8/31/2014

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

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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8/16/2014

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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8/14/2014

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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- #crafts #edocrafts #edotokyocrafts -
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8/12/2014

Edo laquerware

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. Edo shokunin 江戸の職人 Edo craftsmen .
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Edo shikki 江戸漆器 Edo lacquerware

. urushi 漆, shikki 漆器 lacquerware from Japan .
- Introduction -

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Tokyo Lacquerware Cooperative Association
Tamagawa Shikki Co.,Ltd. 2-15 Kandatsukasamachi, Chiyoda Ward, Tokyo

- quote
Edo Shikki - (Lacquerware)
The base of Edo Shikki (lacquerware) is created using the following techniques:
1 - Kokuso*1 filler is applied to base woods. Nunokise*2 is the gluing of untreated linen to base woods. Sabitsuke involves applying a mixture of fresh lacquer and whetstone powder. Nakanuri*3 is the application of intermediate coats of lacquer. Togi is a burnishing process, etc.



2 - There are two major lacquering techniques. One is the "Roiro Finish." This involves the repeated application of layers once the previous layer of lacquer has been polished. The second is the "Nuritate Finish" (the "Standing Lacquer Finish"). This involves the application of lacquer directly by brush.

3 - Decoration involves processes such as Maki-e (gold reliefs), Raden (mother of pearl inlays) and Chinkin (sunken gold inlays).

*1 Kokuso: Is a substance that combines together lacquer, paste and sawdust. It is applied to joints and areas to which engraving has been done to the base woods.

*2 Nunokise: After strengthening base woods (by vigorously applying lacquer to all surfaces to ensure better adhesiveness of successive lacquer layers), untreated linen is affixed to the wood surface using Noriurushi, a mixture of paste and lacquer.

*3 Nakanuri: After the application of Shitanuri (initial coats of lacquer), Nakanuri (intermediate coats) are applied with a brush. These coats of lacquer do not contain oil. As with the initial coats of lacquer, these coats are polished to a fine finish using charcoal.


■Traditionally Used Raw Materials
Urushi (Japanese lacquer) is a natural material sourced from the sumac tree (scientific name: Toxicodendron vernicifluum).
The following types of wood are used in the manufacture of Edo Shikki: Chestnut, Zelkova, Magnolia obovata, Cherry and Katsura. Other timbers with similar properties may also be used.

■History and Characteristics
Lacquered bowls and multi-tiered boxes have continued to be used in our day-to-day lives through the ages. In addition to being used every day, these items enliven special occasions such as the New Year and other celebrations via their appearance at mealtimes.

Even today, many households use lacquerware which has been passed down over successive generations.

Once lacquer is dried, lacquerware is not impacted by acidic or alkaline substances. It also possesses strong insulation properties with respect to heat and electricity.

Moreover, by not being just a coating material, lacquer works to prevent both staining and rotting of the base woods used in lacquerware. It also acts as a strong adhesive.

The lacquer tree (the sumac) is a deciduous variety whose leaves turn in color to refreshing hues before they shed in autumn. Sumac trees are described as being unique to Asia with a geographic distribution that includes Japan and China.

Until World War Two, good quality lacquer was gathered in Japan. Today, most of the lacquer used in production is imported from China.

A single piece of lacquerware passes through the hands of a number of craftsmen before completion. The process commences with the lacquer tree being "tapped" for its sap. Next a craftsman called a "Kijishi" (a wood turner) processes untreated wood and creates from it items such as bowls and multi-tiered boxes. These are then passed to a "Nurishi" (a lacquerer) who applies the lacquer. The lacquerware is finished once it has passed through the hands of a "Maki-e shi" (a decorator) who etches patterns as well as sprinkling gold and silver powder over the lacquerware.

The task of applying lacquer is a battle against time. In that there is the quick shift to applying the next coat of lacquer once the surface of the previous coat has dried; sometimes it means that under the surface of the previous coat there are areas not fully dried. Thus, special attention is paid when applying successive coats. Once lacquer on base wood is hardened, application of the undercoat, middle coat, and topcoat is continued as repetitious work involving lacquering and polishing, the task is one of perseverance.

