12/05/2014

daidokoro kitchen

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daidokoro 台所 the Japanese kitchen
- Introduction -

- - - - part of the entry about
. Interior Design - The Japanese Home .





- - - kitchen, from my visit to Katsuyama, Okayama

. Kitchen (daidokoro) and hearth (kamado) .
My first introduction, with haiku from Matsuo Basho and others

- under construction !
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- quote - JAANUS
1 Believed to be an abbreviated form of *daibandokoro 台盤所. The most common Japanese term for kitchen. From at least the Heian period, the term was used in the emperor's residential compound, Dairi 内裏, of the imperial palace and in the mansions of the aristocracy to refer to a room used for the final stages of food preparation and serving. By the medieval period the term was used in warrior houses.

2 From the 13c-19c, a building in upper class residences, used to prepare and cook food. Typically, it included an earth-floored area *doma 土間, equipped with a cooking range *kamado 竈, and sometimes a well *ido 井戸, and sink *nagashi 流し. In addition it incorporated a suite of raised floor rooms, some of which were equipped with an open hearth *irori 囲炉裏, where more advanced stages of food preparation and serving took place.

There was generally a smoke louvre *kemuridashi 煙出, in the roof. The building also contained storage space for food and utensils, and particularly in the medieval period, it is believed to have included accommodation for servants and lower members of the household. In large residences, such as the baronial mansions, daimyou yashiki 大名屋敷, of the Edo period, the main kitchen was often divided into two: a lower kitchen *shimodaidokoro 下台所, and an upper kitchen *kamidaidokoro 上台所. Alternative medieval terms for the upper class daidokoro include *mizushidokoro 御厨子所, zendokoro 膳所, and zenbu 膳部. In the Edo period the upper kitchen might alternatively be referred to as *kiyodokoro 清所 or *ryouri-no-ma 料理の間, and the lower kitchen as oodaidokoro 大台所.

3 In vernacular houses *minka 民家 of the Edo period daidokoro was: a term for the earth-floored area doma, in parts of Tokyo, Saitama, Kanagawa, Fukushima and Iwate prefectures: a cooking area in the rear part of the earth-floored area in houses with their entrance on the non-gabled side *hirairi 平入, in the Izumo region of Shimane prefecture ; a timber platform projecting from the raised living area, kyoshitsubu 居室部, into the earth-floored area in parts of Aomori, Yamagata Fukushima and Nagano prefectures and throughtout Hokuriku 北陸. The latter generally had an open hearth irori, cut into the floor and was used for food preparation, dining, and as a place for sedentary work, especially in winter.

4 In vernacular houses minka, of the Edo period in many districts, a term for the main living room *hiroma 広間, which extended the full cross-sectional depth of the building from front to back, in *hiromagata 広間型 houses. The boarded floor was often exposed and there was usually an open hearth irori. It served as a living and dining space and some cooking was done in the irori.

5 In vernacular houses minka of the Edo period with a 4-room or 6-room raised living area kyoshitsubu 居室部, the room in the rear range adjacent to the earth-floored area doma. It was used as a family parlor, dining room and for the preparation of food. It might be open to the doma or divided from it by sliding panels. In certain districts it contained an open hearth irori, though rarely in the Kinki 近畿 region, where the four-room house first emerged as a common minka type. It could also be a space toward the rear of the main living room hiroma, in kobeyatsuki hiromagata 小部屋付広間型 houses.

6 In urban vernacular houses *machiya 町家 of the Edo period, especially in the Kyoto area and regions influenced by it, a room to the rear of the shop *mise 店, adjacent to the earth-floored area doma, used for dining and the preparation of food and as a family parlor. It was also often referred to as the naka-no-ma 中の間. In all regions, daidokoro was often abbreviated to daidoko 台どこ and in certain areas to dedoko でどこ. Daidokoro is sometimes written 大所.
- source : JAANUS

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source :gwald.com/rakugo

長屋の台所風景 Kitchen of a nagaya living quarter in Edo

. nagaya 
長屋 ながや long house, row housing .


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chooriba 調理場 kitchen

chuu, zu, kuriya 厨, chuubo 厨房 chubo, kitchen (closet, cupboard)
..... chuu is a place that gets black (by the smoke) - kuriya 涅屋 a kitchen of a temple
(with a lot of compound word used in haiku - 初厨 - 厨事 - 貧厨 - 厨妻 - 厨窓 - 大厨 - 行厨 . . .)

dedoko でどこ lower-class kitchen

doma 土間 earth-floored area

katte 勝手 kitchen
- - - - - katteguchi 勝手口 special door to enter the kitchen

hetsui, 竈(へ)つ火 "stove with fire", also the name for the Deity.
hettsui へっつい, hitsui, hittsui

hocho, wabocho . 和包丁. Knife, knives (hoochoo, waboochoo)
Japanisches Messer

. ido 井戸 well - and kigo .

. irori 囲炉裏 / いろり open sunken hearth .
- - - - - jizaikagi 自在鈎 pothook and more

. kamado 竈 cooking stove - Haiku introduction .
- okudo, okudosama in Kyoto
- - - - - more details below

. Kamagami 釜神 The Hearth Deity .
Dokujin, dokoojin 土公神 - Kenroo chijin 堅牢地神 Kenro Earth Deity
お荒神様 Aragamisama

kamidaidokoro 上台所 upper kitchen

kemuridashi 煙出 smoke louvre

kittchin キッチン kitchen

kiyodokoro 清所 upper class kitchen

mizushi 水仕, mizushigoto, mizu shigoto 水仕事 washing the dishes, doing "water work"

mizushidokoro 御厨子所 kitchen of the upper class
. . . zendokoro 膳所, zenbu 膳部

. nabe なべ 鍋 pot and pan .

nagashi 流し sink

naka no ma, naka-no-ma 中の間 kitchen of a town house

oodaidokoro 大台所 lower kitchen, lit. "big kitchen"

ryoori no ma, ryoori-no-ma 料理の間 upper class kitchen (place for making food)

shimodaidokoro 下台所 lower kitchen

suiji 炊事, suijiba 炊事場 cooking, place for cooking
- - - - - taku 炊く to boil rice

yuukuriya 夕厨 kitchen work in the evening

. zen 膳 food tray for one person .

zushi 厨子 cupboard

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CLICK for more photos of the Edo kitchen!

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kamadoshi, kamado-shi, kamado shi 竈師 specialist making an earthen hearth
hettsui shokunin 造竃職人 / へっつい屋 hettsuiya


source : edoichiba.jp.kamado...

- quote -
By the late Edo period (1615-1867), some households had a variety of kamado:
kamado for use in a raised floor space rather than the doma;
small portable kamado (this was also the commonest type in cramped urban tenements;
a large one for preparing fodder for domestic animals; and often
a special one for use only on festive occasions and for preparing rice cakes.
The symbolic significance of the kamado was in proportion to its functional importance as a cooking appliance and adjunct of the hearth.
Its tutelary spirit, kamadogami, was one of the principal household deities, revered as provider of the means to cook and feared as a potential cause of conflagration.
- source : nakedwhiz.com/kamadotheword -

For fear of fire, many homes in a Nagaya living quarter in Edo did not have a stove. Some kitchens did not even have a knife. The vegetables were torn by hand, the Tofu was deliverd as it was eaten and the fish came cut by the fish vendor.
The hearth-making craftsmen were a group in itself with special skills according to the type of hearth to be made.
Homes in Kyoto usually had three "mouths" 三つ口, some even nine 九つ口.
The hetsui hearth of Edo was built with the back to the doma 土間 entrance hall, so the wife could see the living room. Most hearths were coverd with a black coating.



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 (also called hettsui へっつい in Edo) 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.


source : blogs.yahoo.co.jp/yah1000senn
- - - - - Cooking rice at the Kamado kitchen hearth


竈も化粧をしたる年の暮
hettsui 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

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- - - - - fuda 蓋 lid - - - - -



kamabutashi, kamabuta-shi 釜蓋師 making a lid for the iron pot
釜蓋職人

Craftsmen who made these wooden lids made also many other wooden tools for a home and kitchen, for example the wooden cutting boards.
The lids had to fit well to make sure no steam was coming out of the pot.
The wood was about 3 cm thick.


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. kamabuta tsuitachi 釜蓋朔日 opening the chauldron on the first day .
- kigo for early autumn -
On the first day of the seventh lunar month (now August 1) the chauldron of hell was opened to let the souls out for their visit to the family graves.
From this day on, the Urabon ceremonies were started.

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Kamafuta Jinja 釜蓋神社 "Kamafuta Shrine"
射楯兵主神社 Itate Tsuwamono Jinja




The deity of this shrine has long been venerated by the Samurai. To pray for victory before a battle, they came here with an old lid or kettle and offered it with the wish that bullets from the enemy gun would not hit them. So ever more Samurai visited here.
Now people also pray for good luck and luck with a new business, even victory in sports.
They put a lid on their head and walk from the entrance Torii gate of the Shrine building. If the lid does not fall down, their wish will be granted . . .



鹿児島県南九州市頴娃町別府6827 Beppu, Kagoshima, Kyushu
- reference : kamafuta jinja -


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. Washoku 和食歳時記 Japanese Food Culture   .

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

. kigo related to the kitchen .

. hatsu kamado 初竈 (はつかまど) first use of the hearth (fire)
. bongama 盆竈 Bon stove .
. kamado neko 竈猫(かまどねこ)cat in the hearth  
. kamabarai 竈祓 (かまばらい) hearth purification .
. kama matsuri 竈祭(かままつり) hearth festival - - - and more

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猫の妻竃の崩れより通ひけり
. neko no tsuma hetsui no kuzure yori kayoi-keri .
and more kitchen haiku by Matsuo Basho and others

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source : edo-tokyo-museum.or.jp

- - - - - kitchen-related haiku collection - - - - -

- source : HAIKUreikuDB

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. Legends and Tales from Japan 伝説 - Introduction .

- reference : nichibun yokai database 妖怪データベース -
kamado 竈 54 to explore
kamado かまど 16 to explore  ・カマド 44 to explore
竈神 4 to explore / 炭竈

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. Japanese Architecture - Interior Design - The Japanese Home .

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. My collection in facebook .


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12/04/2014

chigaidana staggered shelves

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chigaidana, chigai-dana 違い棚 staggered shelves

. . Interior Design - The Japanese Home . .
- Introduction -

. tokonoma 床の間 alcove for decorations .


