to the Meiji Period. The ships spent a year to sail a round-trip between Osaka and Hokkaido and transported a great amount of fortune and culture. The facility itself was built by a former owner of a Kitamaebune Ship named Chohei Sakatani in 1878 (Meiji 11), and is registered as one of the national tangible cultural assets.
The beams and pillars inside the Museum were constructed with expensive materials transported from different regions, and with many layers of lacquer painted on them, these beams and pillars still have the lust and shine even after 120 years.
Inside the Museum, there are various exhibitions on everything about the Kitamaebune Ships including navigating tools, ship cabinets, a 20:1 model and other information on the lives as a sailor on the Ships.
- source : www.hot-ishikawa.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsumae in Hokkaido 松前 .
Matsumae, one of the oldest port towns in Hokkaido, used to be busy during the summer months in the Edo period for fishing.
The name Matsumae at that time was almost identical with the old name of Ezo / Hokkaido.
The Matsumae clan (松前藩, Matsumae-han)
was a Japanese clan which was granted the area around Matsumae, Hokkaidō as a march fief in 1590 by Toyotomi Hideyoshi, and charged with defending it, and by extension all of Japan, from the Ainu 'barbarians' to the north.
. Matsumaebune 松前船 Matsumae trade ships .
and the temple Tamonin 多聞院 Tamon-In in Akita
The sailors from the Matsumaebune 松前船 trade ships from Hokkaido to Osaka passed here. The sailors of the famous ship 辰悦丸 Shinetsu Maru owned by Takadaya Kahei came here to pray for safety on the sea.
. Takadaya Kahei 高田屋嘉兵衛 (1769 - 1827) .
In 1795, he constructed a ship named Shinetsu-maru with a displacement of 417 tons in Dewa (Yamagata and Akita Prefectures) and captained it. The following year he opened trading stores with the name of Takadaya in Hyogotsu and Hakodate, and started selling goods he transported between Ezo and the Osaka area.
. Engakuji 円覚寺 / 圓覚寺 Engaku-Ji .
西津軽郡深浦町深浦字浜町275 / Hamamachi-275 Fukaura, Fukaura-machi, Nishitsugaru-gun
During the Edo period, sailors on the Northern-bound trade ships (Kitamaebune 北前舟) came here to pray for safety on sea.
..............................................................................................................................................
船絵馬栄宝丸(瀬越白山神社奉納)
CLICK for more ema 絵馬 votive tablets with Kitamaebune in temples and shrines along the road.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
oboro konbu おぼろ昆布
shredded konbu kelp seaweed
High-quality konbu are softened in vinegar and then shredded into very thin pieces.
They can be eaten in sumashi soup or used for aemono dressing, placed into onigiri rice balls or eaten like this with a bit of additional flavored vinegar or sanbaizu vinegar.
Most oboro come from Tsuruga 敦賀, Fukui. There was even an old road connectiong Tsuruga with Kyoto to transport the freshly shredded oboro konbu (oboro kaidoo おぼろ街道).
The oboro must be shredded by hand, which is quite a delicate job.
Tesuki Oboro Konbu (hand-sliced tangle seaweed) is produced after dampening it with vinegar and soften it.Today, 85% of the Japanese hand-sliced silk-like tangle kombu is produced in Tsuruga.
This tradition dates back to the Kitamaebune ships, which brought dried konbu from Hokkaido.
http://www.fukui-c.ed.jp/~cdb/shoku/konbu/index.html
. WASHOKU - denbu 田麩 and oboro shredded fish .
For food, we have oboro of fish, oboro of konbu seaweed, oborodoofu of tofu and others.
.............................................................................................................................................
Tsuruga 敦賀, a traditional harbour where the ships from Hokkaido (Kitamaebune 北前船) used to stop over and unload things, mostly marine products, that were transported to Kyoto by land via the Shiotsu Kaido 塩津街道 along the lake Biwako, linking to Kohoku Shiotsu in Omi. (Kohoku is Northern Shiga region.)
Tsuruga was also the endpoint of the road Tango Kaidoo 丹後街道 Tango Kaido.
. WASHOKU - Food from Fukui .
. Shiotsu Kaido 塩津街道 Shiotsu Highway / 塩津海道 Shiotsu Sea Road .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
source : www.mugajin.jp
北前船~寄港地と交易の物語
加藤貞仁
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Back in Edo era not only “Kitamae-bune” route but also other sea routes flourished.
snip
Japanese traditional ships such as “Kitamae-bune” had some different points than western-styled ships.
Japanese ships didn’t have their keels, that western ships had.
