shibui Japanese elegance

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shibui　渋い / shibusa　渋さ subdued elegance

shibui, in its original meaning, is the adstringent taste of food.

kakishibu 柿渋 "persimmon dye" "adstringent liquid of persimmon
shibutori 渋取 (しぶとり) making dye from fermented persimmons
shibu toru 渋取る（しぶとる）, shibu tsuku 渋搗く（しぶつく）
kakitsuki uta 柿搗歌（かきつきうた）
shibukasu 渋糟（しぶかす）leftovers from the process
kishibuoke, kishibu-oke 木渋桶（きしぶおけ）

- quote
Calling kakishibu a “dye” is a bit of a misnomer. Made from the fermented juice of unripe astringent persimmons, the color comes from the tannin molecules linking together and forming a coating. More than a coloring agent, kakishibu also has strengthening, antibacterial and waterproofing properties. Kakishibu was used in China and Korea, but reached its ultimate utilization in Japan. It was used as a wood preservative, waterproofer, insect repellent, folk medicine, and on washi (Japanese paper), fans, parasols, clothing and in sake production.
. Persimmon (kaki) and kigo .

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August 1960 House Beautiful -" Discover Shibui:
The Word for the Highest Level in Beauty. "

DISCOVER SHIBUI-
Philip Bewley

“One of the most influential issues ever by a design magazine” is how the August 1960 issue by House Beautiful magazine titled, “ Discover Shibui: The Word for the Highest Level in Beauty” is described in the archives of the Smithsonian Institution (The Elizabeth Gordon Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives). The August “Shibui” issue was followed by the September 1960 issue
“How to be Shibui with American Things”.


These two landmark magazine issues introduced the American public to Japanese aesthetic of shibui (or shibusa). Elizabeth Gordon, House Beautiful editor (1941-1964) wrote in the August issue “Shibui describes a profound, unassuming, quiet feeling. It is unobtrusive and unostentatious. It may have hidden attainments, but they are not paraded or displayed. The form is simple and must have been arrived at with an economy of means.
Shibui is never complicated or contrived.”

THE SEVEN QUALIFIERS - Shibui has seven qualifiers:
simplicity, implicitness, modesty, silence, naturalness, everydayness, and imperfection.


EAST MEETS WEST
While Western art had certainly been influenced by the decorative arts of Japan before these issues, nothing in English had been written on the Japanese aesthetic of shibui before Elizabeth Gordon introduced shibui to the American public. “These issues were published just as I was finishing high school and preparing to go into design so they were incredibly timely in my development,” Says Bob Garcia (Therien & Co.). “Fortunately I went to The Rudolph Schaeffer School of Design soon thereafter and given the Asian bent to the school's curriculum. The colors and compositions of Shibui were engrained in my own aesthetic.”


Photograph by Ezra Stoller

Shibui beauty, as in the beauty of Tea Ceremony,
is beauty that makes an artist of the viewer."
Elizabeth Gordon

hade - bright and exhuberant beauty
iki - chique and sophisticated beauty
jimi - somber and proper beauty

- source : littleaugury.blogspot.jp

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Click to see more when googeling with shibui mingei - folk art 渋い　民芸!


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- quote
Shibui (渋い) (adjective), shibumi (渋み) (noun), or shibusa (渋さ) (noun)
are Japanese words which refer to a particular aesthetic of simple, subtle, and unobtrusive beauty. Like other Japanese aesthetic terms, such as iki and wabi-sabi, shibui can apply to a wide variety of subjects, not just art or fashion.

- - - - - Defining shibui or shibusa
Shibusa is an enriched, subdued appearance or experience of intrinsically fine quality with economy of form, line, and effort, producing a timeless tranquility. Shibusa includes the following essential qualities:

(1) Shibui objects appear to be simple overall but they include subtle details, such as textures, that balance simplicity with complexity.
(2) This balance of simplicity and complexity ensures that one does not tire of a shibui object but constantly finds new meanings and enriched beauty that cause its aesthetic value to grow over the years.
(3) Shibusa is not to be confused with wabi or sabi. Though many wabi or sabi objects are shibui, not all shibui objects are wabi or sabi. Wabi or sabi objects can be more severe and sometimes exaggerate intentional imperfections to such an extent that they can appear to be artificial. Shibui objects are not necessarily imperfect or asymmetrical, though they can include these qualities.
(4) Shibusa walks a fine line between contrasting aesthetic concepts such as elegant and rough or spontaneous and restrained.