- CLICK for more photos !
Katsura-dana, Katsuradana 桂棚 at Katsura Rikyu

One of the three most famous chigaidana 天下の三棚.
The other two are
Daigo-dana 醍醐棚 at Daigo-Ji 醍醐寺
and
Kasumi-dana 霞棚 at Shugaku-In 修学院離宮

- source : shyougaiitisekkeisi2581


Daigo-dana, Daigodana 醍醐棚 at 奥宸殿

- source : Daigo-Ji


Kasumi-dana, Kasumidana 霞棚 at Shugaku-In 修学院離宮
"Shelf of Mist"
. . . the design of the shelves resembles mist floating.

- source : www.bokashiya.com

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- quote - JAANUS
Staggered shelves; considered part of the *shoin 書院 style decoration.
One of the room ornaments which became established together with the decorative alcove *tokonoma 床の間 and attached desk *oshi-ita 押板 at the end of the Muromachi period, in the formal reception room *zashiki 座敷. Usually located at the side of the decorative alcove.
Two shelf boards are fixed at different levels, a small pillar *ebizuka 海老束 is inserted between them, and small edge-strips *fudegaeshi 筆返し, are attached at the edge of the top shelf.


Old Yamamoto 山本 house (Nagasaki)

A doored shelf is provided at the top or below the shelf boards, or both. Upper doored shelves are called tenbukuro 天袋 (see *fukurodana 袋棚) and lower ones *jibukuro 地袋. Shelves in dwellings were originally practical, used to store personal belongings close at hand.

In the Muromachi period, ornamental shelves began to be developed at Ashikaga Yoshimasa's 足利義政 (1436-90) mansions, Ogawagosho 小川御所 and Higashiyamadono 東山殿. The Muromachi period text OKAZARIKI 御飾記, describes room ornaments in those two mansions, with drawings of shelves together with oshi-ita, and descriptions of the methods of making shelves and ways of decorating. The chigaidana in the meeting room of Higashigoten 東御殿, Ogawagosho, for example, was constructed at right angles to the oshi-ita, one bay wide (just under 2m), with upper and lower doored shelves, and there were two layers of staggered shelves (an arrangement called *shikiri chigaidana 仕切違い棚). On the top shelf was an incense burner, a tea container on a small tray, a small bowl on a tray, and on the bottom shelf were implements associated with the presentation of kaiseki 懐石 food (refined Kyoto cuisine).

These were typical of items displayed on chigaidana, which also included inkstone *suzuri 硯 boxes and writing paper, books, and tea ceremony implements like teabowls *chawan 茶碗, and bamboo tea whisks. Around this time many art objects were imported from China, so chigaidana had an important function in displaying these.



The oldest extant example of chigaidana can be seen in *Tougudou 東求堂 (Togu-Do) at Jishouji 慈照寺 (jisho-Ji) (1485), Kyoto. The chigaidana, half a bay wide, is built alongside the attached desk in a 4 1/2 mat room called Douninsai 同仁斎 (Doninsai). This set of shelves has a bottom board ji-ita 地板 with a jibukuro on top of it, a staggered shelf in the middle and one shelf board on top.

After the Momoyama period, shelves were usually constructed alongside the alcove, and there were many variations in the shape of the shelf boards. Tenbukuro and jibukuro were sometimes included.
Shelves at Katsura Rikyuu 桂離宮 (17c), and Shugakuin Rikyuu 修学院離宮 (1659), both in Kyoto, for example, have complicated structures and are constructed with great technical skill.
- source : JAANUS

ebizuka 海老束
Also written 蝦束; also hinazuka 雛束.
A small strut with chamfered corners used between two staggered shelves *chigaidana 違い棚. The two ends of the strut are cut into dovetail tenons *arihozo 蟻ほぞ and inserted into mortises arihozoana 蟻ほぞ穴 cut into the underside of the upper shelf and the top side of the lower shelf. The width of the strut is about equal to 4/10 the width of the alcove post.

fudegaeshi 筆返し
A curved wooden border attached to the end of a desk or shelf to prevent brushes and scrolls from rolling off. It is also decorative and is found on staggered shelves *chigaidana 違い棚, short writing desks fuzukue 文机 and sutra stands kyoudai 経台.
The tip of the fudegaeshi is called tomari とまり, the main body is called fudegaeshi, the lower convex curve is called hatomune 鳩胸 (pigeon breast). The width of the table or shelf extending beyond the attached border is known as ita-no-de 板の出.


a) fudegaeshi 筆返し b) ebizuka 海老束

Various types of fudegaeshi are distinguished by the shape of their cross-section.
These include: tatsunami 立波 (standing wave); wakaba 若葉 (young leaf); miyakodori 都鳥 (seagull); karaba 唐葉 (Chinese leaf); kaeshinami 返波 (returning wave), and takagashira 鷹頭 (hawks head).
- source : JAANUS


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NHK - Bi no Tsubo NHK 鑑賞マニュアル 美の壺

棚は引き算
棚は、自然のリズムを奏でる
棚は人なり



- source : NHK - Bi no Tsubo
file290 「棚」

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Chigai-dana
It is believed that the chigai-dana (or staggered shelves) evolved from earlier portable shelving systems. This theory is backed up by the continued use of portable-type shelves throughout the Muromachi period outside of the central room. It was in Yoshimasa's time that built-in shelves first appeared.

Furthermore, evidence shows that these were installed in both Yoshimasa's Kokawa palace and his Higashiyama residence. To the left is the Picture Scoll of Kasuga Gongen Miracles from the 14th Century showing the artistic evidence of the built-shelves.



The main purpose of the chigai-dana of this time was to provide a place for the artistic arrangement of books and tea utensils. The function of holding books was a direct influence of Zen monks. During this time there was extensive trade with China and Korea, which resulted in an enormous influx of literary and philosophical texts. Only after these imported texts were tea utensils displayed on these shelves. Typically this included a tea cup, tea caddy, tea whisk, food canister, tea ladle, portable fireplace, feather broom, ember poker, and water bowl.
- source : www.columbia.edu


- English reference -

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Kenninji 建仁寺 Kennin-Ji Kyoto


source : olaf-mama.at.webry


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

永き日や何も置かれぬ違ひ棚
nagaki hi ya nani mo okarenu chigaidana

days getting longer -
nothing is placed
on the staggered shelves

Tr. Gabi Greve

Igarashi Bansui 五十嵐播水 (1899-1920)


. WKD : nagaki hi 永き日, hi nagashi 日永し day getting longer .
- - kigo for all spring - -





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鹿啼くやうす埃置く違ひ棚
shika naku ya usubokori oku chigaidana

a deer is calling -
just a little dust
on the staggered shelves

Tr. Gabi Greve

Oomine Akira 大峯あきら Omine Akira


. shika naku 鹿鳴く(しかなく) deer is calling .
- - kigo for all autumn - -

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12/02/2014

Tokonoma

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tokonoma 床の間 alcove for decorations, art nook

- part of the entry about
. Interior Design - The Japanese Home .



- - - More in the Japanese WIKIPEDIA !
tokonoma with a scroll of Daruma だるま

- quote
tokonoma 床の間 lit. alcove room.
A *tatami 畳 mat room with a small alcove. There are various theories about the origin of the alcove. It may have been a sleeping alcove, built just large enough for bedding. Later the alcove floor was raised above the level of the floor. The alcove was then enlarged to the size of two mats, and then it contracted again to one raised mat. The alcove thus became the honored seat for a guest of high rank. The other mat was placed at floor level. On occasion, a cozy alcove was formed by screens surrounding this type of arrangement. In the Kamakura period, to the latter part of the Muromachi period, the alcove had a raised floor and could be used as a seat or a platform.

By the end of the Kamakura period, a Buddhist picture was hung on the wall and was the focal point of the tokonoma. A board to display objects *oshi-ita 押板, was set before the wall hanging, on which were exhibited a vase of flowers, an incense burner and a candlestick. These three things are important to Buddhism and are referred to as the three implements, mitsugusoku 三具足.

In the Muromachi period, it became customary to hang a scroll with a Zen priest's calligraphic inscription, along with the vase of flowers and the incense burner. The candlestick was omitted then. By the Momoyama period, the alcove took on its familiar form and was used principally for displaying treasured art objects.

The size and arrangement of the alcove varied according to the diversified tastes of the tea masters. An old record, for instance, mentions an alcove 180cm long attached to a tea ceremony room *chashitsu 茶室 used by Murata Jukou 村田珠光 (1423-1502). This alcove was pasted with white Japanese paper called *torinokogami 鳥の子紙 and had frames that were covered with black laquer. Takeno Jouou 武野紹鴎 (1502-55) preferred a smaller alcove and tea ceremony room. Sen Rikyuu 千利休 (1522-91) used alcoves with styles familiar today.

Characteristics from both the *shoin 書院 style alcoves and the styles of alcoves found in tea architecture were fused to produce the alcove common to ordinary dwellings. Tokonoma are called a great variety of names such as
kamizadoko上座床 (lit. upper seat alcove), and
shimozadoko
下座床 (lit. lower seat alcove).

Sometimes tokonoma are named after the tea master who designed them, for example *oribedoko 織部床,
or for the particular width of the alcove, such as *daimedoko 台目床.

See *hondoko 本床, plain wooden alcove *itadoko 板床, a tatami mat alcove *tatamidoko 畳床, *fumikomidoko 踏込床, *murodoko 室床, *horadoko 洞床, *fukurodoko 袋床, *kabedoko 壁床, *okidoko 置床, *tsukedoko 付床, *tsuridoko 釣床, *masudoko 桝床, *kasumidoko 霞床, *ensoudoko 円窓床, *gensoudoko 原叟床, *nurimawashidoko 塗回床.
- source : JAANUS




CLICK for more samples !

- quote
Tokobashira 床柱 alcove post
Also called nihonbashira 二本柱, because originally both the pillars to the left and right of the alcove, *tokonoma 床の間, were considered as central pillars.

The pillar closest to the center of the tea ceremony room, and the second of two pillars dictate the width of the alcove. As in formal shoin style *shoin-zukuri 書院造 tea ceremony rooms, tokobashira are chamfered. They are made of cypress or rarer woods. In semi-formal rustic type tea ceremony rooms, pine, maple, mulberry, sandalwood and ebony are employed. In the simplest, most unpretentious style tea ceremony rooms, polished logs of Japanese cedar, chestnut, bamboo and other unusual kinds of timber are used.