Ships without keels were relatively weak, and they easily got broken when they were confronted with strong waves.
Another different point was that Japanese ships had only one mast per a body. Western ships usually had two or three masts per a body, that enabled ships to raise many sails upon the bodies and take advantage of the power of winds efficiently. On the other hand a Japanese traditional ship raised only one large sail with one high mast in order to let it go as rapidly as possible. But that lost a Japanese ship’s balance and made it vulnerable to heavy winds
and waves.
All in all, Japanese traditional ships had a higher risk to be wrecked or capsized than western ones.
Why had Japanese traditional ships kept such disadvantages?
Because Tokugawa Shogunate didn’t permit building any advanced ships and kept them old-fashioned and unable to sail a big travel.
Edo government closed Japan’s borders and prohibited any immigrations and emigrations across the sea.
So they banned residents to build any ships that could sail over the oceans.
As a result Japanese traditional ships lacked a structure for long travels – strength and stability of their bodies to defy wild waves in oceans.
Against such disadvantages and risks, though, Japanese sailors carried a vast amount of loads across Japan to meet an increasing demand of Japanese economy.
“Kitamae-bune” carried various kinds of loads from contemporary Hokkaido and Aomori prefecture , via many ports along Sea of Japan, to Osaka.
Osaka in Edo era was the largest market for trading goods made in all places of Japan.
Products from rice crops to salt and dried seafood were transported into Osaka, wholesaled there and distributed to all over Japan.
And the Kinki region (近畿地方) including Osaka was once the most advanced manufacturing center in Edo Japan.
Industry such as brewery, oil processing, and shipbuilding were conspicuous in Kinki region.
Producers along Sea of Japan sent their goods to Osaka to sell them, and bought processed goods from Kinki region. To link them “Kitamae-bune” took their voyages and carried goods frequently.
One example of traded goods carried by “Kitamae-bune” is “kombu (昆布)”, a species of a long kelp.
- source : Oda Mitsuo/ YouAT - 2012
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U and S E N R Y U - - - - -
北前船 島の歴史を 満載し
kitamaebune shima no rekishi o mansai shi
Kitamae sailboat -
it carries the history
of this island
Tr. Gabi Greve
- batabata nikki - iori ばたばた日記
..............................................................................................................................................
尼も乗る松前船の南風かな
ama mo noru kitamaebune no minami kana
South Wind
for the Matsumae Sailboat
with a nun on board . . .
. 飯田蛇笏 Iida Dakotsu .
- the cut marker KANA is at the end of line 3 - -
. south wind (nanpuu, minami 南風) .
- - kigo for all summer - -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- detail with sailors
source : www.artisticnippon.com
. Kutaniyaki 九谷焼 Kutani Pottery .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Ezo, Emishi 蝦夷 エゾ Ainu Culture アイヌの文化 .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #kitamaebune #tsuruga -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Ezo, Emishi 蝦夷 エゾ Ainu Culture アイヌの文化 .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Kitamaebune 北前船 North-bound trade ships
“Kitame-bune” “Kitamae-bune”
Matsumaebune 松前船 Matsumae trade ships to Hokkaido
source : tsclip.net/ship
- quote
The Kitamaebune (北前船 literally northern-bound ship)
was a shipping route (and also the ships involved) in Japan from the Edo to the Meiji periods. The route went from Osaka through the Seto Inland Sea and the Kanmon Straits to ports in Hokuriku on the Sea of Japan and later to Hokkaidō.
The Kaga Domain, which sold approximately 70,000 koku of rice every year in Osaka, succeeded in sending 100 koku by boat through this route in 1639. The Tokugawa Shogunate also received rice from Dewa Province through merchant Kawamura Zuiken in 1672, but it is thought to be a response from these ships. Japanese ships at the time normally could only make one trip per year, but with the arrival of Western schooners in the Meiji Period, ships were able to make up to four trips annually.
A house of kitamaebune sailors, now a museum in Kaga, Ishikawa.
However, the Meiji Restoration also brought the end of the feudal system and the introduction of the telegraph, getting rid of gaps between regional markets and making it difficult for the shipping routes to make large profits. The national construction of railroads further led to the end of the Kitamaebune.
Currently, the Shin-Nihonkai Ferry is sometimes called the modern Kitamaebune, with stops along the old route at Maizuru, Niigata, Akita, Tomakomai, Hokkaidō, and Otaru.
- source : wikipedia
CLICK for more photos !
