shakan - plasterer

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. Edo shokunin 江戸職人 craftsmen, artisan, Handwerker .
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shakan, sakan 左官 plasterer, stucco master
kabenuri no shokunin 壁塗りの職人 painting walls


source and more : edoichiba.jp...

kote-e 鏝絵 "painting with plaster", relief picture often as decorations on the storehouse of rich merchants.

The main work of the shakan san during the construction of a traditional home is the making of the wall

tsuchikabe 土壁 "earth wall", mud wall
local versions are

kyookabe 京壁　Kyoto Wall
Otsukabe 大津壁　wall from Otsu city
- with three variations : ・泥大津 ・並大津 ・大津磨き
keisodokabe 珪藻土壁 diatomaceous earth wall
with mud from a lake or the sea with remains of plankton and seaweed.
This wall is moisture absorbend and noise absorbent.
nurikabe 塗壁, shakan kabe 左官壁, nihon kabe 日本壁　"Japan Wall"

shikkui 漆喰 Shikui, lime plaster used for walls

- quote
Also called komaikabe 小舞壁.
A wattle and daub wall made of course mud plaster, ara-nuri 荒塗, usually mixed with straw. The daub is applied first to a framework of vertical and horizontal bamboo lath laced with rope, *komai 小舞. Then, a middle or second coat of a finer mixture of daub *nakanuri 中塗り, is applied. Finally, a top coat *uwanuri 上塗り, of either smooth white plaster or one that has a sandy finish is applied.
The surface color will differ depending on the material used. Sabikabe 錆壁 is earth colored, benikabe 紅壁 is a soft red color and jurakukabe 聚楽壁 is gray.

nakanuri　中塗り "middle layer"

Also called chuugomi 中込; nakazuke or chuuzuke 中付.
A middle layer of plaster applied between the base and finish coats of a plastered wall. If there are more than three layers of plaster it is the one directly beneath the finish coat. Its top surface is smoothed so that the final top coat can be laid without flaws. The term is also applied to a surface that receives several coats of plaster. .
- source : JAANUS



source :　plumcherryume.jugem.jp
Old tsuchikabe of a traditional home - worn by time.


The final outside cover of a wall is a white, almost waterproof plaster called

shikkui　漆喰
Lime plaster used to coat walls, ceilings and earth floors *doma 土間. The word 'shikkui' is said to be derived from the Tang Chinese word for lime. Shikkui is made by combining lime with glutinous matter like funori 布海苔 and red algae tsunomata 角叉, and fibres such as hemp thread; pounding, and mixing in water. Sand and clay are also sometimes added. In wall construction, the plaster is applied to a mesh attached to and stretched between posts or pillars. Traditionally the coarsest type was the first layer to cover the mesh. Each layer was more and more refined, until the final coat had a very smooth surface.
Many walls inside stone tomb chambers *kofun 古墳 are coated with shikkui; Takamatsuzuka 高松塚 (7-8c) in Nara is particularly famous example.
- source : www.aisf.or.jp/~jaanus


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- quote
Kote-e 鏝絵 kote art is a relief picture.
Basically, it is drawn on white lime plaster with a flatiron which is called "Kote" in Japanese. Kote-e art was drawn in hope of ridding ones bad luck, improving welfare of ones household and the wish to be gifted with children. Artists of them are unknown, however, their pieces of work that remained today attract many people.



Kote-e art of Hiji was popularized by Aoyagi Koichi and his son Nagaichi during the Edo period. When Koichi was studying art in Edo, Kote-e art was popular. He brought back techniques of Kote-e art to Hiji and after the restoration of imperial power in 1868, he worked to promote Kote-e art.

Koichi is one of the Kote-e artists. Kote-e is like a relief engraving picture which is drawn on lime plaster using trowel. Kote-e art were drawn from the Edo era to Meiji period. Hiji is a one of areas which has lots of Kote-e art in Oita prefecture. Koichi was born on 3rd, August 1839 as a 5th son of Waki Giichi, who was an in-house plasterer of the Hiji domain. Koichi learned the work of plastering from his father, then went to Edo (present Tokyo) to refine his skill. When Koichi stayed in Edo, he met Irie Nagahachi (1815-1889) who was the founder of Kote-e art, and Koichi learned about Kote-e from Nagahachi. After Koichi came back to Hiji, he became an in-house plasterer at the young age of 21.
- source : www.town.hiji.oita.jp


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- More kote-e from Kitsuki - Jake Ojisan -

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From the doors of a sake storehouse in Katsuyama

They were made of stucco by the local wall plasterers (shakan, sakan　左官) with very simple tools. The plasterers used to make the earth walls (tsuchikabe　土壁) of traditional Japanese houses.







On the lower doors, there are two lions:







Read my article about the town of Katsuyama 勝山, Okayama .


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- further reference - kote-e -

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Izu no Choohachi　伊豆の長八　Izu no Chohachi - Irie Choohachi 入江長八 Irie Chohachi
with his own museum in Matsuzaki　松崎

- quote
Irie Chohachi is also a legendary name as plasterer, sculptor and painter.



But, he was a real human being, lived from the end of the Edo period till the 20s of the Meiji period (1868-1912).
Chohachi was born in Matsuzaki on the west coast of Izu Peninsula in 1815 . . .
. . . he became more active since the late 1870s. He worked not only as plasterer at constructions, but as a sort of artist and started to organize exhibitions of his works in 1876. He was given a prize at the First Domestic Industrial Exhibition in 1877. In 1880 he was again back to Matsuzaki and worked for the Iwashina Shool, including the wall of cranes in the upstairs. After decades of active creation, he died in 1889.
- source : www.ocada.jp/izu/chohachi


The timber used for a kura was covered with clay and then with a plaster finish.
. kura 　蔵 storehouses .