The diary MATSUO NIKKI 松尾日記, mid. 19c, states that the alcove post which retained the bark was first used by Furuta Oribe 古田織部 (1554-1615). Even material from old historical buildings was sometimes used. Since the alcove pillar is an important part of the interior design, in *sukiya 数奇屋 style tea houses it occasionally bears the marks of having been scraped by an adze to give it a rough finish.

Chamfered posts were used to produce a dignified appearance in *shoin 書院 rooms. There are many extant examples of alcove pillars in tea ceremony rooms dating from the late 16c-early 17c that were made of chestnut wood with an adze finish.
- source : JAANUS

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Giving Daruma a smoke.
Present only as a painting on a hanging scroll in the tokonoma, Daruma is stirred to life by a courtesan. As he leans toward her, she turns and offers him her pipe.
Ink Sketch. Farland Collection
http://wwar.com/masters/s/suzuki_harunobu.html

. Daruma and the Courtesans 芸者,花魁とだるま、女だるま .

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Noto Peninsula 能登半島 Noto Hantoo
ae no koto, aenokoto あえのこと / アエノコト / 饗事
Entertaining the God of the Fields

Nowadays there are few families who continue this ritual, which is passed on from father to son. It is an intangible cultural property of Japan and the UNESCO.

CLICK for more photos

On November 5 of the old lunar calendar, now December 5, the God of the Fields is invited into the home by the elder of the family, clad in formal hakama trousers and a robe with the family crest. He gets a great offering from the harvest. The elder sits in front of the tokonoma, where a scroll with the blind deity is hung. He tells him all the things. One important item is a two-pronged large radish, to symbolize fertility. All food offerings are given in two portions, for the God of the Fields and his Wife. There are two sets of chopsticks for the deities.

. Ta no Kami, God of the Rice Fields 田の神さま .

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Akamai Sama - The red rice of Tsushima, Nagasaki
長崎・対馬の漁師に伝わる赤米さまと不思議な神事
akamai shinji 赤米神事 ritual of the red rice

Tsushima is an island between Japan and Korea, and was an important trade stop-over for the sea trade since olden times. Rice from the mainland came via this island to Japan.


In the "fields of the Gods" at Takuzutama Shrine (た くずたまじんじゃ 多久虫玉神社) there are 15 farmer families who keep the tradition. They cultivate the rice for offerings. Each family is leading the ceremonies for one year. After the harvest they prepare a large tawara straw bag with seed rice of the first harvest, called the "tanemomidawara 種籾俵" and hang it high in the tokonoma space for prayers.
They add some special seaweed, nezumi mo ねずみ藻, to the decoration to appease the god of the sea.
The deity in residence at the shrine is Takamimusubi no mikoto 高皇産霊尊 at a special shrine, Takamimusubi jinja 高御魂神社.

. Rice plant (ine 稲, sanae 早苗 ) .

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Tsukimachi, Himachi  月待ち ・ 日待ち
"Waiting for the Moon," and "Waiting for the Sun." 

"Waiting for the moon" is an occasion when people gather on particular evenings of a lunar cycle (e.g. the seventeenth, nineteenth, twenty second, and twenty third) to eat, drink, and pay homage to the moon as they wait for it to appear. The gatherings are often organized by religious organizations known as kō, whose members assemble at their established meeting place (tōya, usually the organizer's home), hang a scroll of the moon god, Tsukuyomi no Mikoto 月讀尊, in the tokonoma alcove, light (a) votive candle(s), and wait for the moon to appear.
source : Iwai Hiroshi . Kokugakuin University

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. Tengupedia - 天狗ペディア - Tengu ABC-List.


source : geocities.jp/sanmoku0359...

tokobashira 床柱 alcove post
Once a man went 奥道後 deep in the forest of Dogo and cut a tree to make an alcove post for his home.
But the man developed a high fever and died shortly after.
A diviner told the family that this was a divine tree and the man had been thrown around by a Tengu as punishment.

. Tengu Legends from Ehime .


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Kakejiku 掛け軸 Scroll with Daruma




From a Japanese Meditating Room
Shared by a Daruma friend

. Kakejiku 掛け軸 Scroll and the Tokonoma .

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重陽やリヤドロ雛を床の間に  
chooyoo ya riyadoro-bina o tokonoma ni

double nine day -
we decorate Lladro-dolls
in the tokonoma


source : 京羅坊(kyorabo)

. Chrysanthemum Festival (chooyoo 重陽) .

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炉塞ぎや床は維摩(ゆいま)に掛け替る
ro fusagi ya toko wa yuima ni kakekaeru

fermant l’âtre,
je remplace la peinture dans l’alcôve
par une de Yuima

(Tr. Daniel Py)

Quand on ferme l’âtre, au printemps, on change la peinture dans le tokonoma, l’alcôve. Le printemps est arrivé avec toute sa joie et son activité, mais nous disons au-revoir à l’âtre, ce vieil ami, et un léger sentiment de solitude nous envahit. Pour cette raison il choisit une peinture de Yuima, malade parce que le monde entier était malade, et qui, quand on lui demanda la signification des choses, répondit par le silence. (. . .)
R.H. Blyth.

. Yosa Buson 与謝蕪村 - Introduction .


source : 石川晴彦Ishikawa Haruhiko

. Yuima Koji (Vimalakirti) 維摩居士 .
a layman Buddhist from India


. ro fusagi 炉塞 (ろふさぎ) closing the irori open hearth .
ro no nagori 炉の名残(ろのなごり)
..... robuta 炉蓋(ろぶた)cover for the irori
- - kigo for late spring

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すが漏のあと床の間の壁にあり
sugamori no ato toko no ma no kabe ni ari

leaks from melted ice
make patterns on the wall
of the tokonoma . . .


Takizawa Iyoji 瀧澤伊代次




sugamori すが洩り (すがもり) leeking of melting icewater
... suga more すが漏(すがもれ)
- - kigo for late winter

suga is dialect of Northern Japan. Snow and ice around the home begin to melt and leek through the apertures in the roof or windows or below doors.

. WKD - kigo for winter at home .


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Tokobashira 床柱 alcove post

春雨や仮鬚掛けたる床柱
笋や行末はたが床柱
行く春のもたれ心や床柱
床柱鼻もうたずに郭公
弓靱紫苑生けたり床柱

. Masaoka Shiki 正岡子規 .

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ほととぎすむかしの宿や床柱 調巴
何処からも見える越後の床柱 松下雅静
元日の夕日さしをり床柱 金尾梅の門
六月の京より届く床柱 生野照子
六月や月光しばし床柱 黒田杏子
冬麗のまんなかにある床柱 桂信子
鏡中に昭和果てたる床柱 桂信子
利休忌や楓の細き床柱 井水貞子
師の声の聞えて涼し床柱 深見けん
後の雛濤音ひびく床柱 田中英子
春浅く短冊換へぬ床柱 高濱年尾
春眠やよろけて凭る床柱 木内美恵子
桃一つ残りて黒き床柱 柿本多映
正客や暑さぞまさる床柱 雪色 選集
濃紫陽花一輪匂う床柱 中嶋正子
秋すでに傷ふかく立つ床柱 中村苑子
秋袷端折りて拭きし床柱 金龍綵子
臘梅をいけて無骨な床柱 京極杞陽
苧殻火を映せる父の床柱 沼尻巳津子
蓬莱や父の背に負ふ床柱 加藤耕子
行く秋の光澄む古き床柱 石塚友二
褞袍着て背に明るさの床柱 井出節子
避寒して海の入日に床柱 波多野爽波
雑巾や杉に時雨る床柱 一滴 「板東太郎」
雪の夜は梢をおもふ床柱 正木ゆう子
霧の夜の村を捨てたい床柱 室生幸太郎
青葉冷えこのしづけさに床柱 中村祐子
青葉寒む翁も倚りし床柱 岡本差知子

床柱拭く手見えゐる除夜旧家 鷲谷七菜子
床柱磨くことより年用意 水谷成一
床柱輪飾かけていや古りし 吉屋信子

- source : HAIKUreikuDB

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new year decoration with willow branches
kake yanagi, kakeyanagi 掛柳 (かけやなぎ)

..... yanagi kakeru 柳掛くる(やなぎかくる)
binding willow branches, musubi yanagi 結柳(むすびやなぎ),むすび柳
- - kigo for the New Year

Willow branches are hung out of a freshly cut bamboo vase in the tokonoma or over the hearth before making the first fire. The longer the branches hang down, the better. Sometimes even up to 5 meters long ! Long branches are also wound together to a ring, as a celebration to the sun gaining new strength for the coming year.

. yanagi 柳 the willow and its kigo .

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. Japanese Architecture - Interior Design - The Japanese Home .

. chigaidana, chigai-dana 違い棚 staggered shelves .

. irori 囲炉裏 / いろり open sunken hearth .
- - - - - jizaikagi 自在鈎 pothook and more


. - Doing Business in Edo - 商売 - Introduction .

. Japanese Architecture - Interior Design - The Japanese Home .

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. My collection in facebook .


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[ . BACK to WORLDKIGO . TOP . ]
- #tokonoma -
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Interior Design Japan

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Interior Design - The Japanese Home

. Japanese Architecture 日本建築 - Introduction .


Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学
The most common terms for aesthetics and design are introduced here.
. Japanese Aesthetics .


CLICK for more photos !

Japanese interior design
Japanese interior design has a unique aesthetic derived from Taoism, Zen Buddhism, specific religious figures and the west. This aesthetic has in turn influenced western style, particularly Modernism.
Interiors are very simple, highlighting minimal and natural decoration. Traditional Japanese interiors, as well as modern, incorporate mainly natural materials including fine woods, bamboo, silk, rice straw mats, and paper shōji screens. Natural materials are used to keep simplicity in the space that connects to nature. Natural color schemes are used and neutral palettes including black, white, off-white, gray, and brown.
- snip -
Traditional materials of the interior
Japanese interior design is very efficient in the use of resources. Traditional and modern Japanese interiors have been flexible in use and designed mostly with natural materials. The spaces are used as multifunctional rooms. The rooms can be opened to create more space for a particular occasion or for more privacy, or vice versa closed-off by pulling closed paper screens called shōji.