Interior of Soetsu Yanagi's house

The colors of shibusa are "muddy" colors. For example, in interior decorating and painting, gray is added to primary colors to create a silvery effect that ties the different colors together into a coordinated scheme. Depending upon how much gray is added, shibui colors range from pastels to dark. Occasionally, a patch of brighter color is added as a highlight.

The seven elements of shibusa are simplicity, implicity, modesty, silence, naturalness, everydayness, and imperfection.
The aristocratic simplicity of shibusa is the refined expression of the essence of elements in an aesthetic experience producing quietude. Spare elegance is evident in darkling serenity with a hint of sparkle. Implicity allows depth of feeling to be visible through a spare surface design thereby manifesting the invisible core that offers new meanings with each encounter. The person of shibusa modesty exalts excellence via a thoroughness of taking time to learn, watch, read, understand, develop, think, and merges into understatement and silence concerning oneself. Shibusa's sanctuary of silence, non-dualism—the resolution of opposites, is intuition coupled with beauty and faith as foundations for phases of truth revealing the worship and reverence for life. Naturalness conveys spontaneity in growth, unforced.

The healthy roughness of texture and irregular asymmetrical form maintain shibusa freedom wherein the center lies beyond all particular things in infinity. Everydayness raises ordinary things to a place of honor refined of all artificial and unnecessary properties thus imparting spiritual joy for today is more auspicious than tomorrow. Shibusa everydayness provides a framework, a tradition for an artist's oeuvre to be a unit not a process. Hiroshi Mizuo argues that the best examples of shibusa are found in the crafts, which are ordinary objects made to be used; also, since they are mass-produced, they tend to be more spontaneous and healthy than many of the fine arts. Imperfection in shibusa Soetsu Yanagi in The Unknown Craftsman refers to as "beauty with inner implications". It is not a beauty displayed before the viewer by its creator; creation here means making a piece that will lead the viewer to draw beauty out of it for oneself. Shibui beauty, as in the beauty of Tea Ceremony, is beauty that makes an artist of the viewer."

In James A. Michener's book Iberia the adjective 'shibui' is referenced as follows: "The Japanese have a word which summarizes all the best in Japanese life, yet it has no explanation and cannot be translated. It is the word shibui, and the best approximation to its meaning is 'acerbic good taste.'"

The author Trevanian (the nom de plume of Dr. Rodney William Whitaker) wrote in his 1979 best-selling novel Shibumi, “Shibumi has to do with great refinement underlying commonplace appearances.” In the business fable The Shibumi Strategy, the author, Matthew May, wrote that shibumi "has come to denote those things that exhibit in paradox and all at once the very best of everything and nothing: Elegant simplicity. Effortless effectiveness. Understated excellence. Beautiful imperfection."

- - - - - History of the term
Originating in the Muromachi period (1336–1392) as shibushi, the term originally referred to a sour or astringent taste, such as that of an unripe persimmon. Shibui maintains that literal meaning still, and remains the antonym of amai (甘い), meaning 'sweet'.


An almost ripe Shibui, the fruit of Diospyros kaki

However, by the beginnings of the Edo period (1615-1868), the term had gradually begun to refer to a pleasing aesthetic. The people of Edo expressed their tastes in using this term to refer to anything from song to fashion to craftsmanship that was beautiful by being understated, or by being precisely what it was meant to be and not elaborated upon. Essentially, the aesthetic ideal of shibumi seeks out events, performances, people or objects that are beautiful in a direct and simple way, without being flashy.

Expert singers, actors, potters, and artists of all other sorts were often said to be shibui; their expertise caused them to do things beautifully without making them excessive or gaudy.

The concept of shibusa was introduced to the West in August and September, 1960, in publications of the American magazine House Beautiful.

"Shibusa Implicity" iron glaze and gold leaf vase, Dorothy Bearnson, 1983
"Shibusa Modesty" iron glaze vase, Dorothy Bearnson, 1988.

Today, sometimes baseball players are even said to be shibui when they contribute to the overall success of the team without doing anything to make themselves stand out individually. The apparent effortlessness displayed by athletes such as tennis player Roger Federer and hockey great Wayne Gretzky are examples of shibumi in personal performance.