It is said that the finer a piece of lacquerware, the more times it has been lacquered.

Overseas, as the long traditions of China in the production of ceramics led ceramics to be known as "china," in that lacquerware was known at one stage as "japan," the country has had a very long tradition of producing such products.
- source : www.sangyo-rodo.metro.tokyo.jp


This article in Japanese is here :
伝統的な技術 - 技法
- source : www.sangyo-rodo.metro.tokyo.jp/shoko

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some technical terms

hiramaki-e  平蒔絵 flat-sprinkled design
jigaki 地書き fine line drawing
kirigane 切り金 cut patterns from gold or silver foil
takamaki-e 高蒔絵 relief-sprinkled design
togidashi 研ぎ出し finishing by polishing
tsutsu 筒 sprinkling rod


The various steps:
① shita-e下絵 ② okime 置き目 ③ jigaki地書き ④ shitamaki 下蒔き ⑤ shitamaki toki 下蒔き研ぎ ⑥ takaage 高上げ ⑦ takatogi 高研ぎ ⑧ kinmaki 金蒔き ⑨ kinpun katame 金粉固め ⑩ kinpun togi 金粉研ぎ ⑪ suri-urushi 摺り漆 ⑫ migaki 磨き


. Maki-e, makie 蒔絵 lacquer pictures .
and haiku about them

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. Edo shokunin 江戸の職人 Edo craftsmen .

nurishi, nuri-shi 塗師 lacquer master

The kijishi 生地師(きぢし)prepared the vessels
the nurishi 塗師 applied the lacquer base
the makie-shi 蒔絵師(まきえし)applied the images.



Lacquer items from the Nezu Museum
- source : Nezu Museum Tokyo -


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東京都中央区佃1-4-12

中島の漆 Nakajima san
pursues a tradition of more than 300 years. He produces the pieces all by himself.


saucers for Japanese tea cups 脱乾漆の茶托

LOOK at more samples by Nakajima san:
- source : www.urusigei-nakajima.com




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「江戸漆器とは何ですか?」



- source : www.edoshikki.com

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. Legends and Tales from Japan 伝説 - Introduction .

- reference : nichibun yokai database 妖怪データベース -
urushi 漆 96 to explore

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. raden 螺鈿 mother-of-pearl - inlay .

. 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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8/09/2014

Criminal Punishment

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. hanzai 犯罪 crime and punishment - Glossary .
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Criminal Punishment in Edo
Strafe, Bestrafung, Gericht - Todesstrafe in Edo

gokei 五刑 five judicial penalties
keibatsu 刑罰 punishment
keijoo, keijō 刑場 execution ground
Kodenma-choo, Kodenma-chō 小伝馬町 Kodenma-cho prison in Edo
rooya 牢屋 Roya, prison, jail / rooyashiki 牢屋敷 prison compound
shokei 処刑 execution



CLICK for more photos !


. Kodenmachō 小伝馬町 Kodenmacho .
Denma-chō Rōyashiki 伝馬町牢屋敷 Denma-chō Prison

under construction
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- quote
During the Edo period,
Japan used various punishments against criminals. These can be categorized as follows:

Death penalty
Incarceration and Exile
Penal labor
Confiscation of property
Corporal punishment

Death penalty
Serious crimes such as murder and arson were punished by death. The shogunate maintained execution grounds for Edo at Kozukappara, Suzugamori, and Itabashi.
Kozukappara, also known as Kotsukappara or Kozukahara, is currently located near the southwest exit of Tokyo's Minami-Senju Station. It is estimated that between 100,000 and 200,000 people were executed here. Only part of the site remains, located next to Emmeiji temple, partly buried under the rail tracks and under a more-recent burial ground. Archaeological and morphological research was done by Tokyo University on the skulls found buried here which confirmed the execution methods. Another notable one was located at Suzugamori in Shinagawa. Both sites are still sparsely commemorated in situ with memorial plaques and tombstones.

The shogunate executed criminals in various ways:
Boiling
Burning
Crucifixion for killing a parent, husband etc.
Decapitation by sword
Sawing
Waist-cutting (cutting the person in half). The Kanazawa han coupled this with decapitation.

