Kitamaebune ships

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. Ezo, Emishi 蝦夷　エゾ　Ainu Culture アイヌの文化 .
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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


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. 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.




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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.

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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.

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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 .


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source :　www.mugajin.jp

北前船～寄港地と交易の物語
加藤貞仁




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- 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


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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


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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 - -


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- detail with sailors


source :　www.artisticnippon.com


. Kutaniyaki 九谷焼 Kutani Pottery　 .


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. 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 .


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- #kitamaebune #tsuruga -
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kami paper

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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

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. 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
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. 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

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kamikuzuya 紙屑屋 Kamikuzuya



There is also a rakugo story about a waste paper collector.

- reference - for CD -

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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.


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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 .

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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

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- 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... -


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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

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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 .

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- - - - - 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 .

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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 .

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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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furugi old robes

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furugi 古着 old robes, old cloths

The most common robes and cloths of the Edo period
. Kimono, Yukata, Nagajuban and more .

When they got old, they joined the marked for used and second-hand clothes and robes.

furugiya 古着屋　a second-hand clothing store

They belonged to a group if eight recycle businesses in Edo

happinshoo 八品商
. Recycling and Reuse in Edo .
The government kept an eye on them, because sometimes their merchandise was stolen.


. shitateya 仕立屋　/ 仕立て屋 tailor, seamstress .
They were also part of the recycle business of old robes.
kogire 古裂れ old pieces of cloth, size did not matter, small pieces were also available.
kamawanu - 構わぬ never mind (the size), became kamawanu 鎌わぬ.

kogireya 古裂れ屋 / 端切れ屋 dealer in old pieces of cloth, ready to be re-sewn.
tsugihagi, tsugi-hagi 継ぎ接ぎ patching and darning was also popular.

for mitaoshiya 見倒し屋 second-hand dealer, see below
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furugi kai　古着買い　buyer of old cloths

They were the beginning of the shops dealing with old and used robes. The government kept an eye on them, because sometimes the merchandise was stolen.
Many stores started at Tomizawa-cho 富沢町 close to Nihonbashi.
One of the first known dealers was
Tobisawa Jinnai　鳶沢甚内. He was a samurai of the Odawara clan and became the boss of a thieve's group, after his domaine was abolished. When peace returned to Japan, he settled as a cloth merchant. Soon many followed him and one small quarter was named after him, Tobisawa cho 鳶沢町.

Some buyers even got the old robes from poor people who had died. They had to wait until the funeral was well over, to make sure the dead had reached Paradise and would not come back to claim his robes before they could sell this merchandise.

When the dealers walked through town, there were usually two of them. The beginning of this custom is legend:
Once there was a dealer who became too ill to carry the pole with the merchandise himself, so he had his son follow him to carry the burden. This was well observed and soon imitated by others.

Tomizawachoo 富沢町 Tomizawa Cho district
中央区 Chuo ward.



. Place names of Edo - Introduction .

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furugiya, furugi-ya 古着屋 dealer in old cloths


source :　simofuri.com/recycle

Around 1723 there were more than 1180 stores in Edo, most of them members of a special guild 同業組合.
Most kept their merchandise in a shop, others employed peddlers to offer them in a wider area of Edo.
Some sold complete kimono and robes,



others had them taken apart (furugire　古切れ）and sold the material separate.



source :　ginjo.fc2web.com
　「柳原土手に並ぶ古着屋」 Yanagiwara Dote 　江戸東京博物館蔵

Many shops were along the river Kandagawa from 万世橋 Manseibashi bridge to Asakusabashi bridge,
an area called the 柳原土手　Yanagiwara dote　river bank.



. Recycling and Reuse in Edo .

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In Osaka and Kyoto, the shops were called
furuteya, furute-ya 古手屋

They were even the subject of rakugo comic stories, for example "Kanjo Ita 勘定板".
The shop at Sakasuri jinja 大坂船場の坐摩神社 is especially famous.


古手屋喜十 為事覚え by 宇江佐真理 Ueza Mari

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takeuma furugi uri 竹馬古着売り / 竹馬古着屋
selling old cloths hanging on a "bamboo horse" (takeuma) carried over the shoulder



In the year 1629 a certain 家城太郎治 prepared a hanger with four legs from bamboo, like stilts (takeuma 竹馬)
to carry his merchandise of old robes around town. He started from Tokiwabashi 常盤橋.
First the front part of the hanger was high and looked like the head of a horse, with the merchandise covered by a large furoshiki cloth when walking around. Later front and bottom became the same hight, but it was still a "bamboo horse".
The ladies came soon to buy, because his ware was cheap, even if the material was faded or torn.