Kitamaebune Ship Museum
I-Otsu 1-1 Hashitate-machi, Kaga town
- quote
The Kitamaebune is a shipping route mainly through the Sea of Japan from late Edo Period to the Meiji Period. The ships spent a year to sail a round-trip between Osaka and Hokkaido and transported a great amount of fortune and culture. The facility itself was built by a former owner of a Kitamaebune Ship named Chohei Sakatani in 1878 (Meiji 11), and is registered as one of the national tangible cultural assets.
The beams and pillars inside the Museum were constructed with expensive materials transported from different regions, and with many layers of lacquer painted on them, these beams and pillars still have the lust and shine even after 120 years.
Inside the Museum, there are various exhibitions on everything about the Kitamaebune Ships including navigating tools, ship cabinets, a 20:1 model and other information on the lives as a sailor on the Ships.
- source : www.hot-ishikawa.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Matsumae in Hokkaido 松前 .
Matsumae, one of the oldest port towns in Hokkaido, used to be busy during the summer months in the Edo period for fishing.
The name Matsumae at that time was almost identical with the old name of Ezo / Hokkaido.
The Matsumae clan (松前藩, Matsumae-han)
was a Japanese clan which was granted the area around Matsumae, Hokkaidō as a march fief in 1590 by Toyotomi Hideyoshi, and charged with defending it, and by extension all of Japan, from the Ainu 'barbarians' to the north.
. Matsumaebune 松前船 Matsumae trade ships .
and the temple Tamonin 多聞院 Tamon-In in Akita
The sailors from the Matsumaebune 松前船 trade ships from Hokkaido to Osaka passed here. The sailors of the famous ship 辰悦丸 Shinetsu Maru owned by Takadaya Kahei came here to pray for safety on the sea.
. Takadaya Kahei 高田屋嘉兵衛 (1769 - 1827) .
In 1795, he constructed a ship named Shinetsu-maru with a displacement of 417 tons in Dewa (Yamagata and Akita Prefectures) and captained it. The following year he opened trading stores with the name of Takadaya in Hyogotsu and Hakodate, and started selling goods he transported between Ezo and the Osaka area.
. Engakuji 円覚寺 / 圓覚寺 Engaku-Ji .
西津軽郡深浦町深浦字浜町275 / Hamamachi-275 Fukaura, Fukaura-machi, Nishitsugaru-gun
During the Edo period, sailors on the Northern-bound trade ships (Kitamaebune 北前舟) came here to pray for safety on sea.
..............................................................................................................................................
船絵馬栄宝丸(瀬越白山神社奉納)
CLICK for more ema 絵馬 votive tablets with Kitamaebune in temples and shrines along the road.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
oboro konbu おぼろ昆布
shredded konbu kelp seaweed
High-quality konbu are softened in vinegar and then shredded into very thin pieces.
They can be eaten in sumashi soup or used for aemono dressing, placed into onigiri rice balls or eaten like this with a bit of additional flavored vinegar or sanbaizu vinegar.
Most oboro come from Tsuruga 敦賀, Fukui. There was even an old road connectiong Tsuruga with Kyoto to transport the freshly shredded oboro konbu (oboro kaidoo おぼろ街道).
The oboro must be shredded by hand, which is quite a delicate job.
Tesuki Oboro Konbu (hand-sliced tangle seaweed) is produced after dampening it with vinegar and soften it.Today, 85% of the Japanese hand-sliced silk-like tangle kombu is produced in Tsuruga.
This tradition dates back to the Kitamaebune ships, which brought dried konbu from Hokkaido.
http://www.fukui-c.ed.jp/~cdb/shoku/konbu/index.html
. WASHOKU - denbu 田麩 and oboro shredded fish .
For food, we have oboro of fish, oboro of konbu seaweed, oborodoofu of tofu and others.
.............................................................................................................................................
Tsuruga 敦賀, a traditional harbour where the ships from Hokkaido (Kitamaebune 北前船) used to stop over and unload things, mostly marine products, that were transported to Kyoto by land via the Shiotsu Kaido 塩津街道 along the lake Biwako, linking to Kohoku Shiotsu in Omi. (Kohoku is Northern Shiga region.)
Tsuruga was also the endpoint of the road Tango Kaidoo 丹後街道 Tango Kaido.
. WASHOKU - Food from Fukui .
. Shiotsu Kaido 塩津街道 Shiotsu Highway / 塩津海道 Shiotsu Sea Road .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
source : www.mugajin.jp
北前船~寄港地と交易の物語
加藤貞仁
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote
Back in Edo era not only “Kitamae-bune” route but also other sea routes flourished.
snip
Japanese traditional ships such as “Kitamae-bune” had some different points than western-styled ships.