The death penalty often carried collateral punishments. One was parading the criminal around town prior to execution. A similar one was public display of the criminal prior to execution. A third was public display of the severed head.

Samurai were often sentenced to commit seppuku in lieu of these forms of punishment. Seppuku is a term of suicide for the samurai.

Incarceration and exile
Depending on the severity of the crime, magistrates could sentence convicts to incarceration in various forms:

- Exile to an island. Criminals in Edo were often confined on Hachijōjima or Miyakejima. Criminals so punished received tattoos.
- Imprisonment. The government of Edo maintained a jail at Kodenma-chō.
- Exclusion from the location of the crime was a penalty for both commoners and samurai.
- Tokoro-barai, banishment to a certain distance, was common for non-samurai.
- Kōfu kinban, assignment to the post of Kōfu in the mountains west of Edo, is an example of rustication of samurai.

Penal labor
For crimes requiring moderate punishment, convicts could be sent to work at labor camps such as the one on Ishikawa-jima in Edo Bay. More serious acts could result in being sent to work in the gold mine on the island of Sado. In 1590, Hideyoshi had banned "unfree labor" or slavery; but forms of contract and indentured labor persisted alongside the period penal codes' forced labor. For example, the Edo period penal laws prescribed "non-free labor" for the immediate family of executed criminals in Article 17 of the Gotōke reijō (Tokugawa House Laws), but the practice never became common. The 1711 Gotōke reijō was compiled from over 600 statutes promulgated between 1597 and 1696.

It was also common for female convicts to be sentenced to serve terms working as slaves and prostitutes in walled Red Light Districts, most notably Yoshiwara.

Confiscation
A penalty that targeted merchants especially was kesshō, the confiscation of a business.

Corporal punishment
Handcuffing allowed the government to punish a criminal while he was under house arrest. Depending on the severity of the crime, the sentence might last 30, 50, or 100 days.

Flagellation was a common penalty for crimes such as theft and fighting. Amputation of the nose or ears replaced flogging as penalty early in the Edo period. The 8th Shogun of Edo, Tokugawa Yoshimune introduced judicial Flogging Penalty, or tataki, in 1720. A convicted criminal could be sentenced to a maximum of 100 lashes. Samurai and priests were exempt from flogging, and the penalty was applied only to commoners. The convict was stripped of all outer clothing and struck about the buttocks and back. The flogging penalty was used until 1867, though it fell out of favor from 1747 to 1795 intermittently. Both men and women could be sentenced to a flogging, though during one segment of the mid-Edo period, women were imprisoned rather than flogged.

Origin of flogging penalty
In 757 A.D., the Chinese-influenced Yoro Ritsuryo (養老律令) legal system was enacted and introduced Five Judicial Penalties (五刑). Two of the Five Judicial Penalties involved Flogging. Light Flogging provided for 10 to 50 lashes, while Heavy Flogging stipulated 60 to 100 strokes. However, a slave could be sentenced to up a maximum of 200 lashes. These flogging penalties only applied to male commoners. Convicts of the nobility, along with female commoners, might be sentenced to the imposition of handcuffs or a fine. When a convicted criminal was flogged, half the number of lashes were typically applied to the back, half to the buttocks. At times, if the convict's request to change the lash target was sanctioned then the lashes would be applied only to the back or to the buttocks. By the Age of Warring States, flogging had been largely replaced by decapitation.
- source : wikipedia



source : plaza.rakuten.co.jp/candy112114

槍で突く刑罰 death by piercing with a spear

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Itabashi keijō 板橋刑場 Itabashi execution grounds
... one of the three sites in the vicinity of Edo where the Tokugawa shogunate executed criminals in the Edo period. Located near Itabashi-shuku, the first postal station from Edo on the Nakasendō, it is within the city limits of modern-day Itabashi, Tokyo near JR Itabashi Station.
In 1868,
Kondo Isami, leader of the Shinsengumi, was jailed for twenty days at Itabashi, and beheaded at the execution grounds. A memorial to him stands at the east (Takino-gawa) exit of Itabashi Station. On the right side are engraved the names of forty Shinsengumi people who died in war, and on the left, the names of 64 who died of disease, seppuku, or other causes. To the left of the memorial is a Buddha statue dedicated to people who died without relatives to care for their graves, and to the right, the graves of Kondō and Nagakura Shinpachi, who is said to have erected the memorial. There is also a stone for Hijikata Toshizō, who died in battle at Goryōkaku.
- source : wikipedia -