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. Billboard architecture 看板建築 kanban kenchiku .

Most often mortar モルタル was used, often grafted in patterns of Greek temples with impressive classical pillars and gables. Others had the look of Art Nouveau decorations. This draws heavily on the art of the shakan 左官, the wall plasterers of Edo.

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. Edo shokunin 江戸職人 craftsmen, artisan, Handwerker .



Kanda Shirakabechoo　神田白壁町　Shirakabe-Cho district in Edo
lit. "white wall district".
Most plasterers lived in these two districts, 上 and 下.　

The official head 棟梁 of the district was 安間源太夫 Yasuma Gendayu, who supervised and payed the plasterers working for the Bakufu government of Edo.

- - - - - famous residents of the district

. Hiraga Gennai 平賀源内 .

Painter Tamura Ransui 田村藍水　(1715 ?18 - 1776)

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O-Edo Shakan Matsuri 大江戸左官祭り Festival of Edo Shakan - in 2012

source : ooedosakan.iseeall.co.jp






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

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

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


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

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

. daidokoro 台所 the Japanese kitchen .


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. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. nori 糊 starch, glue / himenori 姫糊 "princess nori glue". .


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- - - - - H A I K U - - - - -

炉開きや左官老い行く鬢の霜　
. robiraki ya sakan oi yuku bin no shimo .

. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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- - - - - Masaoka Shiki

とろとろと左官眠るや燕
torotoro to shakan nemuru ya tsubakurame

soundly, soundly
the plasterer sleeps -
swallows

. WKD : tsubame 燕 lark .



雨乞をよそ事にいふ左官かな
amagoi o yoso goto ni iu shakan kana

the plasterer says
it is not for him,
this rain ritual . . .

If he has promised to finish work and can not continue, he might have a rain ritual to stop the rain. But no, not this time . . .

The cut marker KANA is at the end of line 3.

. WKD : amagoi　雨乞い rain rituals .

. WKD - Masaoka Shiki 正岡子規 .

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ふつふつと布海苔を煮るや左官妻
butsubutsu to funori o niru ya shakanzuma

she boils the funori
bubbeling and boiling -
the wife of the plasterer

Saitoo Shigeko 佐藤重子 Saito Shigeko


. WKD : funori 海蘿 / 布海苔 Funori, red algae, Gloiopeltis frucata .

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町内の左官屋の菊三色(みいろ)ほど
choonai no shakanya no kiku mi-iro hodo

the chrysanthemums
of the plasterer's house in town
with just three colors

Takazawa Ryoichi 高澤良一


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autumn flowers ...
the white walls of
this old postal town

. Gabi Greve, visiting namakokabe walls 海鼠壁 .
Katsuyama, Okayama


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. Japanese Legends - 伝説　民話　昔話 – ABC-List .


................................................................................. Aichi 愛知県

長篠の医王寺 Temple Io-Ji at Nagashino
A plasterer was walking along a mountain pass in the evening, when suddenly he felt something heavy hanging to his back.
He was quite afraid and walked on in haste. When he saw the lights of the Io-Ji temple 医王寺, the strange load on his back became light and vanished.



................................................................................. Fukushima 福島県

. ningyoo 人形 a strange doll .
kobiki 木挽職人 working with a special saw / shakan, sakan 左官職人 plasterer / seizai shokunin 製材職人 lumberjack working at a construction site




................................................................................. Miyagi 宮城県
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本吉町 Motoyoshi town // 壁塗りの職人

. kitsune 狐 deceived by a fox .

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- reference : Nichibun Yokai Database -

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. Japanese Architecture - cultural keywords used in haiku .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .
- Introduction -

. Kaido 街道 Highways - ABC Index .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Edo bakufu 江戸幕府 The Edo Government .

. Doing Business in Edo - 商売　- Introduction .

. senryu, senryū 川柳　Senryu poems in Edo .

. Japanese Architecture - The Japanese Home .

. Interior Design - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .

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[ . BACK to WORLDKIGO . TOP . ]
- #shakan #plasterer #stuccomaster #sakan #kabenuri #tsuchikabe #claywall -
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shokunin - craftsmen

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Traditional Crafts of Edo - Tokyo .
. - - - - - ABC List of Edo craftsmen　江戸の職人 - - - - - .
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shokunin 職人 craftsman, craftsmen, artisan, Handwerker
takumi 匠 master craftsman
watari shokunin 渡り職人 wandering craftsman

. - - - - - ABC List of Edo craftsmen　江戸の職人 - - - - - .

. shokunin 職人と伝説 legends about craftsmen, artisans, Handwerker .

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shinookooshoo 士農工商 Shinokosho - the four social classes of
warriors, farmers, craftsmen, and merchants

. mibun seido 身分制度 status system, Klassensystem .