Japanese ships didn’t have their keels, that western ships had.
Ships without keels were relatively weak, and they easily got broken when they were confronted with strong waves.
Another different point was that Japanese ships had only one mast per a body. Western ships usually had two or three masts per a body, that enabled ships to raise many sails upon the bodies and take advantage of the power of winds efficiently. On the other hand a Japanese traditional ship raised only one large sail with one high mast in order to let it go as rapidly as possible. But that lost a Japanese ship’s balance and made it vulnerable to heavy winds
and waves.
All in all, Japanese traditional ships had a higher risk to be wrecked or capsized than western ones.
Why had Japanese traditional ships kept such disadvantages?
Because Tokugawa Shogunate didn’t permit building any advanced ships and kept them old-fashioned and unable to sail a big travel.
Edo government closed Japan’s borders and prohibited any immigrations and emigrations across the sea.
So they banned residents to build any ships that could sail over the oceans.
As a result Japanese traditional ships lacked a structure for long travels – strength and stability of their bodies to defy wild waves in oceans.
Against such disadvantages and risks, though, Japanese sailors carried a vast amount of loads across Japan to meet an increasing demand of Japanese economy.
“Kitamae-bune” carried various kinds of loads from contemporary Hokkaido and Aomori prefecture , via many ports along Sea of Japan, to Osaka.
Osaka in Edo era was the largest market for trading goods made in all places of Japan.
Products from rice crops to salt and dried seafood were transported into Osaka, wholesaled there and distributed to all over Japan.
And the Kinki region (近畿地方) including Osaka was once the most advanced manufacturing center in Edo Japan.
Industry such as brewery, oil processing, and shipbuilding were conspicuous in Kinki region.
Producers along Sea of Japan sent their goods to Osaka to sell them, and bought processed goods from Kinki region. To link them “Kitamae-bune” took their voyages and carried goods frequently.
One example of traded goods carried by “Kitamae-bune” is “kombu (昆布)”, a species of a long kelp.
- source : Oda Mitsuo/ YouAT - 2012
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U and S E N R Y U - - - - -
北前船 島の歴史を 満載し
kitamaebune shima no rekishi o mansai shi
Kitamae sailboat -
it carries the history
of this island
Tr. Gabi Greve
- batabata nikki - iori ばたばた日記
..............................................................................................................................................
尼も乗る松前船の南風かな
ama mo noru kitamaebune no minami kana
South Wind
for the Matsumae Sailboat
with a nun on board . . .
. 飯田蛇笏 Iida Dakotsu .
- the cut marker KANA is at the end of line 3 - -
. south wind (nanpuu, minami 南風) .
- - kigo for all summer - -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- detail with sailors
source : www.artisticnippon.com
. Kutaniyaki 九谷焼 Kutani Pottery .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Ezo, Emishi 蝦夷 エゾ Ainu Culture アイヌの文化 .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #kitamaebune #tsuruga -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
9/14/2014
kami paper
[ . BACK to DARUMA MUSEUM TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
kami 紙 paper
Japanese traditional paper was used for many items, from robes to lanterns to printing.
. - - Washi 和紙 Japanese Paper - - .
- introduction -
- quote
... Paper was made of the bark of "kozo" trees. Since only branches were cut to obtain bark, there was no worry of excessive cutting of trees. And there were many kinds of recyclers for used paper in those days.
Besides the repair experts, there were other specialized workers who collected and traded end-of-life materials.
- Used-paper buyers
These buyers bought old shopkeepers' books, sorted and sold them to paper makers. In those days, Japanese paper (washi) was made of long fibers of over 10 mm, and specialized paper makers bought and blended various kinds of used paper to make a wide range of recycled paper, from bathroom tissue to printing paper.
- Used-paper collectors
Some collectors were also specialized in used paper, but didn't have the financial resources to buy it. Instead, they picked up and collected trash paper by walking around the town and sold it to used-paper warehouses to get a daily cash income.
- Used-umbrella rib buyers
Umbrellas in the Edo Period were made of bamboo ribs with paper pasted on. Used-umbrella rib buyers bought and collected old umbrellas and sold them to specialized warehouses. At the warehouses workers removed oiled paper from the ribs, repaired the rib structures and then other workers were contracted to paste new oiled-paper onto the ribs to make new umbrellas. Incidentally, the oiled paper from used umbrellas was removed and sold as packaging material.
... As one could imagine, however, such extensive reuse and recycling systems embedded in society would limit the profits of paper makers, printing companies, publishers and shippers. In the economy of today, if people don't continuously buy new goods, the economy falters.
