4/13/2015

Galapagos Syndrome in Japan

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. Interior Design - The Japanese Home .
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Galapagos Syndrome in Japan



- quote
Galápagos syndrome (ガラパゴス化 Garapagosu-ka) is a term of Japanese origin, which refers to an isolated development branch of a globally available product. The term is a reference to similar phenomena Charles Darwin encountered in the Galápagos Islands, with its isolated flora and fauna, which were key observations in the development of Evolutionary Theory.

The term was originally coined to refer to Japanese 3G mobile phones, which had developed a large number of specialized features and dominated Japan, but were unsuccessful abroad.[2][3] The term arose as part of the dialog about Japan's position as an island nation, and related anxiety about being isolated from the world at large. The term has since been used for similar phenomena in other markets. A derived term is
Gara-phone (ガラケー gara-kei),
blending with "mobile phone" (携帯 keitai), used to refer to Japanese feature phones, by contrast with newer smart phones.


"Japan’s cellphones are like the endemic species that Darwin encountered on the Galápagos Islands — fantastically evolved and divergent from their mainland cousins — explains Takeshi Natsuno, who teaches at Tokyo’s Keio University."

"Japanese phones suffer from 'Galapagos Syndrome' — are too complex to survive abroad.

The United States' outdated usage of magnetic stripe for credit cards can also be considered a form of the Galapagos Syndrome as everywhere else has moved onto using EMV smart cards. "In the Americas, the more mature, out-dated magstripe cards are the dominant if not exclusive technology for swiping a payment. In Europe and Asia -- virtually everywhere else, they use a smart chip technology which is a little, gold square on the front of every debit and credit card which you insert, not swipe. This is also known as "EMV" (Europay, MasterCard, Visa)."

"It has been claimed that the indigenous American automotive industry has suffered from the Galapagos Syndrome – its products have evolved separately from the rest of the world."

"The Galapagosization of Japan continues. According to a survey released today, a shocking two-thirds of the country’s white-collar workers said they didn’t want to work abroad - ever."

"The same question has occurred to me recently upon hearing, with greater and greater frequency, the "explanation" of Japanese culture being garapagosuka ("galapagosized")."
- source : wikipedia


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. Japanese Architecture - Interior Design - The Japanese Home .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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3/22/2015

yakitsugiya

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. - Doing Business in Edo - 商売 - Introduction .
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yakitsugiya, yakitsugi-ya 焼継屋 repairing broken pottery

yakitsugishi, yakitsugi-shi  
yakitsugi 焼き接ぎ  / 焼接ぎ


source : facebook

- quote
Kintsugi (金継ぎ) (Japanese: golden joinery) or
Kintsukuroi (金繕い) (Japanese: golden repair)
is the Japanese art of fixing broken pottery with lacquer resin dusted or mixed with powdered gold, silver, or platinum a method similar to the maki-e technique.
As a philosophy it speaks to breakage and repair becoming part of the history of an object, rather than something to disguise.
- - More in the WIKIPEDIA !

. yakimono 焼物 pottery .


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The yakitsugiya walked around in Edo, with a pole on his shoulders, carrying the tools on one side and a fire pot on the other.



Repairing broken bowls, plates and other pottery by baking, burning it again with a kind of glue, sometimes adding metal (usually gold) to it.
Others used urushi うるし laquer
or a white powder called shiratamako 白玉粉 with 鉛 lead.
funori ふのり seaweed glue was also used.


He called out
yakitsugiii, yakitsugiiiii 焼き継ぎぃ~、焼き継ぎぃ~

When someone asked for his service, he would sit down on the spot and start working.


. funori 海蘿, 布海苔 red algae .
also used in Edo by the

. shakan, sakan 左官 plasterer, stucco master .

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お菊と焼継屋 O-Kiku and the Yakitsugiya



歌川広重 Utagawa Hiroshige

This is a scene from the famous ghost story

Sara yashiki 皿屋敷 "the Dish Mansion" - where the ghost of O-Kiku comes out of a well.

- quote -
Banchō Sarayashiki or Bancho Sarayashi (番町皿屋敷 The Dish Mansion at Banchō)
is a Japanese ghost story (kaidan) of broken trust and broken promises, leading to a dismal fate.

The story of Okiku and the Nine Plates is one of the most famous in Japanese folklore, and continues to resonate with audiences today.