Edo shokunin zushoo 江戸職人図聚 by 三谷一馬


After Tokugawa Ieyasu established his capital in Edo, he invited many skillful craftsmen to come here, build the castle, temples, shrines and mansions of the daimyo Lords in an act to fulfill their "duty to the country" (kuniyaku, kokuyaku 国役). Many official construction works were kuniyaku-bushin 国役普請, many of them comprising flood control works.
After the great fires which often hit the growing town, rebuilding was done by the carpenters and craftsmen.
One of the major center of craftsmen established by Ieyasu was Kanda 神田, where some street names remain to our day.
The craftsmen of Kanda had one passion - the annual Kanda festival.
The important supervisors of a guild, tooryoo 棟梁 Toryo had to organize the craftsmen in their districts and report to the Bakufu government.

. Kanda matsuri 神田祭 Kanda Festival - Introduction .
at the shrine 神田明神 Kanda Myojin

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One of the great customers of skillful craftsmen were the more than 1000 women living in Ooku　大奥, Oku, the Harem of the Shogun. They bought only the best of everything available.
The leader of a group of craftsmen working for the Bakufu government was called
goyootashi 御用達, castle-town merchants.
Craftsmen who did not want to be bound too much by the rules of government eventually moved out to other parts of Edo and worked on their own for the neighbourhood.

The leader of a group of craftsmen was generally called
oyakata 親方 boss, foreman, master craftsman leader
- - - - - not to mix with
. oyabun 親分　boss, gang leader, godfather .

A boy of about 10 years entered the workshop of an Oyakata to learn the craft, for more than 10 years (dechibooko 丁稚奉公 - a kind of apprenticeship) before he was given work to do by himself. He lived in the house of the Oyakata and took part is the "family life" of the group of workers. He got no money, just free food and lodging at the house.
When he had learned all the tricks of the trade and was ready to establish himself, he had to work another one year for free "to show his gratitude" (御礼奉公), before the Oyakata set him free.

Before doing some work the craftsman had to haggle about the price for a bit of work with his client,
temadori 手間取.
Despite working hard, most craftsmen earned just enough to get by day by day. The only wealthy ones were the Oyakata.
But since there were many fires in Edo, the craftsmen were always necessary to produce new things for the homes and had work enough to live by. They preferred to spend their daily earnings soon in the evening and not put much savings on the side.
yoigoshi no zeni wa mottainai 宵越しの銭は持たない
small change should not be kept over night
“An Edoite will not keep his earnings overnight”

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source and more :　ameblo.jp/edo-sanpo

Craftsmen working at home were called ijoku, ishoku 居職.
They mostly made the items people used in daily life. They made things when they got an order from a family and made some extra things to sell on the spot or engage a peddler selling them. He could take a price he saw fit for his work, hoping the client would pay, otherwise haggle for a bit.

Craftsmen going out to work were called dejoku, deshoku 出職.
They went to the home of a client to work. The three most important deshoku for construction works 普請三職 were
daiku 大工 carpenter, shakan 左官 wall plasterer and tobi 鳶 construction workers.

A craftsman making tools and things was often calle called ...shi　師, while the vendor of his products was called ...ya　屋.

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Edo no waza to takumi 江戸の技と匠 The skilled craftsmen of Edo

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shokuninmachi 職人町 district with craftsmen, a part of Edo
. EDO - machi, choo 　町 town and village 　 .

Various "villages" for the craftsmen of the same type. Some names still exist in Tokyo,
others have disappeared from the modern map.
(choo 町 can also be read machi)


konyachoo 紺屋町 dyeing cloth
nabechoo 鍋町 making pots and pans (Kanda)
norimonochoo 乗物町 making kago and mikoshi palanquins
..... kitanorimonochoo 北乗物町
renjakuchoo 連雀町　making backpack luggage carriers 　（renjaku is a waxwing bird)
roosokuchoo　蠟燭町　 wax candle makers
nushichoo 塗師町 laquer workers
sudachoo 須田町 making fruit sweets
shinkokuchoo　新石町 stone masons
shirakabechoo 白壁町　"making white walls" plasterers
Shiroganecho,白金町 (ginchoo 銀町/ shinshiroganechoo　新銀町 making silver craft items

. Kajichoo, Kajimachi 千代田区 鍛冶町 "Blacksmith district" in Chiyoda
Kajiyachoo, Kajiyamachi 神田 鍛冶屋町 in Kanda (Chiyoda) .

. Kanda daikuchoo　神田　大工町 carpenter district in Kanda .

. Kijichoo 雉子町 "pheasant district", wood-craft artisans .

. Konyachoo, Konyachō 神田紺屋町 Kanda Konya-Cho
Konyamachi, district for indigo cloth dyers .
- 土屋五郎右衛門　Tsuchiya Goroemon


駅名で読む江戸・東京 / 大石学

. Famous Places and Powerspots of Edo .


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お江戸の職人(エリート)素朴な大疑問 / 中江克己 Nakae Katsumi

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Bamboo Yards, Kyōbashi Bridge
京橋竹がし　Kyôbashi Takegashi
Utagawa Hiroshige


Kyoobashi 京橋 Kyobashi Bridge "Kyoto Bridge" district
. Chūō ku 中央区 Chuo Ward "Central Ward" .