- source : www.resilience.org/stories...
- quote
Sustainability in Japan's Edo Period -
Unlike the prosperous present day, when it's cheaper to buy even a new metal and cloth umbrella than repair a broken one, people in the Edo period would use bamboo and paper umbrellas, as they did yukata, right to the very end.
If the paper of an umbrella had torn through prolonged use, people would ask traveling paper lantern repairmen to repaper them. Since repapering of both lanterns and umbrellas involves basically the same principle of applying paper to a bamboo framework, paper lantern salesmen apparently used to repair umbrellas too, as proven by the existence of old illustrations depicting such repairmen mending umbrellas as well as lanterns.
With repeated repapering, an Edo period umbrella had a long enough life span that it would begin to show wear and tear in other areas, the threads holding spokes together, or the spokes themselves, giving way in time. Repair was not so easy in many such cases, but people still didn't just throw old umbrellas out, selling them instead to old umbrella buyers who would go around neighborhoods calling out "Umbrellas! Old umbrellas!"
Apparently the old oil paper too was recycled to butchers to wrap meat up in. Very little meat was consumed in the Edo period, but there were people who purchased it as a kind of dietary supplement known as kusuri-gui (= medicine food), and in Edo and Osaka there were also shops selling the meat of wild boar, deer and other hunted wildlife. Such shops used old oil paper, which was largely odor-free as a result of its age, like we use plastic wrap today, an admirable example of out-and-out re-use if ever there was one.
- source : Eisuke Ishikawa
.......................................................................
. choochin 提灯 Chochin, paper lanterns .
. karakami 唐紙 special paper for sliding doors .
. kasa 傘 paper umbrella .
. oogi 扇 - uchiwa 団扇 paper hand fan .
to be updated
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Recycling and Reuse in Edo - リサイクル と 再生 / 再使用
ekorojii エコロジー ecology in Edo .
koshi risaikuru 古紙 (故紙) リサイクル recycling of old paper
kamikuzuya 紙屑屋, kamikuzu kai 紙屑買い - buying waste paper
According to its state of dirt and destruction, paper could be re-used (suki-kaeshi 漉き返し) in many ways until it finally ended in a fire to warm the folks or cook a meal.
回収業者 recycling shops
古紙問屋 store dealing in used paper
suki-kaeshi 漉き返し業者 business dealing in re-use of paper
- source : www.gakken.co.jp
.......................................................................
kamikuzuya 紙屑屋 Kamikuzuya
There is also a rakugo story about a waste paper collector.
- reference - for CD -
..............................................................................................................................................
kamikuzu hiroi 紙屑拾い picking up used paper
He walked in the streets with a basket hanging from his neck and picked up paper using a simple bamboo tool.
At the end of his day, he carried the basket to the dealer in used paper, got his money for the day and could go off to spend the money.
kamikuzu kai 紙屑買い buying old paper
He carried two baskets of woven bamboo (mekago 目籠)) with a shoulder pole and walked from home to home to collect used paper. He also had a scale to weigh the paper for payment.
At the end of his day, he too carried the baskets to the dealer in used paper, got his money for the day and could go off to spend the money.
..............................................................................................................................................
mekagao 目籠 openwork woven bamboo basket
kagome 籠目 holes in a basket
. kago 籠 / 篭 / かご basket, baskets of all kinds in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
kamisukishi、kamisuki shi 紙漉き師 making paper, paper making artisan
kamisuki shokunin 紙漉き職人
The making of paper is described here.
. - - Washi 和紙 Japanese Paper - - .
The most famous paper in Edo was made in Asakusa.
Asakusagami, Asakusa-gami 浅草紙
Most were specialized in recycling of paper, since it was difficult to get hold of the original materials for making paper in greater amounts.
Tawaramachi in Asakusa had a district called
Kamisukichoo 紙漉町 Kamisuki-Cho
- quote -
KAMISUKICHO RUINS - 'Kamisuki'means'making paper'.
This neighborhood was named after the very first Paper factory in Edo that was here and prospered from the late 17th Century through the 19th Century. Here paper produced was called "Asakusa paper "and was in fact made from recycling old and used paper.
- source : tokyotaito.blog.shinobi.jp -
kamiya, kami-ya 紙屋 paper maker
古今紙漉紙屋図絵
source : japonisme.or.jp/magazine
.......................................................................
- quote -
How were crepe prints (縮緬紙) made ?