Walls made of shōji screens ...
Tatami mats ...
Bamboo ...
Paper, or washi ...
Wood ...

A recessed space called tokonoma is often present in traditional as well as modern Japanese living rooms. This is the focus of the room and displays Japanese art, usually a painting or calligraphy.
- - - More in the WIKIPEDIA !

under construction
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. butsuma 仏間 room for the Buddhist house altar .
. . . . . butsudan 仏壇 Buddhist house altar

. byoobu, tsuitate 屏風、衝立 folding screen .

byooshitsu 病室 room for a sick person

. chabudai ちゃぶ台 / 卓袱台 / 茶部台 table for tatami rooms .
shippoku しっぽく
karazukue 唐机(からづくえ) "Chinese Tang Table"


. chanoma 茶の間 private living room "tea room" .
cha no ma, cha-no-ma

. chigaidana, chigai-dana 違い棚 staggered shelves .

chikachitsu 地下室 underground room

choozu 手水 place to wash your hands

chuunikai, chuu nikai 中二階 mezzanine "middle second floor"

. daidokoro 台所 kitchen - Introduction .
- - - - - irori 囲炉裏 / いろり open sunken hearth - and more vocabulary

daikokubashira 大黒柱 main support pillar of a wooden home "Daikoku-pillar"

doma 土間 dirt floor pit, parterre
- - - - - hiradoma 平土間 pit, orchestra, parquet

. furo 風呂, basuruumu バスルーム bathroom .
- - - - - yudono 湯殿, yokushitsu 浴室 $

. fusuma 襖 and shoji 障子 sliding door .

futobashira 太柱 core pillar

. fuyuzashiki, fuyu-zashiki 冬座敷 Japanese living room in winter .


genkan 玄関 entrance, entrance hall

gootenjoo 格天井 gotenjo, coffered ceiling

hitoma 一間 one room, one-room appartment / ikken - measure, about 1.8 m

hiroma 広間 large room (for gatherings or entertainment)


ima 居間 living room

ita no ma 板の間


kaidan 階段 staircase
- - - - - hashigodan 梯子段 (a flight of) stairs "like a ladder"

. kagu 家具 furniture // wa kagu 和家具 Japanese furniture .

. kawaya 厠, setchin 雪隠, habakari 憚り, benjo 便所 toilet .
. . . . . kooka 後架 toilet, gofujoo 御不浄

kodomobeya 子供部屋 room for children

koshitsu 個室 private room, individual room


. kugikakushi, kugi kakushi 釘隠し "hiding the nails" nail-hiding ornament .  
and all about kugi 釘, Japanese nails
. kugi 釘 nail, Nagel - Introduction .

kyakushitsu, kyakuma 客室 / 客間 guest room


. mado 窓 window .
- - - - - mado no shikii 窓の敷居 windowsill

. menkawabashira 面皮柱 Menkawa pillar or post .


nagaoshi, naga-oshi 長押 beam running between columns

nakaniwa 中庭 "inner garden" - see Japanese Garden tba

nando 納戸 storage room, closet, back room

. natsuzashiki, natsu-zashiki夏座敷 living room in summer .


nihonma, Nihon-ma 日本間 "Japanese room"

oku no ma 奥の間 - see
. okuzashiki 奥座敷 living room in the back .

oohiroma 大広間 banquet hall, reception hall
oosetsuma 応接間 parlor, reception room

. ranma 欄間 transom, open panel carvings .

robii ロビー loby

sanruumu サンルーム sun room

saron サロン saloon

senmenjo 洗面所 wash room, washroom

shikii, shiki-i 敷居 a wooden groove at the boundary of rooms in which sliding doors move, threshold

shinshitsu 寝室 bedroom
- - - - - nedokoro 寝所 / shinjo 寝所
- - - - - nema 寝間
- - - - - kei 閨 woman's bedroom

shoin 書院 study, drawing room
- - - - - shosai 書斎 study, library
- - - - - shoya 書屋 room for books

shokudoo 食堂 dining room

sujikai 筋交い diagonal brace


. tatami 畳 floor mats .
- - - - - tatami no ma 畳の間 $

. tansu 箪笥 / 簞笥 -- たんす chest of drawers, Kommode .


tearai, te-arai 手洗い place to wash your hands, often toilet

tenjoo 天井 ceiling

tenmado 天窓 rooflight, "window to see heaven"

. tokonoma 床の間 alcove for decorations, art nook .
- - - tokobashira 床柱 tokonoma post, alcove post

tooriniwa, toori-niwa 通り庭 earthfloored area, long doma -
. tooriniwa - inour facebook gallery .
..... tsuuro 通路, tooridoma 通り土間
- 通り庭ある京の家炭を挽く 神田敏子

tsugi no ma 次の間 ante-room, antechamber

. uguisubari うぐいす張 / 鴬張 / 鶯張り nightingale floor .

washitsu 和室 Japanese-style room

yooshitsu 洋室 / yooma 洋間 Western-style room

. zabuton 座布団 sitting cushion .

. zashiki 座敷 guest room, drawing room, sitting room .
..... zashiki karakuri 座敷からくり mechanical dolls
..... zashiki warashi 座敷童子 / ざしきわらし girl spooks



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. My collection in facebook .


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- - - - - Literature and Reference


The Japanese House: Architecture and Interiors
Alexandra Black、 Noboru Murata
The simple beauty of Japanese architecture and design has inspired many of the world's top architects and designers-Bruno Taut, Frank Lloyd Wright, and Terence Conran, to name just a few. The grace and elegance of the Japanese sensibility is reflected in both modern and traditional Japanese homes, from their fluid floor plans to their use of natural materials. In The Japanese House, renowned Japanese photographer Noboru Murata has captured this Eastern spirit with hundreds of vivid color photographs of 15 Japanese homes. As we step behind the lens with Murata, we're witness to the unique Japanese aesthetic-to the simple proportions modeled after the square of the tatami mat; to refined, rustic decor; to earthy materials like wood, paper, straw, ceramics, and textiles. This is a glorious house-tour readers can return to again and again-for ideas, inspiration, or simply admiration.
- source : www.amazon.co.jp

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Living in Japan
Alex Kerr / Kathy Arlyn Sokol (Author), Angelika Taschen (Editor), Reto Guntli (Photographer)
So rich and unique is traditional Japanese architecture that it’s hard to improve upon. Yet contemporary Japanese designers and architects keep finding new ways to refurbish and take inspiration from the ways of old. Whether it’s a pristinely preserved traditional house or a cutting-edge apartment, the best Japanese homes share a love of cleverly designed spaces and warm materials such as wood, bricks, and bamboo.
From a thatched roof farmhouse occupied by a Zen priest to Tadao Ando’s experimental 4x4 House, Shigeru Ban’s conceptual Shutter House, and a beautiful homage to bamboo in the form of a home, this book traverses the multifaceted landscape of Japanese living today. Also included is a list of addresses and a glossary of terms, such as tatami.
Text in English, French, and German
- source : www.amazon.com

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Japan the Art of Living
Amy Slyvester Katoh、 Shin Kimura

Japan Style: Architecture
Geeta Mehta

Japan: The Art of Living
Amy Sylvester

Japan Home
リサ パラモア

and more on amazon com
- source : www.amazon.co.jp/Japanese-House-Architecture-Interiors

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Modern Japanese Interior Design:
Nature atmosphere inside Home

Basically, there are thousands great ideas about home interior design that will inspire you in deciding the right home interior design, western interior design, European home interior design or maybe Asian home interior design. Asian interior design is one of great ideas; one of Asian home interior design which maybe can be great inspiration for you is Modern Japanese interior design.

Special characteristic from Modern Japanese interior design is the minimalist design; commonly Japanese homes are small home that is occupied by one family. The other Japanese home character is, commonly Japanese home involve hallway, and the hallway is located between one room and the other. The hallway is used to connect the rooms of the home. Common modern Japanese home interior design provides an outdoor terrace inside home; this way is done to give fresh air for home.

Modern Japanese interior design is inspired from Traditional Japanese home.
- source : lookhomedesign.com


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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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11/01/2014

eleventh lunar month

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The Eleventh Lunar Month 十一月 juuichigatsu - 霜月 shimotsuki -
lit. "the frost month"

In the old lunar calendar of the Edo period

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

. WKD : The Asian Lunar Calendar and the Saijiki .


. Edo Saijiki 江戸歳時記 .


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


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source : tyoukoku.exblog.jp

. fuigo matsuri 鞴祭 bellows festival .
on the 8th day of the 11th lunar month

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tori no ichi, o-tori sama 酉の市(おとりさま)
- source : 江戸の歳時記 -



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. Edo Saijiki 江戸歳時記 .


. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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10/27/2014

Ronin Chushingura

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. Takanawa district 高輪, Takanawadai 高輪台     .
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47 Ronin and the Chushingura 47浪人 / 忠臣蔵 

. temple Sengaku-ji 泉岳寺 .
- Introduction to the Chushingura event -

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. Algernon Bertram Freeman-Mitford アルジャーノン・フリーマン=ミットフォード .
Tales of Old Japan (1871)

The Forty-Seven rônins
For many years, the version of events retold by A. B. Mitford in Tales of Old Japan (1871) was considered authoritative. The sequence of events and the characters in this narrative were presented to a wide popular readership in the West. Mitford invited his readers to construe his story of the Forty-seven Ronin as historically accurate; and while his version of the tale has long been considered a standard work, some of its precise details are now questioned. Nevertheless, even with plausible defects, Mitford's work remains a conventional starting point for further study.

Whether as a mere literary device or as a claim for ethnographic veracity, Mitford explains:

In the midst of a nest of venerable trees in Takanawa, a suburb of Yedo, is hidden Sengakuji, or the Spring-hill Temple, renowned throughout the length and breadth of the land for its cemetery, which contains the graves of the Forty-seven Rônin, famous in Japanese history, heroes of Japanese drama, the tale of whose deed I am about to transcribe.
— Mitford, A. B.

Mitford appended what he explained were translations of Sengakuji documents the author had examined personally. These were proffered as "proofs" authenticating the factual basis of his story. These documents were:

...the receipt given by the retainers of Kira Kôtsuké no Suké's son in return for the head of their lord's father, which the priests restored to the family.
...a document explanatory of their conduct, a copy of which was found on the person of each of the forty-seven men, dated in the 15th year of Genroku, 12th month.
...a paper which the Forty-seven Rǒnin laid upon the tomb of their master, together with the head of Kira Kôtsuké no Suké.
- - - More in the WIKIPEDIA !