- quote -
Kyobashi - Home of Edo's Craftsmen
The Tokaido is the main highway between Edo and Western Japan. Here in the downtown area of the city, though, it looks like just one more busy city street. As we get closer to the center of town, the streets which cross the Tokaido become broader and the buildings that line the streets become larger and more imposing. Most of the buildings on the main roads are large stores or the homes some of the city's more prosperous merchants. Kyobashi is the general name given to a large area of low-lying land that makes up one of the key commercial districts of Edo. The district occupies the flat land immediately to the West of Edo castle, and is an important center of the city's economy.
- snip -
However, the reason why Kyobashi is such an important part of Edo's economy is that many communities of craftsmen and artisans live in the area. The people who practice each type of craft tend to gather together in certain neighborhoods, and for this reason, many neighborhoods in the Kyobashi area are named after the type of craftsmen who live there.
A few examples are:

Tatami-machi -- Mat-maker's village
Oke-machi -- Bucket-maker's village
Minami Daiku-machi -- South carpenter's village
Minami Kaji-machi -- South blacksmith's village
Teppo-machi -- Gunsmith's village

Probably the most famous of these areas is "Ginza", the location of the Shogun's mint. Gin-za takes its name from the silver mints located in a cluster of buildings just to the southeast of the Shogun's castle. The artisans who work in these silver shops belong to one of just three authorized silver mints in the country -- one in Edo, one in Sakai (Osaka) and one on Sado island -- home of the country's most productive gold and silver mines. The area also contains many smaller shops manned by artisans from the same silver guild, who turn out silver jewelry and decorative items. A few minutes walk to the north, also bordering the grounds of Edo castle, is the gold mint or Kin-za, and further away, near the shores of Edo bay, is the Zeni-za, or copper mint. Like the Gin-za, the gold and copper mints are strictly licensed by the Shogun, and only a few exist nationwide.



- snip -
... the Kyobashi district is the most "middle class" area of the city.
While many parts of Edo are either dominated by huge manors of the upper classes or filled with tiny "row houses" of low-skilled workers, Kyobashi is mainly inhabited by small merchants and craftsmen. As you pass from neighborhood to neighborhood, you notice that all the stores facing the street in a given district sell the same type of products: Dyed cloth is sold on one block, iron tools on the next, pots and pans on this street and bookstores on the next.

The layout of the city streets is quite complicated. Although the main avenues are fairly broad and straight, in each "block", there are dozens of little alleyways that lead between the major buildings and into courtyards behind the stores. These alleyways are lined by workshops and homes where the craftsmen live. For example, between two of the shops that that sell iron tools is an alleyway, and if you listen carefully, you can hear the clanging of a blacksmith's hammer coming from the courtyard. This neighborhood is home to people who specialise in iron work.

On the next block are stores selling oke (wooden buckets and tubs). In the alleyways and courtyards behind these shops, you can see men carving the wooden frames of large tubs, and securing them with strong strips of twine. This is the neighborhood where the okeya (bucketmakers) live.

Over here are a group of shops that sell cloth and simple cotton kimono. Let's go down this alleyway and see the neighborhood where the dyers and weavers live.
The alley leads into a wide square. This central square is the heart of the weavers' neighborhood. Apart from a few tiny shops selling vegetables, rice and other necessities, most of the buildings that face this central square have workshops on the ground floor and apartments upstairs where the craftsmen and their families live. The entire community is busy at some sort of work related to the district's trade -- dyeing cloth.

The central square in the dyer's district is a very colorful place. Some of the older men shout instructions to their apprentices, who are learning how to prepare the cloth and dyes in just the right way, to ensure that the color is vivid and even, yet does not fade too much when washed. All around the area, brightly colored strips of fabric flutter in the light breeze as the cloth is dried and the dyes set. The cloth produced in these workshops around the central square are then sold in the large stores that face the street, or they may be sold to large wholesalers (tonya) and sold in other markets around the region.

In some buildings, people are weaving the cloth using large looms. Elsewhere, workers are dyeing the cloth in large wooden vats. Everyone in the neighborhood, men women and children, take part in the work. Before the Tokugawa Shoguns set up their capital in Edo, the only people in the area were farmers and warriors. Most of the best craftsmen in Japan are from the area around Kyoto and Osaka, rather than from Edo. For that reason, people from the western part of Japan still look down on "Easterners" as slightly uneducated and not very good at business or crafts. However, the shogun has managed to convince many people to move from their homes in the western part of Japan to these neighborhoods in Edo. Even the artisans who were born in Edo usually have parents or grandparents who came from the West.
- source : edomatsu/kyobashi -


. Tatamicho, Tatamichō, Tatamimachi 畳町 Tatami district .

. Okecho, Okemachi 桶町 "Bucket district" .

. Daikucho, Daikumachi 大工町 carpenter district .

. Kajicho, Kajimachi 鍛冶町 blacksmith district .

. Teppocho, Teppomachi 鉄砲町 gunsmith district .


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kajibashi 鍛冶橋 Kajibashi Bridge

- quote -
The Crafts Guilds of Edo
The craftsmen who live in the Kyobashi area are fairly well off. Officially, craftsmen have about the same status as merchants -- that is to say, they rank lower than either samurai or farmers. However, in practice, skilled craftsman are not only relatively well respected; they can usually make a pretty good living too. This is particularly true of craftsmen who live in large cities like Edo, where the demand for their services is very strong. If you want to visit some of the neighborhoods where the craftsmen work, we will have to leave the main highway for a while. Most of the workshops are in neighborhoods behind the main shopfronts. To get to these neighborhoods, we have to leave the main road and pass down the narrow sidestreets, through large and solid-looking gates.

There are gates like these on almost all of the side streets and alleyways in the city. They are part of the security system that people use to guard their neighborhoods at night. Edo has a relatively low crime rate, but in a huge city of over 1 million people there are bound to be some bad characters around. Particularly troublesome are bands of unemployed samurai who dress up in wild outfits and roam the streets at night, brawling with other gangs and accosting merchants or craftsmen who are out late at night.