Chirimengami-e ("compressed thread paper prints": 縮緬紙) were crinkled paper prints or "crepe" prints (sometimes referred to as 'crepon'). Ukiyo-e crepe prints were produced at least as early as 1800 in Edo, and throughout the nineteenth century they were used on occasion for alternate states of some ukiyo-e designs. The compression technique resulted in a highly textured surface and noticeably smaller paper sizes, which offered a different aesthetic from the image printed in standard editions. Despite the extra effort involved in making these prints, they were, it seems, more a novelty than an attempt at serious refinement of the printed image.
There was a revival of chirimen-gami-e production in the 1880s
with the advent of crepe-paper books to satisfy a growing Western market. Best known are those published by the Hasegawa company, which was opened in 1885. Their chirimen-gami publications were especially popular for children's books, as the crepe paper was somewhat resistant to tearing and thus had a better chance of surviving handling by children.
By pressing the lever down an enormous amount of pressure could be exerted upon the papers and molds, thus compressing the papers and imparting a textured effect from the molds to the interleaved, dampened papers.
- Read more about Japanese Printing on this extensive resource "Viewing Japanese Prints":
- source : viewingjapaneseprints.ne... -
..............................................................................................................................................
sukikaeshi, suki-kasehi 漉き返し業者 re-making of paper
source : www.gakken.co.jp/kagakusouken
Many craftsmen of this kind were located in Asakusa, Edo.
They tore old paper to pieces, selected them carefully, boiled them to dissolve and then let the liquid cool down (hieru 冷える). During that time they would walk over the the pleasure quarters of Yoshiwara, just walking up and down enjoying the view at the ladies (hiyakasu 冷やかす).
This is the origin of the word
hiyakashi 冷やかし half for fun, in jest
jeering; raillery; chaffing; merely asking the price; just looking at goods; window-shopping; browsing
Asakusagami 浅草紙 recycled paper from Asakusa / Edo
. Asakusa to hiyakashi 冷やかし
. Asakusa 浅草 Asakusa District in Edo .
Nishidooingami 西洞院紙 Nishidoin recycled paper from Kyoto
Minatogami 湊紙 Minatogami recycled paper from Osaka
..............................................................................................................................................
zenigoza 銭蓙売り paper mats to place coins
They were made of waste paper 反故紙 (hogogami) in the size of the amount of coins that should be placed on it.
zenigoza uri 銭蓙売り vendor of mats to place coins
. zeni, kozeni 銭、小銭 coins in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U and S E N R Y U - - - - -
source : 14 十四世川柳 - handwriting -
首をたれて歩けば紙屑によばれ
kubi o tarete arukeba kamikuzu ni yobare
bending his head
while walking looking eagerly
for waste paper
Tr. Gabi Greve
lit. maybe "while being attracted by waste paper"
. senryu, senryū 川柳 Senryu in Edo .
..............................................................................................................................................
紙屑もぼたん顔ぞよ葉がくれに
kami kuzu mo botan kao zo yo ha-gakure ni
scrap paper faces
of peonies . . .
shaded by leaves
This haiku refers to the peony garden of Issa's friend Satô Nabuchi, who placed paper flowers among the real ones. Makoto Ueda believes that "undoubtedly the paper scraps stand for poetry";
Dew on the Grass: The Life and Poetry of Kobayashi Issa (Leiden/Boston: Brill, 2004)
Tr. David Lanoue
酒臭き紙屑籠やきくの花
sake nioki kami kuzu kago ya kiku no hana
the waste paper basket
smells of sake . . .
chrysanthemums
Rice wine (sake) was served liberally at mum-viewing parties. In this case, how did a waste paper basket come to smell of sake?
Issa leaves this question to the reader's imagination.
Tr. David Lanoue
. Kobayashi Issa 小林一茶 in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Japanese Architecture - cultural keywords used in haiku .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #kami #paper #pringing #insatsu -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
kami 紙 paper
Japanese traditional paper was used for many items, from robes to lanterns to printing.
. - - Washi 和紙 Japanese Paper - - .
- introduction -
- quote
... Paper was made of the bark of "kozo" trees. Since only branches were cut to obtain bark, there was no worry of excessive cutting of trees. And there were many kinds of recyclers for used paper in those days.
Besides the repair experts, there were other specialized workers who collected and traded end-of-life materials.
- Used-paper buyers
These buyers bought old shopkeepers' books, sorted and sold them to paper makers. In those days, Japanese paper (washi) was made of long fibers of over 10 mm, and specialized paper makers bought and blended various kinds of used paper to make a wide range of recycled paper, from bathroom tissue to printing paper.
- Used-paper collectors
Some collectors were also specialized in used paper, but didn't have the financial resources to buy it. Instead, they picked up and collected trash paper by walking around the town and sold it to used-paper warehouses to get a daily cash income.