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THE FORTY-SEVEN RÔNINS
- source : www.gutenberg.org

The books which have been written of late years about Japan have either been compiled from official records, or have contained the sketchy impressions of passing travellers. Of the inner life of the Japanese the world at large knows but little: their religion, their superstitions, their ways of thought, the hidden springs by which they move—all these are as yet mysteries. Nor is this to be wondered at. The first Western men who came in contact with Japan—I am speaking not of the old Dutch and Portuguese traders and priests, but of the diplomatists and merchants of eleven years ago—met with a cold reception. Above all things, the native Government threw obstacles in the way of any inquiry into their language, literature, and history. The fact was that the Tycoon's Government—with whom alone, so long as the Mikado remained in seclusion in his sacred capital at Kiôto, any relations were maintained—knew that the Imperial purple with which they sought to invest their chief must quickly fade before the strong sunlight which would be brought upon it so soon as there should be European linguists capable of examining their books and records.

No opportunity was lost of throwing dust in the eyes of the new-comers, whom, even in the most trifling details, it was the official policy to lead astray. Now, however, there is no cause for concealment; the Roi Fainéant has shaken off his sloth, and his Maire du Palais, together, and an intelligible Government, which need not fear scrutiny from abroad, is the result: the records of the country being but so many proofs of the Mikado's title to power, there is no reason for keeping up any show of mystery. The path of inquiry is open to all; and although there is yet much to be learnt, some knowledge has been attained, in which it may interest those who stay at home to share.

The recent revolution in Japan has wrought changes social as well as political; and it may be that when, in addition to the advance which has already been made, railways and telegraphs shall have connected the principal points of the Land of Sunrise, [pg 2] the old Japanese, such as he was and had been for centuries when we found him eleven short years ago, will have become extinct. It has appeared to me that no better means could be chosen of preserving a record of a curious and fast disappearing civilization than the translation of some of the most interesting national legends and histories, together with other specimens of literature bearing upon the same subject. Thus the Japanese may tell their own tale, their translator only adding here and there a few words of heading or tag to a chapter, where an explanation or amplification may seem necessary. I fear that the long and hard names will often make my tales tedious reading, but I believe that those who will bear with the difficulty will learn more of the character of the Japanese people than by skimming over descriptions of travel and adventure, however brilliant. The lord and his retainer, the warrior and the priest, the humble artisan and the despised Eta or pariah, each in his turn will become a leading character in my budget of stories; and it is out of the mouths of these personages that I hope to show forth a tolerably complete picture of Japanese society.

Having said so much by way of preface, I beg my readers to fancy themselves wafted away to the shores of the Bay of Yedo—a fair, smiling landscape: gentle slopes, crested by a dark fringe of pines and firs, lead down to the sea; the quaint eaves of many a temple and holy shrine peep out here and there from the groves; the bay itself is studded with picturesque fisher-craft, the torches of which shine by night like glow-worms among the outlying forts; far away to the west loom the goblin-haunted heights of Oyama, and beyond the twin hills of the Hakoné Pass—Fuji-Yama, the Peerless Mountain, solitary and grand, stands in the centre of the plain, from which it sprang vomiting flames twenty-one centuries ago.1 For a hundred and sixty years the huge mountain has been at peace, but the frequent earthquakes still tell of hidden fires, and none can say when the red-hot stones and ashes may once more fall like rain over five provinces.

In the midst of a nest of venerable trees in Takanawa, a suburb of Yedo, is hidden Sengakuji, or the Spring-hill Temple, renowned throughout the length and breadth of the land for its cemetery, [pg 3] which contains the graves of the Forty-seven. Rônins,2 famous in Japanese history, heroes of Japanese drama, the tale of whose deeds I am about to transcribe.

On the left-hand side of the main court of the temple is a chapel, in which, surmounted by a gilt figure of Kwanyin, the goddess of mercy, are enshrined the images of the forty-seven men, and of the master whom they loved so well. The statues are carved in wood, the faces coloured, and the dresses richly lacquered; as works of art they have great merit—the action of the heroes, each armed with his favourite weapon, being wonderfully life-like and spirited. Some are venerable men, with thin, grey hair (one is seventy-seven years old); others are mere boys of sixteen. Close by the chapel, at the side of a path leading up the hill, is a little well of pure water, fenced in and adorned with a tiny fernery, over which is an inscription, setting forth that "This is the well in which the head was washed; you must not wash your hands or your feet here." A little further on is a stall, at which a poor old man earns a pittance by selling books, pictures, and medals, commemorating the loyalty of the Forty-seven; and higher up yet, shaded by a grove of stately trees, is a neat inclosure, kept up, as a signboard announces, by voluntary contributions, round which are ranged forty-eight little tombstones, each decked with evergreens, each with its tribute of water and incense for the comfort of the departed spirit. There were forty-seven Rônins; there are forty-eight tombstones, and the story of the forty-eighth is truly characteristic of Japanese ideas of honour. Almost touching the rail of the graveyard is a more imposing monument under which lies buried the lord, whose death his followers piously avenged.


THE RÔNINS INVITE KÔTSUKÉ NO SUKÉ TO PERFORM HARA-KIRI


- - - - - And now for the story.

At the beginning of the eighteenth century there lived a daimio, called Asano Takumi no Kami, the Lord of the castle of Akô, in [pg 4] the province of Harima. Now it happened that an Imperial ambassador from the Court of the Mikado having been sent to the Shogun3 at Yedo, Takumi no Kami and another noble called Kamei Sama were appointed to receive and feast the envoy; and a high official, named Kira Kôtsuké no Suké, was named to teach them the proper ceremonies to be observed upon the occasion. The two nobles were accordingly forced to go daily to the castle to listen to the instructions of Kôtsuké no Suké. But this Kôtsuké no Suké was a man greedy of money; and as he deemed that the presents which the two daimios, according to time-honoured custom, had brought him in return for his instruction, were mean and unworthy, he conceived a great hatred against them, and took no pains in teaching them, but on the contrary rather sought to make laughing-stocks of them. Takumi no Kami, restrained by a stern sense of duty, bore his insults with patience; but Kamei Sama, who had less control over his temper, was violently incensed, and determined to kill Kôtsuké no Suké.


THE WELL IN WHICH THE HEAD WAS WASHED.

One night when his duties at the castle were ended, Kamei Sama returned to his own palace, and having summoned his [pg 5] councillors4 to a secret conference, said to them: "Kôtsuké no Suké has insulted Takumi no Kami and myself during our service in attendance on the Imperial envoy. This is against all decency, and I was minded to kill him on the spot; but I bethought me that if I did such a deed within the precincts of the castle, not only would my own life be forfeit, but my family and vassals would be ruined: so I stayed my hand. Still the life of such a wretch is a sorrow to the people, and to-morrow when I go to Court I will slay him: my mind is made up, and I will listen to no remonstrance." And as he spoke his face became livid with rage.

Now one of Kamei Sama's councillors was a man of great judgment, and when he saw from his lord's manner that remonstrance would be useless, he said: "Your lordship's words are law; your servant will make all preparations accordingly; and to-morrow, when your lordship goes to Court, if this Kôtsuké no Suké should again be insolent, let him die the death." And his lord was pleased at this speech, and waited with impatience for the day to break, that he might return to Court and kill his enemy.

But the councillor went home, and was sorely troubled, and thought anxiously about what his prince had said. And as he reflected, it occurred to him that since Kôtsuké no Suké had the reputation of being a miser he would certainly be open to a bribe, and that it was better to pay any sum, no matter how great, than that his lord and his house should be ruined. So he collected all the money he could, and, giving it to his servants to carry, rode off in the night to Kôtsuké no Suké's palace, and said to his retainers: "My master, who is now in attendance upon the Imperial envoy, owes much thanks to my Lord Kôtsuké no Suké, who has been at so great pains to teach him the proper ceremonies to be observed during the reception of the Imperial envoy. This is but a shabby present which he has sent by me, but he hopes that his lordship will condescend to accept it, and commends himself to his lordship's favour." And, with these words, he produced a thousand ounces of silver for Kôtsuké no Suké, and a hundred ounces to be distributed among his retainers.

When the latter saw the money their eyes sparkled with pleasure, and they were profuse in their thanks; and begging the councillor to wait a little, they went and told their master of the lordly present which had arrived with a polite message from Kamei Sama. Kôtsuké no Suké in eager delight sent for the councillor into an inner chamber, and, after thanking him, promised on the morrow to instruct his master carefully in all the different points of etiquette. So the councillor, seeing the miser's glee, rejoiced at the success of his plan; and having taken his [pg 6] leave returned home in high spirits. But Kamei Sama, little thinking how his vassal had propitiated his enemy, lay brooding over his vengeance, and on the following morning at daybreak went to Court in solemn procession.

When Kôtsuké no Suké met him his manner had completely changed, and nothing could exceed his courtesy. "You have come early to Court this morning, my Lord Kamei," said he. "I cannot sufficiently admire your zeal. I shall have the honour to call your attention to several points of etiquette to-day. I must beg your lordship to excuse my previous conduct, which must have seemed very rude; but I am naturally of a cross-grained disposition, so I pray you to forgive me." And as he kept on humbling himself and making fair speeches, the heart of Kamei Sama was gradually softened, and he renounced his intention of killing him. Thus by the cleverness of his councillor was Kamei Sama, with all his house, saved from ruin.

Shortly after this, Takumi no Kami, who had sent no present, arrived at the castle, and Kôtsuké no Suké turned him into ridicule even more than before, provoking him with sneers and covert insults; but Takumi no Kami affected to ignore all this, and submitted himself patiently to Kôtsuké no Suké's orders.

This conduct, so far from producing a good effect, only made Kôtsuké no Suké despise him the more, until at last he said haughtily: "Here, my Lord of Takumi, the ribbon of my sock has come untied; be so good as to tie it up for me."

Takumi no Kami, although burning with rage at the affront, still thought that as he was on duty he was bound to obey, and tied up the ribbon of the sock. Then Kôtsuké no Suké, turning from him, petulantly exclaimed: "Why, how clumsy you are! You cannot so much as tie up the ribbon of a sock properly! Any one can see that you are a boor from the country, and know nothing of the manners of Yedo." And with a scornful laugh he moved towards an inner room.