To help keep these troublemakers out of their neighborhoods, most of the city districts are arranged in a similar pattern. The main streets and canals divide the city into large blocks (neighborhoods), known as machi, or cho. To enter one of these neighborhoods, you have to leave the main street and go down one of the side streets or alleys. All of the side streets leading into the neighborhood are guarded by gates, which can be closed at night. This is an effective way to keep out most criminals, drunks and other disreputable characters who might be wandering about late at night.

Groups of guards, known as yoriki and ban-nin (sort of like police officers) patrol the main streets at night, making sure that the gates are closed and keeping a lookout for troublemakers. Anyone who is out on the main streets late at night is likely to be stopped and questioned. A person needs to have to have a good reason for being out late at night, and if they act suspicious, the yoriki may take them in for questioning.



Meanwhile, in each neighborhood, the citizens take turns working as night watchmen in a sort of "neighborhood watch". The job of the person on duty is to close the gates late at night, and walk around the neighborhood making sure that all is quiet. If someone comes home late at night, they have to knock on the gates and convince the person on guard duty to let them in. Naturally, the guard will only open up if he recognises the person who knocks at the gate.

The neighborhood we are entering now is home to a community of potters, and the shops on the main street have row after row of porcelain and pottery lined up on the shelves and tables. Each store offers a range of different types of plates, saucers, mugs, bowls and vases.

Pottery is a highly developed craft in Edo, though the best products still come from the far western provinces of Suo, Aki and Nagato. A wide range of different styles of pottery are available, from inexpensive dishes used by average townspeople to the works of master craftsmen, which can fetch extremely high prices from rich daimyo, merchants or members of the Emperor's court.

Everyone is intent on what they are doing, and take their work seriously -- even the youngsters and women who prepare the clay for use in making the pottery. Like many of Edo's crafts, there is a close connection between the business of making pottery and the expression of fine art. Apprentices may produce large amounts of simple pottery for daily use while they are learning their craft, but their goal is always to develop their skill to a fine level and to create true works of art.

The center of the potter's district is almost uncomfortably warm. You can feel the heat from the kilns as soon as you enter the square. The huge ovens used to bake the porcelain are set up in the center of the district, and they are tended carefully to ensure that the temperature is kept at just the right level. Around the square, individual craftsmen are shaping clay into different types of products. Every few minutes, someone will carry another large rack of molded pottery over to the kilns to be baked. This neighborhood can be unbearably hot in the summer time, since potters have to work all year round. On the other hand, it isnt such a bad place to visit in the winter. Each of the crafts districts is entirely devoted to producing their specialty products, and each member of the community has a part to play. Most of the people are closely bound together by ties of kinship and community, and all work together to help the entire neighborhood become prosperous.

Craftsmen in Japan have to spend ten years working as an apprentice for a "master craftsman" before they can start to work on their own. While they are an apprentice, they will spend the entire day working with their master, watching every move that he makes, and attempting to imitate his skills. Although the crafts tend to hereditary professions, with people passing on their trade from father to son, it is not that uncommon for people to switch to a different craft while they are still very young.

In order to take up a different craft, the youngster has to be accepted as an apprentice by one of the "masters" in another craft, but if their parents pull a few strings, this is not too hard to arrange. In addition, some low-ranking samurai give up their status as samurai in order to become craftsmen. While this may be a step down in social rank, for the lowest-rank samurai it can often mean a big improvement in wages. All the same, every apprentice starts out at the same level, as a raw student, regardless of their family background, past experience or "connections".

People who are extremely talented at a craft -- whether it be pottery, weaving, wood-carving or bucket-making -- can become quite famous. For this reason all of the best young students will compete to try to become the apprentice of a master craftsmen. Master craftsmen only pass on their best techniques to the top apprentices, so when the apprentices get older they often boast about being the "former student" of some famous craftsman. "Officially", craftsmen belong to a lower class than farmers or samurai, and only a shade above merchants. However, the best craftsmen are often granted honorary ranks of nobility, including the right to wear a sword and take a surname. Originally, only samurai and nobles from the Imperial court had two names, but nowadays, many of the leading craftsmen and merchant families also have been granted "honorary" second names as a reward for some service to the Shogun or some other high-ranking official.

This next neighborhood is home to the blacksmiths. Different crafts have higher or lower status, depending on the importance of the work. Potters and weavers tend to be ranked in about the middle. People who make sandals, floor mats (tatami) or other goods made of straw tend to have a lower status. The crafts with the highest status are carpenters and smiths, since their skills are the most valuable to the Shogun. Blacksmiths make all sorts of useful items from steel, but the most important, of course, are the swords that they produce for the samurai.

Those men over there are smelting steel in a large, open-air furnace. Production of a high-quality steel product, such as a sword, is a very painstaking job. First, the steel ingot must be produced by smelting iron. The iron is collected in large ingots, and stored in a warehouse until it is needed.

When the time comes to produce a sword, the smith heats the ingot and breaks off a piece of the proper size. This is then heated repeatedly and beaten into shape using heavy hammers. The job often requires two people -- one to heat and hold the steel, and the other to swing the heavy hammer to beat it into shape. It takes a great deal of practice and skill to shape the sword just right. Finally, the blade is covered with a layer of clay to control the rate of cooling -- fast at the edge that will be used for cutting, and slower at the back of the shaft. Finally, the blade is plunged into cold water to cool it. Another group of craftsmen will fashion the decorated wooden handle and the scabbard. The result is one of the most beautiful and deadly of weapons -- a katana (long sword).
- source : edomatsu/kajibashi -


. tookooshi 陶工師 Tokoshi, potters of Edo .