With a long list of additional reading
- - - More in the WIKIPEDIA !


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Everett Brown's lifestyle is a reflection of his philosophy on life.
American photojournalist combines traditional with modern in daily life

Brown uses the term "shibu-modern" to explain the theme in his lifestyle and his design for his country inn.

"Shibu-modern is a way of integrating traditional aspects of living with modern technology and design to provide a deeply rich Japanese aesthetic experience. Shibui means traditional, rustic atmosphere. Shibu-modern is not just old and rustic, but it the aesthetic merging with modern design elements," said Brown.

Several examples of shibu-modern can be seen at Jiji no Ie. One example is the suikinkutsu — an underground ceramic urn in the inn's Japanese garden that makes a beautiful sound when water drips into it.
Brown said he wanted to re-create the aesthetic of an Edo Period tea house garden. He asked Yosuke Yamaguchi, an award-winning gardener from Nagasaki, to design the garden, to build the suikinkutsu as an aesthetic feature in the inn's garden.

Deco Nakajima 中島デコ Nakajima Deko, Brown's wife
Brown's Field farm:
Tucked away in Chiba Prefecture's Boso Peninsula, Brown's Field consists of a traditional Japanese farmhouse, the Rice Terrace café, a yurt, a couple of rice fields and lots of ducks, goats and cats.
. Deco Nakajima 中島デコ Nakajima Deko .


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. wabi sabi 侘び　寂び .

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

Wabi and Sabi: The Aesthetics of Solitude

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

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Haiku and the Perception of the Unique
Richard Gilbert, Japan
Egalitarian Typologies Versus the Perception of the Unique,
by James Hillman
Hillman interests me because he poses a deeper polarity or dichotomy, regarding excellence: egalitarian typology versus the perception of the unique. It may be that any critic (“person of taste”), in advancing a rationale for excellence, unavoidably presents a schema as part and parcel of a logical, formal argument for quality.
For haiku, one can speak of yugen, shibumi, karumi, wabi-sabi, etc. These terms, taken together, form an egalitarian typology. Critics will say that this or that haiku possesses more or less of one and another.

- source : haikureality.theartofhaiku.com


Can haiku be distinguished from other short forms of poetry?
..... beginning with the first requirement: shibumi.

English haiku must not be pale imitations of Japanese haiku, or mere ... advantages of sabi, shibumi and similar aesthetic qualities cannot but improve the climate ...

Shibumi. Shimada Seiho (1882-1944)

- reference -


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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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tenth lunar month

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The Tenth Lunar Month　十月 juugatsu - 神無月 kannazuki -
lit. "Gods are absent"

In the old lunar calendar of the Edo period

spring lasted from the first month to the third,
summer from the fourth month through the sixth,
autumn from the seventh month through the ninth,
winter from the tenth month through the twelfth.

. WKD : The Asian Lunar Calendar and the Saijiki .


. Edo Saijiki　江戸歳時記 .


source :　art.jcc-okinawa.net/okinawa/edonosiki


The tenth lunar month (now November), after the harvest when the Japanese gods had done their duty, they left their local shrines for a bit of a vacation. They would all go for an audience and to celebrate at the great shrine of Izumo, so the rest of Japan was "without gods".

. kami no rusu 神の留守 the gods are absent .

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Yaburu, 破 Ebisu-ko Festival in Kanna-zuki

- Utagawa Toyokuni III
With a small picture in the frame that illustrates the table set for Ebisu-ko Festival when merchants in Edo invites their important clients and relatives on the twentieth day of the tenth month to pray for business success, this is a piece that depicts a woman drinking sake in front of a torn letter.
The tenth month of the lunar calendar was the month of 'Kanna-zuki', the month where all the gods left to gather in Izumo and during this month there was a deity who stayed in Edo to take charge. This was Ebisu.
Ebisu is the god who brings in business prosperity and on the day of the Ebisu festival, traders would shut up shop early and offer sea breams, sacred sake, mochi (rice cake) and fruits to Ebisu and Daikoku and hold a big feast.
So what does the girl in the picture represent? The title of this illustration is 'Yaburu' (to rip).
Yaburu is one of the 12 words used to mark the old calendar as indicators of lucky and unlucky activities and it would be considered very unlucky to make contracts, hold negotiations and seek advice on such a day and even more unlucky to hold a marriage ceremony.
The writing on the screen says that the girl made a promise with someone to meet on this day, but a letter was sent back saying that a meeting would not be possible and so the girl is drowning her sorrows in alcohol.
Left behind like Ebisu, the miserable figure of the girl is depicted.
- source : Tokyo Metropolitan Museum -