But the patience of Takumi no Kami was exhausted; this last insult was more than he could bear.
"Stop a moment, my lord," cried he.

"Well, what is it?" replied the other. And, as he turned round, Takumi no Kami drew his dirk, and aimed a blow at his head; but Kôtsuké no Suké, being protected by the Court cap which he wore, the wound was but a scratch, so he ran away; and Takumi no Kami, pursuing him, tried a second time to cut him down, but, missing his aim, struck his dirk into a pillar. At this moment an officer, named Kajikawa Yosobei, seeing the affray, rushed up, and holding back the infuriated noble, gave Kôtsuké no Suké time to make good his escape.

Then there arose a great uproar and confusion, and Takumi no Kami was arrested and disarmed, and confined in one of the apartments of the palace under the care of the censors. A council was held, and the prisoner was given over to the safeguard of a daimio, called Tamura Ukiyô no Daibu, who kept him in close custody in his own house, to the great grief of his wife and of his retainers; and when the deliberations of the council were completed, it was decided that, as he had committed an outrage and attacked another man within the precincts of the palace, he must perform hara-kiri,—that is, commit suicide by disembowelling; his goods must be confiscated, and his family ruined. Such was the law. So Takumi no Kami performed hara-kiri, his castle of Akô was confiscated, and his retainers having become Rônins, some of them took service with other daimios, and others became merchants.

. Tamura Tatsuaki 田村建顕 (1656 - 1708) .

Now amongst these retainers was his principal councillor, a man called Oishi Kuranosuké, who, with forty-six other faithful dependants, formed a league to avenge their master's death by killing Kôtsuké no Suké. This Oishi Kuranosuké was absent at the castle of Akô at the time of the affray, which, had he been with his prince, would never have occurred; for, being a wise man, he would not have failed to propitiate Kôtsuké no Suké by sending him suitable presents; while the councillor who was in attendance on the prince at Yedo was a dullard, who neglected this precaution, and so caused the death of his master and the ruin of his house.

So Oishi Kuranosuké and his forty-six companions began to lay their plans of vengeance against Kôtsuké no Suké; but the latter was so well guarded by a body of men lent to him by a daimio called Uyésugi Sama, whose daughter he had married, that they saw that the only way of attaining their end would be to throw their enemy off his guard. With this object they separated and disguised themselves, some as carpenters or craftsmen, others as merchants; and their chief, Kuranosuké, went to Kiôto, and built a house in the quarter called Yamashina, where he took to frequenting houses of the worst repute, and gave himself up to drunkenness and debauchery, as if nothing were further from his mind than revenge. Kôtsuké no Suké, in the meanwhile, suspecting that Takumi no Kami's former retainers would be scheming against his life, secretly sent spies to Kiôto, and caused a faithful account to be kept of all that Kuranosuké did. The latter, however, determined thoroughly to delude the enemy into a false security, went on leading a dissolute life with harlots and winebibbers. One day, as he was returning home drunk from some low haunt, he fell down in the street and went to sleep, and all the passers-by laughed him to scorn. It happened that a Satsuma man saw this, and said: "Is not this Oishi Kuranosuké, who was a councillor of Asano Takumi no Kami, and who, not having the heart to avenge his lord, gives himself up to women and wine? See how he lies drunk in the public street! Faithless beast! Fool and craven! Unworthy the name of a Samurai!"



THE SATSUMA MAN INSULTS OISHI KURANOSUKÉ.

And he trod on Kuranosuké's face as he slept, and spat upon him; but when Kôtsuké no Suké's spies reported all this at Yedo, he was greatly relieved at the news, and felt secure from danger.

One day Kuranosuké's wife, who was bitterly grieved to see her husband lead this abandoned life, went to him and said: "My lord, you told me at first that your debauchery was but a trick to make your enemy relax in watchfulness. But indeed, indeed, this has gone too far. I pray and beseech you to put some restraint upon yourself."

"Trouble me not," replied Kuranosuké, "for I will not listen to your whining. Since my way of life is displeasing to you, I will divorce you, and you may go about your business; and I will buy some pretty young girl from one of the public-houses, and marry her for my pleasure. I am sick of the sight of an old woman like you about the house, so get you gone—the sooner the better."

So saying, he flew into a violent rage, and his wife, terror-stricken, pleaded piteously for mercy.

"Oh, my lord! unsay those terrible words! I have been your faithful wife for twenty years, and have borne you three children; in sickness and in sorrow I have been with you; you cannot be so cruel as to turn me out of doors now. Have pity! have pity!"

"Cease this useless wailing. My mind is made up, and you must go; and as the children are in my way also, you are welcome to take them with you."

When she heard her husband speak thus, in her grief she sought her eldest son, Oishi Chikara, and begged him to plead for her, and pray that she might be pardoned. But nothing would turn Kuranosuké from his purpose, so his wife was sent away, with the two younger children, and went back to her native place. But Oishi Chikara remained with his father.

The spies communicated all this without fail to Kôtsuké no Suké, and he, when he heard how Kuranosuké, having turned his wife and children out of doors and bought a concubine, was grovelling in a life of drunkenness and lust, began to think that he had no longer anything to fear from the retainers of Takumi no Kami, who must be cowards, without the courage to avenge their lord. So by degrees he began to keep a less strict watch, and sent back half of the guard which had been lent to him by his father-in-law, Uyésugi Sama. Little did he think how he was falling into the trap laid for him by Kuranosuké, who, in his zeal to slay his lord's enemy, thought nothing of divorcing his wife and sending away his children! Admirable and faithful man!

In this way Kuranosuké continued to throw dust in the eyes of his foe, by persisting in his apparently shameless conduct; but his associates all went to Yedo, and, having in their several capacities as workmen and pedlars contrived to gain access to Kôtsuké no Suké's house, made themselves familiar with the plan of the building and the arrangement of the different rooms, [pg 10] and ascertained the character of the inmates, who were brave and loyal men, and who were cowards; upon all of which matters they sent regular reports to Kuranosuké. And when at last it became evident from the letters which arrived from Yedo that Kôtsuké no Suké was thoroughly off his guard, Kuranosuké rejoiced that the day of vengeance was at hand; and, having appointed a trysting-place at Yedo, he fled secretly from Kiôto, eluding the vigilance of his enemy's spies. Then the forty-seven men, having laid all their plans, bided their time patiently.

It was now midwinter, the twelfth month of the year, and the cold was bitter. One night, during a heavy fall of snow, when the whole world was hushed, and peaceful men were stretched in sleep upon the mats, the Rônins determined that no more favourable opportunity could occur for carrying out their purpose. So they took counsel together, and, having divided their band into two parties, assigned to each man his post. One band, led by Oishi Kuranosuké, was to attack the front gate, and the other, under his son Oishi Chikara, was to attack the postern of Kôtsuké no Suké's house; but as Chikara was only sixteen years of age, Yoshida Chiuzayémon was appointed to act as his guardian. Further it was arranged that a drum, beaten at the order of Kuranosuké, should be the signal for the simultaneous attack; and that if any one slew Kôtsuké no Suké and cut off his head he should blow a shrill whistle, as a signal to his comrades, who would hurry to the spot, and, having identified the head, carry it off to the temple called Sengakuji, and lay it as an offering before the tomb of their dead lord. Then they must report their deed to the Government, and await the sentence of death which would surely be passed upon them. To this the Rônins one and all pledged themselves. Midnight was fixed upon as the hour, and the forty-seven comrades, having made all ready for the attack, partook of a last farewell feast together, for on the morrow they must die. Then Oishi Kuranosuké addressed the band, and said—

"To-night we shall attack our enemy in his palace; his retainers will certainly resist us, and we shall be obliged to kill them. But to slay old men and women and children is a pitiful thing; therefore, I pray you each one to take great heed lest you kill a single helpless person." His comrades all applauded this speech, and so they remained, waiting for the hour of midnight to arrive.

When the appointed hour came, the Rônins set forth. The wind howled furiously, and the driving snow beat in their faces; but little cared they for wind or snow as they hurried on their road, eager for revenge. At last they reached Kôtsuké no Suké's house, and divided themselves into two bands; and Chikara, with twenty-three men, went round to the back gate. Then four men, by means of a ladder of ropes which they hung on to the roof of the porch, effected an entry into the courtyard; and, as they saw signs that all the inmates of the house were asleep, [pg 11] they went into the porter's lodge where the guard slept, and, before the latter had time to recover from their astonishment, bound them. The terrified guard prayed hard for mercy, that their lives might be spared; and to this the Rônins agreed on condition that the keys of the gate should be given up; but the others tremblingly said that the keys were kept in the house of one of their officers, and that they had no means of obtaining them. Then the Rônins lost patience, and with a hammer dashed in pieces the big wooden bolt which secured the gate, and the doors flew open to the right and to the left. At the same time Chikara and his party broke in by the back gate.

Then Oishi Kuranosuké sent a messenger to the neighbouring houses, bearing the following message:—"We, the Rônins who were formerly in the service of Asano Takumi no Kami, are this night about to break into the palace of Kôtsuké no Suké, to avenge our lord. As we are neither night robbers nor ruffians, no hurt will be done to the neighbouring houses. We pray you to set your minds at rest." And as Kôtsuké no Suké was hated by his neighbours for his covetousness, they did not unite their forces to assist him. Another precaution was yet taken. Lest any of the people inside should run out to call the relations of the family to the rescue, and these coming in force should interfere with the plans of the Rônins, Kuranosuké stationed ten of his men armed with bows on the roof of the four sides of the courtyard, with orders to shoot any retainers who might attempt to leave the place. Having thus laid all his plans and posted his men, Kuranosuké with his own hand beat the drum and gave the signal for attack.

Ten of Kôtsuké no Suké's retainers, hearing the noise, woke up; and, drawing their swords, rushed into the front room to defend their master. At this moment the Rônins, who had burst open the door of the front hall, entered the same room. Then arose a furious fight between the two parties, in the midst of which Chikara, leading his men through the garden, broke into the back of the house; and Kôtsuké no Suké, in terror of his life, took refuge, with his wife and female servants, in a closet in the verandah; while the rest of his retainers, who slept in the barrack outside the house, made ready to go to the rescue. But the Rônins who had come in by the front door, and were fighting with the ten retainers, ended by overpowering and slaying the latter without losing one of their own number; after which, forcing their way bravely towards the back rooms, they were joined by Chikara and his men, and the two bands were united in one.