Other stores at Tomizawa-cho 富沢町 and Tachibana-cho 橘町 soon followed.

The town government soon produced some laws for dealing with
kobutsu shoo 古物商 "dealing with old things" .
古物商 へ売買定法再令

furumono kai　古物買い　to buy old things
shoku akindo 職商人（しょくあきんど) they bought old things and repaired them.

in our modern times they are sometimes called
risaikuru shoppu リサイクルショップ　recycle shop



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mitaoshiya　見倒し屋 / 見倒屋 second-hand dealer


source :　wishpafupafu.blog110.fc2.com

An important recycle business in Edo for used things, including all kobutsu shoo 古物商 dealers in "old things".

mitaosu, mi-taosu 見倒す means to "look down", to underrate, under-value.

The dealers would take a look down at the shoes of the new client to judge his status, then at the things he brought to the shop, and underrate them quite a bit accordingly to make a good deal.
Therefore many Edokko 江戸っ子 "true men of Edo" took great care to have expensive-looking footware.


見倒しは刀を差して鍋をさげ
mitaoshi wa katana o sashite nabe o sage

things get under-valued -
be it a sword
be it a cooking pot

and on his way home

　the mitaoshiya
wears a sword
and dangles a cooking pot


The mitaoshiya could not afford to feel sorry for his clients, even if they brought the valuables and mementos of a deceased family member -
and yet sometimes this happens -

見倒屋ついでに後家も仲人し
mitaoshiya tsuide ni goke mo nakoodo shi

the mitaoshiya
in the course of time finds a husband
for the widow . . .

nakoodo 仲人 is a go-between for a couple.




隠れ岡っ引 見倒し屋鬼助事件控
by 喜安 幸夫 (著), ヤマモト マサアキ (イラスト)

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行春や我を見たをす古着買
yuku haru ya ware o mitaosu furugigai

spring departs -
the old clothes buyer
ignores me

. Kobayashi Issa 小林一茶 in Edo .
Tr. David Lanoue

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. senryu, senryū 川柳　Senryu poems in Edo .


. Japanese Architecture - cultural keywords used in haiku .

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nori starch glue

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nori 糊 starch, glue

nori 糊 natural glue (rice starch) was used when changing paper for the sliding doors, for example. It was also used for robes.
Another name is  himenori 姫糊 "princess nori glue".

. kan nori 寒糊 (かんのり) glue made in the cold .
from the root of the Tororo aoi plant.
kigo for winter


- quote
himenori 姫糊　"princess glue"
Paste is the basis of color and must be mixed on the block with the pigment by use of a brush. The process must be done only just before printing, and not previously. This gives substantial body to the pigment and thus secures its uniform application to the block. It should be noted that this procedure is not for the purpose of making the pigment adhere to the paper. If too much paste is used, the paper will stick to the block and cannot be removed.

The paste, which is called himenori, is made of refined rice and water in the proportion of 50 grams (1.78 ounces) of rice to 340cc (.72 pint) of water. The method of preparing the paste is as follows:

The refined rice is placed in 50 cc of water and allowed to stand for two or three days.
When the rice has fully absorbed the water, the mixture is placed in a suribachi (earthenware mortar) and pounded until it is of uniform consistency.
The mixture is then placed in a pan with the remaining 290cc of water and set on a heater. During the heating process the mixture must be stirred constantly with a spatular stick.
As the mixture comes to a boil it begins to turn translucent. It must be removed from the heater at the moment when it becomes about seventy percent translucent. This is the most important part of the procedure.
Stirring must be continued vigorously until the mixture becomes tepid and returns to a more or less opaque condition.
Next, particles of foreign matter and grains of rice that have escaped the pounding process must be removed by squeezing the mixture through a cotton-cloth bag.