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

bettara ichi market and Ebisu
　べったら市は、毎年10月19・20日の両日、日本橋大伝馬町の宝田恵比寿神社の大祭・恵比寿講に合わせて催される縁日

- source : 江戸の歳時記 -


. robiraki 炉開き "opening the hearth .
for the tea ceremony
On the first day of the boar in the month.



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. Edo Saijiki　江戸歳時記 .


. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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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...


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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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- #kami #paper #pringing #insatsu -
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ninth lunar month

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The Ninth Lunar Month　九月 kugatsu - 長月　nagatsuki -
lit. "long month"

In the old lunar calendar of the Edo period

spring lasted from the first month to the third,
summer from the fourth month through the sixth,
autumn from the seventh month through the ninth,
winter from the tenth month through the twelfth.

. WKD : The Asian Lunar Calendar and the Saijiki .


. Edo Saijiki　江戸歳時記 .


source :　art.jcc-okinawa.net/okinawa/edonosiki


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chooyoo 重陽 (ちょうよう) "double prime number nine"
kiku no sekku 菊の節供 chrysanthemum ritual

. Chrysanthemum Festival .


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Kanda Myoojin Matsuri 神田明神祭り Kanda Myojin Festival
on the 15th day of the ninth lunar month, now on May 15


source and photos :　kandamyoujin.or.jp/kandasai

The festival floats were richly decorated.

夏と秋二年に見せる金屏風
natsu no aki ninen ni miseru kinbyoobu

in summer and autumn
once every two years we see
the golden folding screens
Yanagidaru 71



In summer for the Sanno Festival and in autumn for the Kanda festival rich merchants put a golden folding screen in front or their shop, placed a wooden stand in front of it (sanpoo 三方) and put up some offerings of sacred rice wine (miki　お神酒) .

. Kanda Myoojin 神田明神, Kanda-myōjin - 神田神社 Kanda-jinja.


. toojin ame uri 唐人飴売り Chinese-style candy vendor .
They came to sell their sweets at the Kanda Festival.

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Nezu Jinja Matsuri 根津神社例大祭
- source : 江戸の歳時記 -


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. Edo Saijiki　江戸歳時記 .


. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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eighth lunar month

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The Eighth Lunar Month　八月 hachigatsu - 葉月 hazuki -
lit. "leaf month"

In the old lunar calendar of the Edo period

spring lasted from the first month to the third,
summer from the fourth month through the sixth,
autumn from the seventh month through the ninth,
winter from the tenth month through the twelfth.

. WKD : The Asian Lunar Calendar and the Saijiki .


. Edo Saijiki　江戸歳時記 .


source :　art.jcc-okinawa.net/okinawa/edonosiki


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hanabi, Edo no hanabi
- source : 江戸の歳時記 -

Tomioka Hachimangu Festival 富岡八幡宮例大祭（深川八幡祭り)
- source : 江戸の歳時記 -

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source :　mingeijapan - Furoshiki

Enjoying the full moon of autumn
. meigetsu 名月 "famous moon" harvest moon .
on the 15th day of the eighth lunar month


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. Edo Saijiki　江戸歳時記 .


. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]

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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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. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


. Japanese Architecture - cultural keywords used in haiku .

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kimekomi dolls

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kimekomi ningyoo 木目込人形 Kimekomi dolls



- quote
Kimekomi Ningyou were created by Takahashi Tadashige, a priest at a Kyoto shrine, in the middle of the Edo period (1600-1868).
He made a small wooden doll that he had carved from scraps of willow which were left over from boxes used in a festival at Kamigamo shrine in Kyoto.
source : kimekomi.webs.com

. Kyoto Folk Art - 京都（府） .