By this time the remainder of Kôtsuké no Suké's men had come in, and the fight became general; and Kuranosuké, sitting on a camp-stool, gave his orders and directed the Rônins. Soon the inmates of the house perceived that they were no match for their enemy, so they tried to send out intelligence of their plight to Uyésugi Sama, their lord's father-in-law, begging him to [pg 12] come to the rescue with all the force at his command. But the messengers were shot down by the archers whom Kuranosuké had posted on the roof. So no help coming, they fought on in despair. Then Kuranosuké cried out with a loud voice: "Kôtsuké no Suké alone is our enemy; let some one go inside and bring him forth. dead or alive!"

Now in front of Kôtsuké no Suké's private room stood three brave retainers with drawn swords. The first was Kobayashi Héhachi, the second was Waku Handaiyu, and the third was Shimidzu Ikkaku, all good men and true, and expert swordsmen. So stoutly did these men lay about them that for a while they kept the whole of the Rônins at bay, and at one moment even forced them back. When Oishi Kuranosuké saw this, he ground his teeth with rage, and shouted to his men: "What! did not every man of you swear to lay down his life in avenging his lord, and now are you driven back by three men? Cowards, not fit to be spoken to! to die fighting in a master's cause should be the noblest ambition of a retainer!" Then turning to his own son Chikara, he said, "Here, boy! engage those men, and if they are too strong for you, die!"

Spurred by these words, Chikara seized a spear and gave battle to Waku Handaiyu, but could not hold his ground, and backing by degrees, was driven out into the garden, where he missed his footing and slipped into a pond, but as Handaiyu, thinking to kill him, looked down into the pond, Chikara cut his enemy in the leg and caused him to fall, and then, crawling out of the water dispatched him. In the meanwhile Kobayashi Héhachi and Shimidzu Ikkaku had been killed by the other Rônins, and of all Kôtsuké no Suké's retainers not one fighting man remained. Chikara, seeing this, went with his bloody sword in his hand into a back room to search for Kôtsuké no Suké, but he only found the son of the latter, a young lord named Kira Sahioyé, who, carrying a halberd, attacked him, but was soon wounded and fled. Thus the whole of Kôtsuké no Suké's men having been killed, there was an end of the fighting; but as yet there was no trace of Kôtsuké no Suké to be found.

Then Kuranosuké divided his men into several parties and searched the whole house, but all in vain; women and children weeping were alone to be seen. At this the forty-seven men began to lose heart in regret, that after all their toil they had allowed their enemy to escape them, and there was a moment when in their despair they agreed to commit suicide together upon the spot; but they determined to make one more effort. So Kuranosuké went into Kôtsuké no Suké's sleeping-room, and touching the quilt with his hands, exclaimed, "I have just felt the bed-clothes and they are yet warm, and so methinks that our enemy is not far off. He must certainly be hidden somewhere in the house." Greatly excited by this, the Rônins renewed their search. Now in the raised part of the room, near the place of honour, there was a picture hanging; taking down this picture, they saw that [pg 13] there was a large hole in the plastered wall, and on thrusting a spear in they could feel nothing beyond it. So one of the Rônins, called Yazama Jiutarô, got into the hole, and found that on the other side there was a little courtyard, in which there stood an outhouse for holding charcoal and firewood. Looking into the outhouse, he spied something white at the further end, at which he struck with his spear, when two armed men sprang out upon him and tried to cut him down, but he kept them back until one of his comrades came up and killed one of the two men and engaged the other, while Jiutarô entered the outhouse and felt about with his spear. Again seeing something white, he struck it with his lance, when a cry of pain betrayed that it was a man; so he rushed up, and the man in white clothes, who had been wounded in the thigh, drew a dirk and aimed a blow at him. But Jiutarô wrested the dirk from him, and clutching him by the collar, dragged him out of the outhouse. Then the other Rônin came up, and they examined the prisoner attentively, and saw that he was a noble-looking man, some sixty years of age, dressed in a white satin sleeping-robe, which was stained by the blood from the thigh-wound which, Jiutarô had inflicted. The two men felt convinced that this was no other than Kôtsuké no Suké, and they asked him his name, but he gave no answer, so they gave the signal whistle, and all their comrades collected together at the call; then Oishi Kuranosuké, bringing a lantern, scanned the old man's features, and it was indeed Kôtsuké no Suké; and if further proof were wanting, he still bore a scar on his forehead where their master, Asano Takumi no Kami, had wounded him during the affray in the castle. There being no possibility of mistake, therefore, Oishi Kuranosuké went down on his knees, and addressing the old man very respectfully, said—

"My lord, we are the retainers of Asano Takumi no Kami. Last year your lordship and our master quarrelled in the palace, and our master was sentenced to hara-kiri, and his family was ruined. We have come to-night to avenge him, as is the duty of faithful and loyal men. I pray your lordship to acknowledge the justice of our purpose. And now, my lord, we beseech you to perform hara-kiri. I myself shall have the honour to act as your second, and when, with all humility, I shall have received your lordship's head, it is my intention to lay it as an offering upon the grave of Asano Takumi no Kami."

Thus, in consideration of the high rank of Kôtsuké no Suké, the Rônins treated him with the greatest courtesy, and over and over again entreated him to perform hara-kiri. But he crouched speechless and trembling. At last Kuranosuké, seeing that it was vain to urge him to die the death of a nobleman, forced him down, and cut off his head with the same dirk with which Asano Takumi no Kami had killed himself. Then the forty-seven comrades, elated at having accomplished their design, placed the head in a bucket, and prepared to depart; but before leaving the house they carefully extinguished all the lights and fires in the place, [pg 14] lest by any accident a fire should break out and the neighbours suffer.

As they were on their way to Takanawa, the suburb in which the temple called Sengakuji stands, the day broke; and the people flocked out to see the forty-seven men, who, with their clothes and arms all blood-stained, presented a terrible appearance; and every one praised them, wondering at their valour and faithfulness. But they expected every moment that Kôtsuké no Suké's father-in-law would attack them and carry off the head, and made ready to die bravely sword in hand. However, they reached Takanawa in safety, for Matsudaira Aki no Kami, one of the eighteen chief daimios of Japan, of whose house Asano Takumi no Kami had been a cadet, had been highly pleased when he heard of the last night's work, and he had made ready to assist the Rônins in case they were attacked. So Kôtsuké no Suké's father-in-law dared not pursue them.

At about seven in the morning they came opposite to the palace of Matsudaira Mutsu no Kami, the Prince of Sendai, and the Prince, hearing of it, sent for one of his councillors and said: "The retainers of Takumi no Kami have slain their lord's enemy, and are passing this way; I cannot sufficiently admire their devotion, so, as they must be tired and hungry after their night's work, do you go and invite them to come in here, and set some gruel and a cup of wine before them."

So the councillor went out and said to Oishi Kuranosuké: "Sir, I am a councillor of the Prince of Sendai, and my master bids me beg you, as you must be worn out after all you have undergone, to come in and partake of such poor refreshment as we can offer you. This is my message to you from my lord."

"I thank you, sir," replied Kuranosuké. "It is very good of his lordship to trouble himself to think of us. We shall accept his kindness gratefully."

So the forty-seven Rônins went into the palace, and were feasted with gruel and wine, and all the retainers of the Prince of Sendai came and praised them.

Then Kuranosuké turned to the councillor and said, "Sir, we are truly indebted to you for this kind hospitality; but as we have still to hurry to Sengakuji, we must needs humbly take our leave." And, after returning many thanks to their hosts, they left the palace of the Prince of Sendai and hastened to Sengakuji, where they were met by the abbot of the monastery, who went to the front gate to receive them, and led them to the tomb of Takumi no Kami.

And when they came to their lord's grave, they took the head of Kôtsuké no Suké, and having washed it clean in a well hard by, laid it as an offering before the tomb. When they had done this, they engaged the priests of the temple to come and read prayers while they burnt incense: first Oishi Kuranosuké burnt incense, and then his son Oishi Chikara, and after them the other forty-five men performed the same ceremony. Then Kuranosuké, [pg 15] having given all the money that he had by him to the abbot, said—

"When we forty-seven men shall have performed hara-kiri, I beg you to bury us decently. I rely upon your kindness. This is but a trifle that I have to offer; such as it is, let it be spent in masses for our souls!"

And the abbot, marvelling at the faithful courage of the men, with tears in his eyes pledged himself to fulfil their wishes. So the forty-seven Rônins, with their minds at rest, waited patiently until they should receive the orders of the Government.

At last they were summoned to the Supreme Court, where the governors of Yedo and the public censors had assembled; and the sentence passed upon them was as follows: "Whereas, neither respecting the dignity of the city nor fearing the Government, having leagued yourselves together to slay your enemy, you violently broke into the house of Kira Kôtsuké no Suké by night and murdered him, the sentence of the Court is, that, for this audacious conduct, you perform hara-kiri." When the sentence had been read, the forty-seven Rônins were divided into four parties, and handed over to the safe keeping of four different daimios; and sheriffs were sent to the palaces of those daimios in whose presence the Rônins were made to perform hara-kiri. But, as from the very beginning they had all made up their minds that to this end they must come, they met their death nobly; and their corpses were carried to Sengakuji, and buried in front of the tomb of their master, Asano Takumi no Kami. And when [pg 16] the fame of this became noised abroad, the people flocked to pray at the graves of these faithful men.



THE TOMBS OF THE RÔNINS.

Among those who came to pray was a Satsuma man, who, prostrating himself before the grave of Oishi Kuranosuké, said: "When I saw you lying drunk by the roadside at Yamashina, in Kiôto, I knew not that you were plotting to avenge your lord; and, thinking you to be a faithless man, I trampled on you and spat in your face as I passed. And now I have come to ask pardon and offer atonement for the insult of last year." With those words he prostrated himself again before the grave, and, drawing a dirk from his girdle, stabbed himself in the belly and died. And the chief priest of the temple, taking pity upon him, buried him by the side of the Rônins; and his tomb still remains to be seen with those of the forty-seven comrades.

This is the end of the story of the forty-seven Rônins.