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Edo Shokunin Kitan 江戸職人綺譚 Strange tales of Edo craftsmen
佐江衆一 Sae Shuichi (1934 - )

- #shokunin #edoshokunin #craftsmen #takumi -
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- - - - - reference - - - - -

和国諸職絵尽（外題） 和国諸職絵つくし Wakoku shoshoku ezukushi
(Collection of Pictures of Various Occupations in Japan) - by Hishikawa Moronobu
- a link with many illustrations
- source : Museum of fine arts, Boston -


Old placenames of Edo
- source : トキオ・カフェのブログ -


日本橋　神田　上野　浅草　向島　両国　深川　佃　芝　品川　目黒　赤坂　日比谷　新宿　高田馬場　板橋　王子　千住　葛西　国府
- source : 江戸開府４００年 -

- reference - 職人町 -


職人町の形成と解体 - 6 pages with info 江戸の職人発展史
- source : token.or.jp/magazine -


Shokunin burui 職人部類 by Tachibana Minkō 橘岷江

- - - with access to one volume
- source : collection pulverer.si.edu -


今様職人尽百人一首 - Imayō shokunin-zukushi hyakunin isshu
with illustrations of 100 craftsmen
近藤淸春. [近藤淸春] ; Kiyoharu Kondō
- reference -
. . . CLICK here for Photos !



Crafts and Trades of Japan,
with Doll-and-Flower Arrangements
Billie T. Chandler

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- - - - - H A I K U - - - - -

一生を渡り職人春の雁
isshoo o watari shokunin haru no gan

his whole life
a wandering craftsman -
geese in spring
Tr. Gabi Greve

Andoo Rinchuu 安藤林虫 Ando Rinchu

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職人に口出し無用寒の梅
shokunin ni kuchidashi muyoo kan no ume

you should not interfere
with a craftsman at work -
plum blossoms in the cold

平野道子　Hino Michiko

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タオル職人めじろ鳴かしているばかり 山内崇弘
初染めや藍職人の爪の藍 近藤陽子
寒糊を煮終へ職人一家なり 池上不二子
小雪や桶職人の長寿眉 玉木郁子
打水や通称日光職人町 西本一都 景色
春時雨ペンキ職人軒を借り 勝連一鉄
朝の職人きびきびうごき百日草 植村通草
牡丹職人失踪届二三枚 仁平勝 花盗人
瓦職人仲秋の空一人で占め 福岡浪子
畳職人雨に目を遣り秋燕 高澤良一 素抱
目標は大工職人みあげる眼 須崎美穂子

職人といはれ六十花山葵 井ノ口昭市
職人に口出し無用寒の梅 平野道子
職人の二人しぐるゝ畳針 川崎展宏
職人の休憩の輪へ大西瓜 水口泰子
職人の座布団薄し鳥の恋 大木あまり 火球
職人の早仕舞せし冬至かな 山崎一角
職人の衣更へたる一座かな 露月句集 石井露月
職人の親子が帰る十三夜 佐久間久子
職人の誇大事に初仕事 池上不二子

花の頃扇さいたり諸職人 上島鬼貫
葺替職人上と下とで押し問答 高澤良一 寒暑
青木の実錺職人路地に住み 栗山よし子
- source : HAIKUreikuDB


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. - - - - - ABC List of Edo craftsmen　江戸の職人 - - - - - .

. Construction work for a Japanese Home .

. Japanese Architecture - cultural keywords used in haiku .

. Traditional Crafts of Edo - Tokyo .


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- #shokunin #edobakufu #kyobashi #kyoobashi -
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ISSA - waka-zakari

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. Kobayashi Issa 小林一茶 in Edo .


人つきや野原の草も若盛り
hitozuki ya nohara no kusa mo waka-zakari

they love to be together --
grasses in the field, too
in the first flush of youth
Tr. Chris Drake

This late spring hokku is from an undated letter. Issa wrote similar hokku in 1825 and 1826, when he was feeling old but hoping to marry for the third time, a goal he achieved in the 8th month (Sept.) of 1826. The つ in the first line can be either tsu or zu, and the noun the first line is glossed by Issa Hokku General Index (455) as 人付き, or hitozuki, the state of being 'sociable, gentle, naive, meek, affable, genial, amiable, lively, convivial.'

New wild grasses are growing rapidly everywhere in the field, and Issa senses the young stalks are full to overflowing with the desire to live and to be with other stalks, mingling and mixing with each other in dense clumps. How similar they seem to human teenagers, especially in spring. Issa consciously uses a word that includes hito, 'people, humans,' to characterize the young grass, and he also seems to be talking about the social instincts of grass at any age. In taking stalks of vigorous grass to be accurate images of human spiritual growth as well, Issa precedes Walt Whitman's Leaves of Grass (1855) by several decades. Whitman's world may be slightly more human-centered than Issa's, however, since Issa seems to treat grasses and humans as equals, and he delights in finding evidence of the wild desire of grass stalks to grow together with each other as they grow taller.