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Edo kimekomi ningyoo 江戸木目込人形 kimekomi dolls from Edo

- quote
■Traditional Technologies and Techniques
1- The base material used to create the bodies of Edo Kimekomi Ningyo (wood and cloth dolls) is called toso 桐塑. This is a resin compound that contains sawdust from the paulownia tree and other substances. When making dolls, the doll bodies receive five or more lacquer coats after grooves have been cut in them.
2- The bodies of dolls are dressed with cloth after paste has been applied to the grooves. When this is done, the edges of the cloth are precisely tucked into the grooves.
3- Facial features are painted using special fine-tipped brushes. The eyes are painted, the brows and hair outlined, and the lips then added.
4- After hair made of fine silk threads has been arranged by comb, it is then transplanted to the heads of the dolls.



■Traditionally Used Raw Materials
・The sawdust used in toso comes from the paulownia tree.
・The bisque baked for doll heads is either hakuundo*1 clay, or clay of a similar quality.
・Dolls are dressed either in silk fabrics, or materials of a similar quality.
・The thread used for doll hair is silk.

*1 Hakuundo 白雲土: Is a type of clay rich in dolomite.

■History and Characteristics
Kimekomi Ningyo (wood and cloth dolls) are said to have been born in Kyoto approximately 250 years ago during the Genbun Era (1736-1741). There was a priest by the name of Horikawa at the Kamigamo Shrine, as well as Tadashige Takahashi, a man in the employ of the priest's family. Between jobs, Takahashi amused himself by creating dolls from willow offcuts that were leftover from the manufacture of shrine festival accouterments. These he clothed in fabric scraps from priestly robes. These scraps were tucked into slits carved into the bodies of the dolls.

In that such dolls used willow from the banks of the Kamo River, they came to be known as "Yanagi Ningyo" (Willow Dolls), "Kamo Ningyo" (Kamo Dolls) and "Kamogawa Ningyo" (Kamogawa Dolls), etc. It is said these dolls represent the beginnings of the modern Kimekomi Ningyo.

Concerning the "Kimekomi" name, it was born from the practice of carving small grooves into which cloth was tucked. These might be used to create a crease effect or to tuck away cloth edges. Regarding the manner in which "Kimekomi" is written in kanji characters, the implication of the characters used is "to tuck precisely." It means that tucking is done precisely so that dolls present with very smooth dress lines.

Compared to dolls dressed separately (with separate articles of clothing), and whose bodies are created from straw or wood, etc., the basic shape (body) of a Kimekomi Ningyo is made of toso, which is a resin comprised of paulownia sawdust to which has been added an adhesive stiffener. The cloth fabric is pushed snugly into the body of the doll to give it its completed finish. This is another reason for the Kimekomi name, in that a literal translation of "Kimekomi" is the "act of pushing something into slits that have been cut in wood."

A single piece of cloth is used to dress Kimekomi Ningyo. Thus, in that the body lies directly beneath a single layer of cloth, it is said that body-shaping represents a key production process, it defining the Kimekomi Ningyo style.

Compared to the Kimekomi Ningyo produced in Kyoto which are known for their regal bearing in terms of the manner in which the face is depicted, those produced in Tokyo tend to be typified by somewhat narrower faces and more clearly defined eyes and noses.

Tokyo Hina Doll Manufacturing Association
- source : www.sangyo-rodo.metro.tokyo.jp

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Tsukada Kobo 塚田工房
ー江戸木目込み人形の概要ー
- source : www.edokimekomi.com

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江戸木目込人形博物館 Museum for Kimekomi Dolls
墨田区向島二丁目11番７号 - Sumida ward, Tokyo



経済産業大臣指定の伝統的工芸品である「江戸木目込人形」に関する博物館です。木目込人形が流行する基礎を作ったと言われる四代目・名川春山氏の作品をはじ め、明治時代から現在に至るまでの雛人形や人形の原型、製作道具や材料、製作工程の解説パネル（英語訳付き）など、約50点を展示しています。
A panel with English explanations is availab.e
About 50 pieces are exhibited.
- source : www.techno-city.sumida.tokyo.jp

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Edokimekomi-ningyou　江戸木目込人形 Edo Kimekomi Dolls
Edo Kimekomi Dolls are made in Tokyo and Saitama. They are made by tucking and fixing cloth (usually brocade) costumes to grooves on the doll's body.
The first doll of this kind is said to have been made by a priest at the Jogamo Shrine in Kyoto, who fixed scraps of cloth to a notched piece of wood.
After that, kamo-hina dolls spread to Tokyo, where they came to be called Edo Kimekomi. By the end of the Edo period, many dolls of this type were being made.