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

A terrible picture of fierce heroism which it is impossible not to admire.
In the Japanese mind this feeling of admiration is unmixed, and hence it is that the forty-seven Rônins receive almost divine honours. Pious hands still deck their graves with green boughs and burn incense upon them; the clothes and arms which they wore are preserved carefully in a fire-proof store-house attached to the temple, and exhibited yearly to admiring crowds, who behold them probably with little less veneration than is accorded to the relics of Aix-la-Chapelle or Trèves; and once in sixty years the monks of Sengakuji reap quite a harvest for the good of their temple by holding a commemorative fair or festival, to which the people flock during nearly two months.

A silver key once admitted me to a private inspection of the relics. We were ushered, my friend and myself, into a back apartment of the spacious temple, overlooking one of those marvellous miniature gardens, cunningly adorned with rockeries and dwarf trees, in which the Japanese delight. One by one, carefully labelled and indexed boxes containing the precious articles were brought out and opened by the chief priest. Such a curious medley of old rags and scraps of metal and wood! Home-made chain armour, composed of wads of leather secured together by pieces of iron, bear witness to the secrecy with which the Rônins made ready for the fight. To have bought armour would have attracted attention, so they made it with their own hands. Old moth-eaten surcoats, bits of helmets, three flutes, a writing-box that must have been any age at the time of the tragedy, and is now tumbling to pieces; tattered trousers of what once was rich silk brocade, now all unravelled and befringed; scraps of leather, part of an old gauntlet, crests and badges, bits of sword handles, spear-heads and dirks, the latter all red with rust, but with certain patches more deeply stained as if the fatal clots of blood were never to be blotted out: all these were reverently shown to us. Among the confusion and litter were a number of documents, Yellow with age and much worn at the folds. One was a plan [pg 17] of Kôtsuké no Suké's house, which one of the Rônins obtained by marrying the daughter of the builder who designed it.
Three of the manuscripts appeared to me so curious that I obtained leave to have copies taken of them.

The first is the receipt given by the retainers of Kôtsuké no Suké's son in return for the head of their lord's father, which the priests restored to the family, and runs as follows:—

"MEMORANDUM:—
ITEM. ONE HEAD.
ITEM. ONE PAPER PARCEL.
The above articles are acknowledged to have been received.
Signed, {SAYADA MAGOBELI.(Loc. sigill.)
{ SAITÔ KUNAI.(Loc. sigill.)

"To the priests deputed from the Temple Sengakuji,
His Reverence SEKISHI,
His Reverence ICHIDON."

The second paper is a document explanatory of their conduct, a copy of which was found on the person of each of the forty-seven men:—

"Last year, in the third month, Asano Takumi no Kami, upon the occasion of the entertainment of the Imperial ambassador, was driven, by the force of circumstances, to attack and wound my Lord Kôtsuké no Suké in the castle, in order to avenge an insult offered to him. Having done this without considering the dignity of the place, and having thus disregarded all rules of propriety, he was condemned to hara-kiri, and his property and castle of Akô were forfeited to the State, and were delivered up by his retainers to the officers deputed by the Shogun to receive them. After this his followers were all dispersed. At the time of the quarrel the high officials present prevented Asano Takumi no Kami from carrying out his intention of killing his enemy, my Lord Kôtsuké no Suké. So Asano Takumi no Kami died without having avenged himself, and this was more than his retainers could endure. It is impossible to remain under the same heaven with the enemy of lord or father; for this reason we have dared to declare enmity against a personage of so exalted rank. This day we shall attack Kira Kôtsuké no Suké, in order to finish the deed of vengeance which was begun by our dead lord. If any honourable person should find our bodies after death, he is respectfully requested to open and read this document.

"15th year of Genroku. 12th month.
"Signed, OISHI KURANOSUKÉ, Retainer of Asano
Takumi no Kami, and forty-six others."

The third manuscript is a paper which the Forty-seven Rônins laid upon the tomb of their master, together with the head of Kira Kôtsuké no Suké:—

"The 15th year of Genroku, the 12th month, and 15th day. We have come this day to do homage here, forty-seven men in all, from Oishi Kuranosuké down to the foot-soldier, Terasaka Kichiyémon, all cheerfully about to lay down our lives on your behalf. We reverently announce this to the honoured spirit of our dead master. On the 14th day of the third month of last year [pg 18] our honoured master was pleased to attack Kira Kôtsuké no Suké, for what reason we know not. Our honoured master put an end to his own life, but Kira Kôtsuké no Suké lived. Although we fear that after the decree issued by the Government this plot of ours will be displeasing to our honoured master, still we, who have eaten of your food, could not without blushing repeat the verse, 'Thou shalt not live under the same heaven nor tread the same earth with the enemy of thy father or lord,' nor could we have dared to leave hell and present ourselves before you in paradise, unless we had carried out the vengeance which you began. Every day that we waited seemed as three autumns to us. Verily, we have trodden the snow for one day, nay, for two days, and have tasted food but once. The old and decrepit, the sick and ailing, have come forth gladly to lay down their lives. Men might laugh at us, as at grasshoppers trusting in the strength of their arms, and thus shame our honoured lord; but we could not halt in our deed of vengeance. Having taken counsel together last night, we have escorted my Lord Kôtsuké no Suké hither to your tomb. This dirk,7 by which our honoured lord set great store last year, and entrusted to our care, we now bring back. If your noble spirit be now present before this tomb, we pray you, as a sign, to take the dirk, and, striking the head of your enemy with it a second time, to dispel your hatred for ever. This is the respectful statement of forty-seven men."

The text, "Thou shalt not live under the same heaven with the enemy of thy father," is based upon the Confucian books. Dr. Legge, in his "Life and Teachings of Confucius," p. 113, has an interesting paragraph summing up the doctrine of the sage upon the subject of revenge.

"In the second book of the 'Le Ke' there is the following passage:
—'With the slayer of his father a man may not live under the same heaven; against the slayer of his brother a man must never have to go home to fetch a weapon; with the slayer of his friend a man may not live in the same State.' The lex talionis is here laid down in its fullest extent. The 'Chow Le' tells us of a provision made against the evil consequences of the principle by the appointment of a minister called 'The Reconciler.' The provision is very inferior to the cities of refuge which were set apart by Moses for the manslayer to flee to from the fury of the avenger. Such as it was, however, it existed, and it is remarkable that Confucius, when consulted on the subject, took no notice of it, but affirmed the duty of blood-revenge in the strongest and most unrestricted terms. His disciple, Tsze Hea, asked him, 'What course is to be pursued in the murder of a father or mother?' He replied, 'The son must sleep upon a matting of grass with his shield for his pillow; he must decline to take office; he must not live under the same heaven with the slayer. When he meets him in the market-place or the court, he must have his weapon ready to strike him.' 'And what is the course in the murder of a brother?' 'The surviving brother must not take office in the same State with the slayer; yet, if he go on his prince's service to the State where the slayer is, though he meet him, he must not fight with him.' 'And what is the course in the murder of an uncle or cousin?' 'In this case the nephew or cousin is not the principal. If the principal, on whom the revenge devolves, can take it, he has only to stand behind with his weapon in his hand, and support him.'"

I will add one anecdote to show the sanctity which is attached to the graves of the Forty-seven.
In the month of September 1868, a certain man came to pray before the grave of Oishi Chikara. Having finished his prayers, he deliberately performed hara-kiri,8 and, the belly wound not being mortal, dispatched himself by cutting his throat. Upon his person were found papers setting forth that, being a Rônin and without means of earning a living, he had petitioned to be allowed to enter the clan of the Prince of Chôshiu, which he looked upon as the noblest clan in the realm; his petition having been refused, nothing remained for him but to die, for to be a Rônin was hateful to him, and he would serve no other master than the Prince of Chôshiu: what more fitting place could he find in which to put an end to his life than the graveyard of these Braves? This happened at about two hundred yards' distance from my house, and when I saw the spot an hour or two later, the ground was all bespattered with blood, and disturbed by the death-struggles of the man.

- source : www.gutenberg.org

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roonin 浪人 / rooshi 浪士 Ronin, Roshi
- quote -
- Definition
The defining characteristic of a ronin is that he was a former samurai separated from service to a daimyo. The kanji that spell out the term "ronin" are literally translated as "wave person," as if he were set adrift to be tossed upon the waves of life. Sometimes, the term "ronin" is translated as "masterless samurai". There are quite a few chambara/jidaigeki films featuring ronin as main characters, including the very famous film Seven Samurai (Shichinin no Samurai) in which some Sengoku Period farmers hire ronin to protect their farms from bandits. In most of the films, the ronin characters are amazingly skilled swordsmen. They are sometimes completely villainous, lecherous, and greedy; more often, these film ronin are noble heroes who stand up for oppressed farmers and townspeople. The reality for most ronin was usually quite different than that portrayed in most films.
Strictly speaking,
the term "samurai" means "servant" and designates a bushi (a warrior member of the buke class) who was a daimyo or retainer; samurai received a set stipend, given out in terms of koku (measurements of rice). Those samurai who were the shogun's direct retainers were known as hatamoto (bannermen). So strictly speaking, the term "ronin" refers to bushi who were not samurai retainers. However, many people throughout the ages have used the term "samurai" as a generic term indicating any bushi.
Ronin were allowed to continue to bear a family name
and wear the distinctive two swords that they wore when they were clan samurai. However, they effectively existed outside of the official class structure (samurai, farmers, artisans, merchants) that existed from the late Sengoku period through the Edo period. Most ronin lived in poverty without fixed incomes.
- Becoming a Ronin
A bushi usually became ronin in one of four ways: ... snip ...
- Ronin during the Sengoku Period
- Ronin during the Edo Period
- Ronin during the Bakumatsu
- source : wiki.samurai-archives.com... -

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. Arakichoo 荒木町 Arakicho, Araki district . - Shinjuku

There used to be the slope 荒木坂 Arakizaka and an alley named 荒木横町 Araki Yokocho.
荒木政羽 Araki Masahane (1662 - 1732)
lived here.
Masahane is related to the story of the 47 Ronin and Asano Takumi no Kami.
He had previously promised to be the mediator for the restoration of the Asano clan ...
... The envoy sent to the house of Hosokawa was Masahane ARAKI, the bakufu's metsuke (inspector of foot soldiers), who was acquainted with Kuranosuke....
... One of the inspectors, Araki Masahane, agreed to take the matter up with the shogun's council of elders upon his return to Edo.

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. Ronin 浪人と伝説 Legends about masterless Samurai .


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