The consistency of the paste should be the same as that of cooked oatmeal. But for the purpose of pasting a hanshita, this must be as dense as that of cold cream, the water proportion being reduced by one-third at preparation. If it were boiled, it would soon lose the requisite consistency later on. It should be sufficiently fluid to be poured into another container, but thick enough so a drop smaller than thumb-tip size clings to the end of a stick.
- source : woodblock.com/encyclopedia


under construction
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nori uri, nori-uri 　糊売り　vendor of starch
himenori uri 姫糊売り


Starch to be used after washing a kimono was sold in units of 1 mon.
The outfit of a vendor was almost like a tofu vendor with two tubs on a pole over the shoulders.
They uses two spatula made from bamboo to scoop the starch out of their buckets into a pot offered by the customer.

It was often sold by old ladies. On rainy days people did not to any washing, so the old ladies (baba　ばば、ばあー) did not have to go out.

Noriya no baasan 糊屋の婆さん A Rakugo story.


. Doing Business in Edo　- 江戸の商売 .

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norioke, nori-oke 糊桶 tub for glue

Here is a sample from workers putting new paper on sliding doors.


糊桶または糊盥, nori tarai


look carefully at the lower right to find the detail above  . . .



- Great source for checking out the tools of glueing paper on sliding doors
- source : db.ebiki.jp/annotations

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- quote
Shita-kiri Suzume (舌切り雀 shita-kiri suzume)
"Tongue-Cut Sparrow"
is a traditional Japanese fable telling of a kind old man, his avaricious wife and an injured sparrow. The story explores the effects of greed, friendship and jealousy on the characters.

The plot
Once upon a time there lived a poor old woodcutter with his wife, who earned their living by cutting wood and fishing. The old man was honest and kind but his wife was arrogant and greedy. One morning, the old man went into the mountains to cut timber and saw an injured sparrow crying out for help. Feeling sorry for the bird, the man takes it back to his home and feeds it some rice to try to help it recover. His wife, being very greedy and rude, is annoyed that he would waste precious food on such a small little thing as a sparrow. The old man, however, continued caring for the bird.

The man had to return to the mountains one day and left the bird in the care of the old woman, who had no intention of feeding it. After her husband left, she went out fishing. While she was gone, the sparrow got into some starch that was left out and eventually ate all of it. The old woman was so angry upon her return that she cut out the bird's tongue and sent it flying back into the mountains from where it came.



Katsushika Hokusai

The old man went searching for the bird and, with the help of other sparrows, found his way into a bamboo grove in which the sparrow's inn was located. A multitude of sparrows greeted him and led him to his friend, the little sparrow he saved. The others brought him food and sang and danced for him.

Upon his departure, they presented him with a choice of a large basket or a small basket as a present. Being an older man, he chose the small basket as he thought it would be the least heavy. When he arrived home, he opened the basket and discovered a large amount of treasure inside. The wife, learning of the existence of a larger basket, ran to the sparrow's inn in the hope of getting more treasure for herself. She chose the larger basket but was warned not to open it before getting home.

Such was her greed that the wife could not resist opening the basket before she returned to the house. To her surprise, the box was full of deadly snakes and other monsters. They startled her so much that she tumbled all the way down the mountain, presumably to her death.

Moral
- The purity of friendship overcomes the evil of greed and jealousy.
- Greed only leads to one's own demise.
- source : wikipedia


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- quote
nikawa　膠
A transparent or semi-transparent animal glue, used as a binder *baizai 媒剤, and an adhesive.
Nikawa is durable and elastic, although it loses flexibility with age. It is made from the skins, bones, tendons and intestines of animals or fish skins and bones, which are boiled in water to extract gelatin. Excess water is evaporated away, and after cooling leaves a jelly-like glue. Nikawa does not dissolve in cold water, but can be dissolved when heated.

A solution of a few percent concentration is used in Japanese painting *nihonga 日本画 to adhere the pigments *ganryou 顔料 and fix them to the picture surface. Nikawa is mixed with alum to make *dousa 礬水 for sizing paper and is used as a primary coat in oil painting, abura-e 油絵.

Nikawa has many uses as an adhesive for wood, paper and cloth, and acts as binder for substances such as the white pigment *gofun 胡粉, and *tonoko 砥の粉, applied to statues before painting.
- source : JAANUS


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. noridarai, nori darai 糊盥 glue tub .