The body of the doll is made from toso, which is paulownia powder mixed with wheat starch glue. Then, the body is notched and the costume is fixed to the grooves.
Edo Kimekomi Dolls have long, lean shapes and fine, delicate features: the contrast with the plumper Kyoto dolls is very interesting.
- source : nippon-kichi.jp -


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source :　www.jcrafts.com/eg/shop

Saitama Prefecture Edo Kimekomi Doll,​ Mizuho Ichimatsu
Mizuho Ichimatsu doll crafted by Akitaka Suzuki is hugely popular as gift for a celebration and as an interior decoration. The costume is tailored from carefully selected brocade such as pure silk and Nishijin brocade, making the doll's face look all the more adorable.

Ichimatsu dolls 市松人形 represent little girls or boys, correctly proportioned and usually with flesh-colored skin and glass eyes.

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manekineko 招き猫 beckoning cat




Daruma fukuro だるまふくろう Daruma owl



A store specializing in all kinds of kimekomi dolls
- source : www.win21.ne.jp/doll


. manekineko 招き猫 beckoning cats .

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- reference -

- #kimekomi #edokimekomi -
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. - Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .


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Edo Crafts

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. shokunin 　職人 craftsmen, artisan, Handwerker .
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Traditional Crafts of Edo and Tokyo

- quote
Currently, 40 art and craft items are designated as "Traditional Crafts of Tokyo".
- This is an official growing list, their hyperlinks are here
Bureau of Industrial and Labor Affairs
- source : www.sangyo-rodo.metro.tokyo.jp/shoko

現在、４０の伝統工芸品が東京都の伝統工芸品として指定されています。
- source : www.sangyo-rodo.metro.tokyo.jp - japanese -

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. Edo Bekko 江戸鼈甲 Tortoiseshell Products.

. Edo Fude 江戸筆 Handmade Calligraphy Brushes .

. Edo Garasu 江戸硝子 Edo Glassware .

. Edo Hake 江戸刷毛 Edo Brushes .

. Edo Hyogu 江戸表具 scroll mounting .

. Edo Ishogi Ningyo 江戸衣裳着人形 Costumed Dolls .

. Edo Karakami 江戸からかみ Hand-Made Patterned Paper .

. Edo Katchu 江戸甲冑 Warrior Armor from Edo .

. Edo kimekomi ningyoo 江戸木目込人形 kimekomi dolls from Edo .
Wood and Cloth Dolls

. Edo Kiriko 江戸切子 Cut Glassware .

. Edo Moku-Chokoku 江戸木彫刻 Wood Sculptures .

. Edo Moku-Hanga 江戸木版画 Woodblock Prints .

. Edo Oshi-e Hagoita　江戸押絵羽子板 Padded collage Paddles, Battledore, Shuttlecock .

. Edo Sarasa 江戸更紗 Printed Silk Calico .

. Edo Sashimono 江戸指物 Wood Joinery .

. Edo shikki 江戸漆器　Edo laquerware .

. Edo Shishu 江戸刺繍 Embroidery .

. Edo Sudare 江戸簾 Slatted Blinds .

Edo Tegaki Chochin (Hand-Painted Paper Lanterns) 江戸手描提灯 - see below -

. Edo Tsumami-Kanzashi 江戸つまみ簪 Ornamental Hairpins .

. Edo Wazao (Bamboo Fishing Rods) 江戸和竿 .

. Edo Zoge (Ivory Carvings) 江戸象牙 Zooge .

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. Tokyo Butsudan (Buddhist Altars) 東京仏壇 Buddhist family altar .

. Tokyo chokin 東京彫金 metal chasing .

. Tokyo Gakubuchi (Picture Frames) 東京額縁 .

. Tokyo ginki 東京銀器 Silverware, Tokyo Silversmithery .

. Tokyo Honzome Yukata 東京本染ゆかた Indigo-Dyed Summer Kimono .
Edo Yukata　江戸浴衣

. Tokyo Kumihimo 東京くみひも Braided Cords .

. Tokyo Koto 東京琴 Japanese Harp .

. Tokyo Shamisen (Three-Stringed Musical Instrument) 東京三味線 .