Issa puts it this way in a variant from 1825:

愛相やのべの草さへ若盛り
aisoo ya nobe no kusa sae waka-zakari

how warm to each other --
even grasses in the field
in the first flush of youth

The word aisou in the first line means the state of being 'sociable, amiable, cordial, warm-hearted, affable, hospitable' and differs from hitozuki in the first hokku in being slightly more publicly oriented. In both hokku, however, the young grass stalks enjoy company and strongly want to share their newfound energy and desire to live with each other.

Chris Drake


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More haiku abouat waka-zakari with translations by David Lanoue


鮎迄もわか盛也吉の川
ayu made mo waka-zakari nari yoshino kawa

the trout too
hit their peak young...
Yoshino River

. Issa at Yoshinoyama - 吉野山 Mount Yoshino .



人つきの有や草ばもわか盛
hito tsuki no ari ya kusaba mo waka-zakari

some of them stick
to people, young grasses
at their peak



むつましや男竹女竹のわか盛り
mutsumaji ya odake medake no waka-zakari

living in harmony--
boy and girl bamboos
the peak of youth



さわぐぞよ竹も小笹もわか盛り
sawagu zo yo take mo ko-zasa mo waka-zakari

what a racket!
for bamboo and pampas grass
the peak of youth



うれしげや垣の小竹もわか盛
ureshige ya kaki no ko take mo waka-zakari

joyful!
the fence's little bamboo
at the peak of youth
Tr. David Lanoue


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Latest updates about Issa on facebook - CLICK to join !



. WKD : Kobayashi Issa 小林一茶 - Introduction .


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ame-uri vendor of candy

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ame-uri, ameuri, ame uri 飴売り vendor of candy, candy seller

There was a proverb in Edo,
naki ko ni ame 泣く子に飴 a child that cries gets sweets

so vendors of candy were quite popular.


source :　www.kabuki-za.com/syoku

The dress of candy vendors in Edo, Kyoto and Osaka was very distinct. In Edo, a spirale shape (uzumaki 渦巻) was popular.
Some would sit by the roadside, play the shamisen, hit the drum and try to attract customers.




飴と飴売りの文化史 Cultural history of candy and candy vendors
牛嶋英俊 （著）- Ushijima Eishun


Candy was made of mizuame 水飴, with various flavors, see below.


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- - - - - The most popular types of candy vendors

amaida ameuri あまいだ飴売り vendors of "Amida candy"




a pun on Amida, nenbutsu ame 念仏飴
and
amai da 甘いだ "this is sweet"

It was sold by vendors looking like monks.


uta nebutsu ame 唄ねぶつ飴 singing the nenbutsu candy vendor


source :　nora-pp.at.webry.info



. Namu Amida Butsu 南無阿弥陀仏 the Amida Prayer .


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amekokai na ame あめこかひな飴 "come by some candy"

He called:
ame chan kai na yo , ame kaina 飴ちゃん買いなよ、飴買いな


source :　nora-pp.at.webry.info


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dohei ame uri 土平飴売り candy vendor Dohei



source :　blog.goo.ne.jp/yousan02


The Song of Dohei

土平が頭に蠅が三疋とまった。只も止まれかし、
雪踏はいて止まったどへどへ（＝土平々々）、
土平といふたらなぜ腹たちやる。
土平も若いとき色男どへどへ（＝土平々々）



Ameuri Dohei Den (1769) 飴売り土平伝 Legend of Candy Seller Dohei and O-Sen
Kasamori Osen tsuketari 売飴土平伝 笠森阿仙附
by Ota Nanpo and Suzuki Harunobu

The comic love story of Dohei the candy vendor and the waitress O-Sen of a local tea house.

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koshitsuke uma 腰付馬 vendor with a horse around his hips
He tried to look like the shogun riding his horse in Edo.


source :　matome.naver.jp/odai


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ojii ame おぢい飴 "Granpa selling candy"

He used to call
おぢいが来たぞ来たぞ、さんげんばりいっぽん四もん、すてきにながいおぢいが来たぞ
ojii ga kita zo, kita zo. sangenbari ippon 4mon. suteki na hagai ojii ga kita zo.

sangenbari 三間張 a long and thin stick of candy



source :　nora-pp.at.webry.info

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o-koma ameuri お駒飴売り O-Koma candy vendor

He used to dress up and call out like the heroine O-Koma in the popular puppet theater
koi musume kashi hachijoo 恋娘昔八丈.



source :　nora-pp.at.webry.info


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oman ga ame uri　お満が飴売り / お万が飴
fat man/woman selling sweets
If you buy more than 100 mon, he/she dances.





source :　matome.naver.jp/odai


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toojin ame uri 唐人飴売り Chinese-style candy vendor





CLICK for more images !



source :　edococo.exblog.jp


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- - - - - The most popular candy in the Edo period



- quote
Mizuame (水飴) is a sweetener from Japan
which is translated literally to "water candy". A clear, thick, sticky liquid, it is made by converting starch to sugars. Mizuame is added to wagashi to give them a sheen, eaten in ways similar to honey, and can be a main ingredient in sweets. Mizuame is produced in a very similar fashion to corn syrup and is very similar in taste.

Two methods are used to convert the starches to sugars.
The traditional method is to take glutinous rice mixed with malt and let the natural enzymatic process take place, converting the starch to syrup.
The second and more common method uses potatoes or sweet potatoes as the starch source, and added acid, such as hydrochloric, sulfuric or nitric acids. If done by the first method, the final product, known as mugi mizuame (麦水飴), is considered more flavorful than the potato version.
©　More in the WIKIPEDIA !