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. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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abura uri oil vendor

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Places of Edo - Introduction .
- for 金剛寺 Kongo-Ji, see below
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abura uri 油売り oil vendor, oil peddler



Abura no Kamisama 油の神様 Deity of Oil
Rikyu Hachimangu Shrine in Oyamazaki-cho

At the temple Enryaku-Ji on Mount Hieizan in Kyoto there is an "eternal flame" and all lanterns are kept alight since more than 1000 years.
The lanters use oil flames for light,
and the oil 油 YU should not be "cut off" 断 DAN,
so the flame could continue to light the temple and show the way to enlightenment for the visitors.

This is the origin of the saying
yudan taiteki 油断大敵 Do not be inattentive.

. yudan taiteki　油断大敵 Be attentive ! .

. Aburahi Daimyoojin 油日大明神 Aburahi Daimyojin Deity .
油日神社 Aburahi Shrine, Shiga and aburabi, aburahi 油火 "oil fire"

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The oil vendor had to make sure he got the right amount to pour into the flask his customer had placed in front of him. This took a long time and so the proverb says:

abura o uru 油を売る to sell oil
goof off when you should be working
to spend time chitchatting or to waste time in the middle of a task

- quote
In old Japan, there were roadside merchants who specialized in the selling of oil for cooking and other household purposes. Even then, cooking oil was a low-margin commodity. Therefore, this occupation did not provide a very high level of income.

There are no longer roadside oil merchants in Japan, but the phrase abura o uru has become a metaphor for any low-value-added activity. The expression usually refers to office workers who putter about doing meaningless tasks, or spend too much time at the coffee machine or in the smoking area.
- source : www.japanese123.com

油売り油はうれず油売る
abura-uri abura wa urezu abura uru

the oil vendor
does not sell any oil
but oils the conversation

- reference - proverb japan abura uru


source : gakuyaura.chesuto.jp

oil vendor from the Hokusai Manga 北斎漫画

He carried two barrels with oil on his pole. The barrels were laced with copper in the inside.

The most common was rapeseed oil for lamps (tane abura 種油）.

Egoma oil 荏胡麻油 / 荏油 was used for lighting up the Imperial Court, shrines and temples. Then gradually it spread and come to used by the general public.

Tsubaki abura 椿油 camellia oil was used for the beauty care of the ladies.

Gyoyu 魚油 fish oil was used for lamps.

Goma-abura　ごま油 sesame oil was used for cooking.

When dispensing oil, the vendors got their hands dirty and had to carry some straw to wipe the hands clean.

打ち藁を手ぬぐいにする油売り
uchiwara o tenugui ni suru abura uri

the oil vendor
uses cut straw as a towel
to wipe his hands

. tenugui 手ぬぐい　small hand towels .

. senryu, senryū 川柳　Senryu in Edo .

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. Places of Edo - Introduction .

Tooriaburachoo, Tōriabura-chō　通油町 Toriaburacho District - Tori-abura



Many shops of the oil vendors were located in this district, now part of Nihonbashi, Ōdenma-chō district.
In the nearby districts were many lodgings and oil sold well for lamps and lanterns, since travelers used to leave the lodging at 4 in the morning, when it was still dark outside.



There were also many publishers and book stores in Toriaburacho. The most famous was
Senkakudoo, Senkakudō 仙鶴堂、鶴屋喜右衛門 Senkakudo, Tsuruya Kiemon.
The first Kiemon died in 1788, but his heir continued the publishing house.



In the late Edo period, Ukiyo-e (woodblock prints of everyday life in the Edo period) produced in Edo were known as "Nishiki-e" (brocade pictures) on account of their bountiful colors, and were extremely popular Edo miyage (Edo souvenirs). Ukiyo-e were sold by publishers called jihon-donya or ezoshi-ya who handled unique Edo books, and they contributed significantly to the development of Edo culture. This picture shows the front of the Tōriabura-chō branch shop of Tsuruya Kiemon, a publisher whose main shop was located in Kyoto. Their Edo branch operated as both a shomotsu-donya (publishers of regular books) and a jihon-donya.
- source : library.metro.tokyo.jp -

Publishers and vendors or calendars 江戸暦問屋 also used to live here.
. 江戸暦 The Edo Calendar .


. shuppansha 出版社 publishing company, book publisher .
ABC - Introduction

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source :　www.eonet.ne.jp/~kumonoue
山崎油売り oil vendor from Yamasaki

宵ごとに都へ出づる油売り
ふけてのみ見る山崎の月

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. aburazara, abura-zara 油皿 oil dish, oil plate .

to be put under a portable room lantern (andon 行燈). They were frequently used in every household until the electric light took over.