. Tokyo Shippo (Cloisonne Enamelware) 東京七宝 cloisonne .

. Tokyo Some-Komon (Tokyo Fine-Patterned Dyeing) 東京染小紋 .

. Tokyo Tegaki Yuzen 東京手描友禅 Hand-Painted Kimono . 江戸友禅 Edo Yuzen

. Tokyo Teue Brush (Handmade Brushes) 東京手植ブラシ .

. Tokyo Tokogei (Rattan Craft) 東京籐工芸 .

. Tokyo Uchihamono (Hand-Forged Blades) 東京打刃物 .

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. Honba Kihachijo (Hachijojima Silk Fabric) 本場黄八丈 .

. Murayama-Oshima Tsumugi (Textured Silk Pongee) 村山大島紬.

. Tama-ori, Tama Ori 多摩織　Woven Fabrics from Tama .

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Edo Tegaki Chochin 江戸手描提灯 Hand-Painted Paper Lanterns



■ Traditional Technologies and Techniques

1 - Line sketching of lettering: 文字の素描き
Japanese characters are applied in outline to lanterns using a menso-fude 面相筆 (a fine-point brush). This is done by following a rough sketch outline drawn in advance. (The method for doing this was developed in the 1750s).

2 - Line sketching of family crest(s): 家紋の素描き
Family crest(s) are painted on lanterns in outline using a menso-fude 面相筆. This is done by following a rough sketch outline drawn in advance. (The method for doing this was developed in the 1750s).

3 - Painting in: 塗り込み
Outlined characters and crests are painted in. If thin or diluted ink is being used, dosa どうさ液 (a protective liquid called "sizing" in English) is also applied to prevent smearing. (The method for doing this was developed in the 1750s).

■ Traditionally Used Raw Materials
Hibukuro chochin (literally "fire bag lanterns"):
These lanterns are hung up by themselves (without a pole). The skeleton (ribbing) of the lantern is made of bamboo, the covering over the skeleton is made of washi (traditional Japanese paper). ) Takahari chochin and other types: Takahari chochin are parade lanterns that are hung from long poles. They have been used since the 1700s.
火袋 高張提灯等（１７００年代から使用）

■ History and Characteristics
It is recognized that in the Muromachi Period (1337-1573), the earliest examples of Chochin lanterns were being used at the start of the 16th century during the Bunki Era (1501-1504). The lanterns used then were said to be kago-chochin 籠提灯 (lanterns inside bamboo baskets). Prototypes of what would later become the modern collapsible chochin are believed to have been created during the Tenbun Era (1532-1555). During the following Azuchi-Momoyama Period (1573-1596), chochin adopted the form of a skeleton of thin split-bamboo hoops covered by paper. Such lanterns came equipped with a flat base for housing a candle. This design resulted in lanterns that could be expanded and collapsed at will. Chochin use subsequently became widespread during the Edo Period (1603-1868).

From the mid Edo Period onward, a great number of craftsmen skilled in calligraphy and brushwork resided in Edo's Asakusa district. Wholesaling systems were developed in the Meiji Era (1868-1912), this resulted in a growing division of tasks between chochin production processes and character/crest decoration processes. Even today, some Tokyo craftsmen make a living based on writing Japanese characters on finished hibukuro 火袋 ("fire bag lanterns"). The Japanese characters written on chochin are generally referred to as being in the Edo moji style (the Edo lettering style), and such chochin calligraphers also prepare senjafuda, slips of paper bearing pilgrim names that are affixed to the gates of Shinto shrines and Buddhist temples. Although lettering is written inside an outlined area on senjafuda 千社札, chochin lack such restrictions. This leads to a slightly more free-flowing calligraphy style. Furthermore, painting family crests on chochin differs from applying them to kimono, in that the former are painted in black ink on a white background. Crests are painted in a way that facilitates visibility from a distance, and unique methods are utilized to achieve a balanced appearance.

Tokyo Paper Lantern Manufacturing Guild
7-7-2 Minamisenju, Arakawa Ward, Tokyo
- source : www.sangyo-rodo.metro.tokyo.jp

. choochin 提灯 lanterns of Japan .

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. shokunin 　職人 craftsmen, artisan, Handwerker .

. - Doing Business in Edo - 商売　- Introduction .


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