. darumatoo だるま糖　Daruma candy .

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keshitoo 芥子糖（けしとう）candy with poppy seeds

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kinkatoo 金花糖 forms of fish like tai and koi made of sugar
. Sweets from Ishikawa 　石川 .



芥子坊の頭の子が手にしているのが、江戸時代の金花糖。
- source : edococo.exblog.jp

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nikkeitoo 肉桂糖（にっけいとう）/ nikkitoo 肉桂糖 (にっきとう)
candy with cinnamon flavor


ookorobashi 大ころばし "huge stick candy"
korobashi was a stick used to transport heavy loads or stones.

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sakura ame 桜飴 "cherry blossom candy"
round sweets in the colors pink and white

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sangan ame 三官飴（さんがんあめ）Sankan ame, starch syrup candy

It is a kind of mizuame 水飴　 starch syrup and was first produced by 室町一丁日の三宮屋宇兵衛店 as a present to important daimyo and government officials. The production process is said to be from Korea.
White sugar was heated up to melt, then mochi-rice was rubbed into the pot and starch syrup and a bit of vinegar added for extra taste.


source : www.kmnh.jp/meishyo/top
三舘（官）飴の壷

There were a few shops who sold this sweet.
目黒三官飴の桐屋、長崎三貫（＝官）屋、雷門外に川口屋三官飴, 芝三官飴、陳三官飴


- source : ja.wikipedia.org

- source : kazumoto-sure.cocolog-nifty.com


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Special sweets of the Edo period, not only candy

江戸時代の復元菓子の数々

・落　雁(らくがん) rakugan
米など穀物の粉と砂糖を混ぜて木型などで押し固めた菓子の総称
・白雪こう(はくせっこう) hakusekkoo
生米の粉を使用し、後から蒸した菓子
・花ぼうろ hanabooro
小麦粉に卵や砂糖を混ぜてのし、大冠を形どって作って焼いた南蛮菓子
・かせいた kaseita
マルメロを砂糖煮にして固めた羊羹のような菓子
※マルメロ(かりんの別称とされているが、本来は別物。果実は黄色で球形)
・有平糖(あるへいとう)
砂糖を煮詰め冷やした後、引き延ばして細工したものが主だったが、現在では水飴を使っている
・掛け物(かけもの) kakemono
砂糖などの衣をかけて作るこりん、みどり等の菓子
※こりん(小さな金平糖のような菓子で、中空になっている。)
※みどり(小麦粉と砂糖を合わせた生地に砂糖の衣をかけた菓子)
・金平糖(こんぺいとう) konpeitoo
核となるグラニュー糖などを大鍋の中で転がしながら砂糖蜜を振りかけ、少しずつ角を作って大きくする。
・福輪糖(ふくりんとう) fukurintoo
胡麻あるいは芥子(けし)などを入れた煎餅
・軽　焼(かるやき) karuyaki
軽焼煎餅の略で、餅に砂糖を加えてつき、平らにのして上下から焼いたもの
・煎　餅(せんべい) senbei
小麦粉と卵を使った今の瓦煎餅のようなもの
・金花糖(きんかとう) kinkatoo
砂糖で鯛や人間などをかたどった中空の菓子
・は　ぜ(爆米と書く) haze
玄米を火にかけて、はじけさせたもの
・求　肥(ぎゅうひ) gyuuhi
小麦粉や餅米を砂糖と混ぜ、火にかけながら練り詰めた菓子
・羊　羹(ようかん) yookan
小豆に小麦粉や葛粉を蒸し固めた蒸羊羹
- source : sugar.alic.go.jp/japan


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hahako ame 母子飴 candy for mother and child

泣きの信吉かわら版 - 井上登貴


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. yuurei kosodate ame 幽霊子育飴 "candy for a ghost bringing up a baby" .

Minatoya, Kyoto みなとや,　京都


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tokkaebee とっかえべえ / tokkaebei とっかえべい
collector of old metal, gives a sweet (amedama) in return

This is the Edo version of torikaeyo 取り替えよう - I am exchanging things!



- - - - - Legend knows this:
About the year 1715 a citizen from Asakusa Tahara 浅草田原町 called Kinokuniya Zen-emon 紀伊国屋善右衛門 tried to get money for a new bronze bell of the temple 紀州道成寺 Dojo-Ji in Kishu (now Wakayama). So he began to collect old bronze pieces and awarded the donor with a small gift of a sweet.



This was different from the dealers in old metal, 古鉄商, who collected most metal tools.
Things of no worth, like old nails or the metal ends of a long pipe would go to the "Tokkaebee".

. Recycling and Reuse in Edo - リサイクル と　再生　/ 再使用 .

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- source : yfm24651.iza.ne.jp



. . 100 Favorite Dishes of Edo - 江戸料理百選 . .

under construction
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source :　blog.goo.ne.jp/minyo414
Akita Ame-uri 秋田飴売り Candy seller from Akita - and a song


飴売りの飴立てて売る蓮は実に
ame-uri no ame tatete uru hasu wa mi ni

the candy vendor
stands up his candy to sell -
lotus has seeds
Tr. Gabi Greve

Saitoo Kafuu 斉藤夏風 Saito Kafu




. WKD : hasu no mi 蓮の実 lotus seeds .
kigo for autumn


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. . 100 Favorite Dishes of Edo - 江戸料理百選 . .

. wasanbon 和三盆 Wasambon, Sugar from Japan .


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