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Kozukappara keijō 小塚原刑場 Kozukappara execution grounds
The Kozukappara execution grounds were one of the three sites in the vicinity of Edo (the forerunner of present-day Tokyo, Japan) where the Tokugawa shogunate executed criminals in the Edo period.
Alternate romanized spellings are Kozukahara and Kotsukappara.


kubikiri Jizoo 首切り地蔵 Jiso Bosatsu to help the beheaded

The site is located in modern Minami Senju, Arakawa, Tokyo, a three-minute walk away from Minami-Senju Station. Located next to Enmeiji Temple, a large part of the grounds are now covered by railway tracks.

It is estimated that between 100,000 and 200,000 people were executed here.[citation needed] Those executed include Hashimoto Sanai and Yoshida Shōin, who were executed as a result of the Ansei Purge.

Sugita Genpaku, Nakagawa Jun'an, Katsuragawa Hoshū and their colleagues studied anatomy by conducting dissections at Kozukappara.

Kozukappara began operation in 1651, and continued until the Meiji period. Executions were stopped in an attempt to convince Western powers to end the unequal treaties with Japan.
- source : wikipedia


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Suzugamori keijoo 鈴ヶ森刑場 Suzugamori execution grounds 

- quote
Note: The remains of the Execution Ground lie in a pleasant suburban area between Shinagawa in Tokyo Prefecture and Kawasaki in Kanagawa Prefecture, which are Stations #1 and 2 respectively (from Nihombashi in Tokyo) on the Old Tokaido Highway.



This is just a little street corner near a highway and Shinagawa Aquarium--but heavy with atmosphere. It commemorates Edo's former execution ground, but all that's left are some statues and grave stones, some of which also came from Daikyouji Temple. My friend and translator Naoko told me that rents in the area tend to be cheaper--to entice people to move here despite their fear of ghosts. The site contains signs of active reverence--live flower offerings, etc.
- source and more photos : thetempleguy.com/akimeguri




鈴ヶ森刑場(すずがもりけいじょう)
- - - More in the WIKIPEDIA !

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. Ekooin 回向院 Temple Ekoin, Eko-In .
established in order to hold memorial services for those who died while in prison or who were executed.

. Kkubizuka 首塚 memorial stone pagodas and mounds for the beheaded .

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source : kacco.kahoku.co.jp

Aosasa Fudo 青笹不動尊
at the execution ground near mount Aosasa in Sendai

. Fudō Myō-ō, Fudoo Myoo-Oo 不動明王 Fudo Myo-O
Acala Vidyârâja - Vidyaraja - Fudo Myoo .




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

牢屋から出たり入ったり雀の子
rooya kara detari ittari suzume no ko

in and out
of prison they go ...
baby sparrows

Tr. David Lanoue

Or: "he goes.../ baby sparrow."
In my earlier translation, I began with "flying in and out of prison," but Shinji Ogawa thinks that the word "flying" spoils Issa's surprise. Someone is going in and out of prison, and we must wait until Issa's punch line to discover the identity of that someone: baby sparrows!
The little birds know nothing about human law and punishment. They fly easily back and forth between the carefully demarcated human realms of "prison" and "freedom." Such categories mean nothing to them.
David Lanoue


. Kobayashi Issa 小林一茶 in Edo .

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- Tanka by Yoshida Shoin

夢路にも、かへらぬ関を 打ち越えて
今をかぎりと 渡る小瀬川


yumeji ni mo kaeranu seki o uchi koete
ima o kagiri to wataru ozegawa

Even in my dream,
Never shall I return to the Pass
That did I come over;
Now this is the very last
I cross the Ozegawa River.