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abura boozu, aburaboozu 　油坊主 Aburabo oil monk



- quote
This tsuba illustrates the 12th-century story of the oil monk from Yasaka shrine in Kyoto.
On a stormy night, reports circulated in the city of a fire-breathing monster. Taira no Tadamori went out to capture the monster and discovered that it was actually a poor monk walking to Yasuka shrine. He was carrying an oil lamp that emitted flames when he blew on it.
The monk is on the right side of tsuba, carrying the lamp and an umbrella. The moon and a small bird in flight are at the upper left. The rain is highlighted in gold.
On the back, the gate to Yasuka shrine is depicted.
- source : art.thewalters.org



source :　ukiyoe.cocolog-nifty.com

平忠盛 Taira no Tadamori and 油坊主 abura boozu

Taiso Yoshitoshi (1839-1892) - Tadamori and the Oil Thief
- source : Floating World Gallery -

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Abura-bo 油坊 Oil Priest, Oil Monk


- reference : wikipedia -

A fireball (kaiki) yokai from Shiga and Kyoto. The spirts of dead priests who were oil thieves.
They are cursed to haunt as Abura-bo after their deaths.

and

Abura-sumashi 油すまし "Oil Presser", "oil wringer"
A Yokai from Kumamoto.


- reference : wikipedia -

. - yookai, yōkai 妖怪 Yokai monsters - .

...................................................................................................................... Kyoto 京都府
京都市 Kyoto City

rinka. onibi 燐火 will‐o'‐the‐wisp
The will‐o'‐the‐wisp light apprearing in a summer night is called 油坊 Abura Bo.

.......................................................................

. Dogen　道元禅師　Zen Priest Dogen .
Once a man stole some of the sacred oil for the lamp at 比叡山 Mount Hieizan.
When he died his spirit became a rinka 燐火 will‐o'‐the‐wisp and flew around in sommer nights.
The light at 七条朱雀 Shijo Kujaku from 道元 Dogen is probably from this flame.
This kind of story is told in many parts of Japan.




...................................................................................................................... Shiga 滋賀県
Shiga 野洲郡 Yasu district // 比叡山

aburabo 油坊 "oil monk" lights can be seen from late spring to early summer.
The light looks like a monk, hence the name.
They say a monk who stole sacred oil from the lamp at Mound Hieizan turned into this ghost.
. Hieizan 比叡山 Mount Hiei Legends .

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Shiga 愛知郡 Aichi district 秦荘町 Hatasho town // 金剛寺 Kongo-Ji

Once upon a time, at 金剛寺 the Temple Kongo-Ji there was a priest
who came every morning to pour some oil into the lamp.
One day the priest wanted to do something malicious and stole some oil to make it to money.
When he wanted to go out to enjoy himself he could not move and died soon.
The next morning a priest at the temple gate heard of a ghost showing there.
This ghost carried some oil and walked up to the main hall. The priest heard a voice:
「油返そう、油返そう。わずかなことに、わずかなことに」.
"I bring back some oil, just a little, just a little!"
This aburabo 油坊 oil monk can be seen to our days.

.......................................................................
高知県 Kochi / Kongo-Ji

佐蹉跎山金剛寺七不思議 Seven wonders from Temple Kongo-Ji
龍の駒笹
一眼一足の笹
不増不減の水
天燈
午時の雨
搖ぎ石
潮満ち石

.......................................................................
長野県 Nagano 上田市 Ueda city // 金剛寺 Kongo-Ji

ji ishi 爺石 Grandpa Stone， ba ishi 婆石 Grandma Stone
Once upon a time
a rich old couple from Matsushiro wanted to visit the home of their daughter in Ueda, where their grandchild had been born.
They were carried in a palanquin over the pass 地蔵峠 Jizo Toge.
But the palanquin bearers were two bad men.
When they came to the pass 金剛寺峠 Kongoji Toge, they stole the money of the couple and threw tha palanquin down the valley.
Grandpa rolled down, hit a stone and turned into a stone himself, the Grandpa Stone.
Grandma reached a forest and turned into Grandma Stone.
The palanquin stopped at a small Shrine for Yamanokami and turned into Kago Ishi 籠岩, the Palanquin Stone.


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- reference : Nichibun Yokai Database -

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