- Used-umbrella rib buyers
Umbrellas in the Edo Period were made of bamboo ribs with paper pasted on. Used-umbrella rib buyers bought and collected old umbrellas and sold them to specialized warehouses. At the warehouses workers removed oiled paper from the ribs, repaired the rib structures and then other workers were contracted to paste new oiled-paper onto the ribs to make new umbrellas. Incidentally, the oiled paper from used umbrellas was removed and sold as packaging material.
... As one could imagine, however, such extensive reuse and recycling systems embedded in society would limit the profits of paper makers, printing companies, publishers and shippers. In the economy of today, if people don't continuously buy new goods, the economy falters.
- source : www.resilience.org/stories...
- quote
Sustainability in Japan's Edo Period -
Unlike the prosperous present day, when it's cheaper to buy even a new metal and cloth umbrella than repair a broken one, people in the Edo period would use bamboo and paper umbrellas, as they did yukata, right to the very end.
If the paper of an umbrella had torn through prolonged use, people would ask traveling paper lantern repairmen to repaper them. Since repapering of both lanterns and umbrellas involves basically the same principle of applying paper to a bamboo framework, paper lantern salesmen apparently used to repair umbrellas too, as proven by the existence of old illustrations depicting such repairmen mending umbrellas as well as lanterns.
With repeated repapering, an Edo period umbrella had a long enough life span that it would begin to show wear and tear in other areas, the threads holding spokes together, or the spokes themselves, giving way in time. Repair was not so easy in many such cases, but people still didn't just throw old umbrellas out, selling them instead to old umbrella buyers who would go around neighborhoods calling out "Umbrellas! Old umbrellas!"
Apparently the old oil paper too was recycled to butchers to wrap meat up in. Very little meat was consumed in the Edo period, but there were people who purchased it as a kind of dietary supplement known as kusuri-gui (= medicine food), and in Edo and Osaka there were also shops selling the meat of wild boar, deer and other hunted wildlife. Such shops used old oil paper, which was largely odor-free as a result of its age, like we use plastic wrap today, an admirable example of out-and-out re-use if ever there was one.
- source : Eisuke Ishikawa
.......................................................................
. choochin 提灯 Chochin, paper lanterns .
. karakami 唐紙 special paper for sliding doors .
. kasa 傘 paper umbrella .
. oogi 扇 - uchiwa 団扇 paper hand fan .
to be updated
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Recycling and Reuse in Edo - リサイクル と 再生 / 再使用
ekorojii エコロジー ecology in Edo .
koshi risaikuru 古紙 (故紙) リサイクル recycling of old paper
kamikuzuya 紙屑屋, kamikuzu kai 紙屑買い - buying waste paper
According to its state of dirt and destruction, paper could be re-used (suki-kaeshi 漉き返し) in many ways until it finally ended in a fire to warm the folks or cook a meal.
回収業者 recycling shops
古紙問屋 store dealing in used paper
suki-kaeshi 漉き返し業者 business dealing in re-use of paper
- source : www.gakken.co.jp
.......................................................................
kamikuzuya 紙屑屋 Kamikuzuya
There is also a rakugo story about a waste paper collector.
- reference - for CD -
..............................................................................................................................................
kamikuzu hiroi 紙屑拾い picking up used paper
He walked in the streets with a basket hanging from his neck and picked up paper using a simple bamboo tool.
At the end of his day, he carried the basket to the dealer in used paper, got his money for the day and could go off to spend the money.
kamikuzu kai 紙屑買い buying old paper
He carried two baskets of woven bamboo (mekago 目籠)) with a shoulder pole and walked from home to home to collect used paper. He also had a scale to weigh the paper for payment.
At the end of his day, he too carried the baskets to the dealer in used paper, got his money for the day and could go off to spend the money.
..............................................................................................................................................
mekagao 目籠 openwork woven bamboo basket
kagome 籠目 holes in a basket
. kago 籠 / 篭 / かご basket, baskets of all kinds in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
kamisukishi、kamisuki shi 紙漉き師 making paper, paper making artisan
kamisuki shokunin 紙漉き職人
The making of paper is described here.
. - - Washi 和紙 Japanese Paper - - .
The most famous paper in Edo was made in Asakusa.
Asakusagami, Asakusa-gami 浅草紙
Most were specialized in recycling of paper, since it was difficult to get hold of the original materials for making paper in greater amounts.
Tawaramachi in Asakusa had a district called
Kamisukichoo 紙漉町 Kamisuki-Cho
- quote -
KAMISUKICHO RUINS - 'Kamisuki'means'making paper'.