A tanka poem of Yoshida Shoin

While being sent to a prison in Edo (present-day Tokyo) under guard, as one of the most dangerous insurgents of Choshu Domain, Yoshida Shoin composed a tanka poem in crossing the Ozegawa River, the provincial border between Aki(present-day Hiroshima Prefecture) and Suo(present-day Yamasguchi Prefecture). You will see the Monument inscribed with his tanka on the Ozegawa riverbank.


- - - - - Notes (by Hokuto 77):
(1) The Ozegawa River, rising in Mt. Onigashiro (鬼ヶ城山 ) in Hiroshima Prefecture, flows as the Hiroshima-Yamaguchi prefectural border. In the Edo Period(1603-1868), too, the river played the part of the border between Aki (安芸), present-day Hiroshima Prefecture) and Suo (周防, present-day Yamaguchi Prefecture) provinces.

(2) Seki (関) in the tanka means the Oze Pass, not a barrier station.

(3) Yoshida Shōin 吉田松陰 Yoshida Shoin
( 20.09.1830-21.11.1859)
was one of the most distinguished intellectuals in the closing days of the Tokugawa shogunate. He devoted to developing many Ishin Shishi who made an outstanding contribution to the Meiji Restoration. Born in Choshu Domain to a samurai family, at age five this child prodigy began to study tactics, at age eight he attended college, at age nine he taught in college, and at age ten he impressed the Mori daimyo family with a military lecture he had delivered. “---” When it was Yoshida's turn, he was composed - his executioner said he died a noble death. He was 29 years old.    
(From Wikipedia free encyclopedia)

* Shoin was one of the victims beheaded in the Ansei Purge (in 1858 and 1859), which was carried out
by Ii Naosuke (井伊直弼).

(4) Self-praise (by Hokuto77, 2010):
‘I’ is used three times in the short tanka poem, my intention is to stress his resignation, or readiness to die he cherished in producing the tanka poem, and ‘Now’ may sound redundant or predictable. In my private dictionary, ‘Now’ indicates that it can’t be helped. I feel sorry for offending your ears by three ‘Is and Now.’ 
- source : www.hokuoto77.com

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- More vocabulary -

bakkin 罰金 penal fine

chōeki 懲役 imprisonment with labor

hansokukin 反則金 administrative fine for minor traffic violations
haren chizai 破廉恥罪 “infamous” crime
hogo kansatsu 保護観察 probation

jukeisha 受刑者 inmate, lit. “person receiving punishment”

kari shakuhō 仮釈放 parole
keibatsu 刑罰 punishment (keijibatsu 刑事罰)
keimusho 刑務所 prison
kei no genbatsuka 刑の厳罰化 harsher punishment
kinko 禁固 / 禁錮 imprisonment without labor

kōryū 拘留 short-term detention
kōryū 勾留 pretrial detention

kōsei hogo 更生保護 rehabilitation and protection
kōshukei 絞首刑 death by hanging
kyokkei 極刑 “ultimate punishment” (death penalty)
kyōsei shisetsu 矯正施設 correctional facility

muki chōeki 無期懲役 imprisonment with labor for an undefined term

ryūkei 流刑 Ryukei, punishment by exile

. seppuku 切腹 -- harakiri 腹切り ritual suicide .

shikei 死刑 death penalty
shikkō yūyo 執行猶予 suspension of a sentence
shūshinkei 終身刑 “punishment until the body is finished”

tsuichōkin 追徴金 financial penaltiy

zenka 前科 criminal record

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. hanzai 犯罪 crime and punishment - Glossary .

. 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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8/03/2014

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


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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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. 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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7/31/2014

seventh lunar month

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The Seventh Lunar Month 七月 shichigatsu - 水無月 minazuki -
lit. "month without water"

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


under construction
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chuugen, o-chuugen mid-year presents
- source : 江戸の歳時記 -



by Kitagawa Utamaro 歌麿 七夕
Museum of Fine Arts, Boston

. Tanabata 七夕 Star Festival .


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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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[ . BACK to WORLDKIGO . TOP . ]

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