This neighborhood was named after the very first Paper factory in Edo that was here and prospered from the late 17th Century through the 19th Century. Here paper produced was called "Asakusa paper "and was in fact made from recycling old and used paper.
- source : tokyotaito.blog.shinobi.jp -
kamiya, kami-ya 紙屋 paper maker
古今紙漉紙屋図絵
source : japonisme.or.jp/magazine
.......................................................................
- quote -
How were crepe prints (縮緬紙) made ?
Chirimengami-e ("compressed thread paper prints": 縮緬紙) were crinkled paper prints or "crepe" prints (sometimes referred to as 'crepon'). Ukiyo-e crepe prints were produced at least as early as 1800 in Edo, and throughout the nineteenth century they were used on occasion for alternate states of some ukiyo-e designs. The compression technique resulted in a highly textured surface and noticeably smaller paper sizes, which offered a different aesthetic from the image printed in standard editions. Despite the extra effort involved in making these prints, they were, it seems, more a novelty than an attempt at serious refinement of the printed image.
There was a revival of chirimen-gami-e production in the 1880s
with the advent of crepe-paper books to satisfy a growing Western market. Best known are those published by the Hasegawa company, which was opened in 1885. Their chirimen-gami publications were especially popular for children's books, as the crepe paper was somewhat resistant to tearing and thus had a better chance of surviving handling by children.
By pressing the lever down an enormous amount of pressure could be exerted upon the papers and molds, thus compressing the papers and imparting a textured effect from the molds to the interleaved, dampened papers.
- Read more about Japanese Printing on this extensive resource "Viewing Japanese Prints":
- source : viewingjapaneseprints.ne... -
..............................................................................................................................................
sukikaeshi, suki-kasehi 漉き返し業者 re-making of paper
source : www.gakken.co.jp/kagakusouken
Many craftsmen of this kind were located in Asakusa, Edo.
They tore old paper to pieces, selected them carefully, boiled them to dissolve and then let the liquid cool down (hieru 冷える). During that time they would walk over the the pleasure quarters of Yoshiwara, just walking up and down enjoying the view at the ladies (hiyakasu 冷やかす).
This is the origin of the word
hiyakashi 冷やかし half for fun, in jest
jeering; raillery; chaffing; merely asking the price; just looking at goods; window-shopping; browsing
Asakusagami 浅草紙 recycled paper from Asakusa / Edo
. Asakusa to hiyakashi 冷やかし
. Asakusa 浅草 Asakusa District in Edo .
Nishidooingami 西洞院紙 Nishidoin recycled paper from Kyoto
Minatogami 湊紙 Minatogami recycled paper from Osaka
..............................................................................................................................................
zenigoza 銭蓙売り paper mats to place coins
They were made of waste paper 反故紙 (hogogami) in the size of the amount of coins that should be placed on it.
zenigoza uri 銭蓙売り vendor of mats to place coins
. zeni, kozeni 銭、小銭 coins in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U and S E N R Y U - - - - -
source : 14 十四世川柳 - handwriting -
首をたれて歩けば紙屑によばれ
kubi o tarete arukeba kamikuzu ni yobare
bending his head
while walking looking eagerly
for waste paper
Tr. Gabi Greve
lit. maybe "while being attracted by waste paper"
. senryu, senryū 川柳 Senryu in Edo .
..............................................................................................................................................
紙屑もぼたん顔ぞよ葉がくれに
kami kuzu mo botan kao zo yo ha-gakure ni
scrap paper faces
of peonies . . .
shaded by leaves
This haiku refers to the peony garden of Issa's friend Satô Nabuchi, who placed paper flowers among the real ones. Makoto Ueda believes that "undoubtedly the paper scraps stand for poetry";
Dew on the Grass: The Life and Poetry of Kobayashi Issa (Leiden/Boston: Brill, 2004)
Tr. David Lanoue
酒臭き紙屑籠やきくの花
sake nioki kami kuzu kago ya kiku no hana
the waste paper basket
smells of sake . . .
chrysanthemums
Rice wine (sake) was served liberally at mum-viewing parties. In this case, how did a waste paper basket come to smell of sake?
Issa leaves this question to the reader's imagination.
Tr. David Lanoue
. Kobayashi Issa 小林一茶 in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - To join me on facebook, click the image !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Japanese Architecture - cultural keywords used in haiku .
. - Doing Business in Edo - 商売 - Introduction .
. senryu, senryū 川柳 Senryu poems in Edo .
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #kami #paper #pringing #insatsu -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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