The story of Okiku is an old one, whose true origins are unknown; however, it first appeared under the title Bancho Sarayashiki in July 1741 at the Toyotakeza theater. The familiar ghost legend had been adapted into a ningyō jōruri production by Asada Iccho and Tamenaga Tarobei I. Like many successful puppet shows, a Kabuki version followed and in September 1824, Banchō Sarayashiki was staged at the Naka no Shibai theater starring Otani Tomoemon II and Arashi Koroku IV in the roles of Aoyama Daihachi and Okiku.

A one-act Kabuki version was created in 1850 by Segawa Joko III, under the title Minoriyoshi Kogane no Kikuzuki, which debuted at the Nakamura-za theater and starred Ichikawa Danjūrō VIII and Ichikawa Kodanji IV in the roles of Tetsuzan and Okiku. This one-act adaptation was not popular, and quickly folded, until it was revived in June 1971 at the Shimbashi Embujō theater, starring the popular combination of Kataoka Takao and Bando Tamasaburō V in the roles of Tetsuzan and Okiku.

The most familiar and popular adaptation of Banchō Sarayashiki, written by Okamoto Kido, debuted in February 1916 at the Hongō-za theater, starring Ichikawa Sadanji II and Ichikawa Shōchō II in the roles of Lord Harima and Okiku. It was a modern version of the classic ghost story in which the horror tale was replaced by a deep psychological study of the two characters' motivations.

Folk version
Ningyō Jōruri version
Okamoto Kido version

Okiku and Ukiyo-e
Influences on Japanese culture

- - - - - Read the details
- source : wikipedia


- and a senryu to go with it

番町の古井戸で呼ぶ焼継屋
banchoo no furu ido de yobu yakitsugiya

from the old well
at Bancho she calls
the pottery repariman

Tr. Gabi Greve


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

焼継屋わが娘のは直しかね
yakitsugiya waga musume no wa naoshikane

the pottery repairman
unfortunately can not repair
my dear daughter



There was a limit to the art of repairing broken things . .

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. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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3/19/2015

Isshin Tasuke

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. Nihonbashi Uogashi Fish Market 日本橋魚河岸  .
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Isshin Tasuke 一心太助 the fishmonger of Edo



CLICK for more photos !

- quote
. . . a fictional Japanese person. He has appeared in novels and plays, kōdan, television and film jidaigeki and other media. The earliest known appearance was in the work Ōkubo Musashi Abumi.

Brimming with the Japanese values of giri and ninjō, the fishmonger Tasuke is the epitome of the Edokko, the son of Edo. A stock character in works set during the time of the third Tokugawa shogun Iemitsu (who ruled from 1623 to 1651), he collaborates with the veteran samurai Ōkubo Hikozaemon.

Tasuke is so beloved that although fictional, he has a grave at a temple in Minato, Tokyo.

In kabuki, Tasuke is a character in Medashi Yanagi Midori no Matsumae (芽出柳翠緑松前).

Isshin Tasuke is in the titles of three enka.
Ichirō Toba sang Bungo no Isshin Tasuke. Mitsuko Nakamura recorded Mitsuko no Isshin Tasuke. Tarō Yamada (who starred in the television series) released Otoko! Isshin Tasuke.
- source : wikipedia





Many fish restaurants use his name. This is a door curtain noren 暖簾).

. Nihonbashi Uogashi Fish Market 日本橋魚河岸  .
now the Tsukiji Fish Market 築地市場 in Tokyo

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source : imamachi.jp/modules

kite 凧 tako

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battledore 羽子板 hagoita

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- from ebay -

wooden doll こけし kokeshi


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

アラヨッと蠅の一心太助かな
arayotto hae no Isshin Tasuke kana

splish splash
Isshin Taske is squatting
a fly . . .

Tr. Gabi Greve

高澤良一 Takazawa Ryoichi

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

. WKD : hae 蠅 fly .
- - kigo for various seasons - -





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. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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3/12/2015

Korean Heritage

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. Koorai, Kŏrai 高麗 legends about Korai Korea .
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Korean heritage 韓国 Kankoku  朝鮮 Chosen
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Korean Impact On Japanese Culture
by Dr. Jon Carter Covell (Author), Alan Covell (Author)



This book probes into subjects still frowned upon in Tokyo; it explores a few "skeletons in the imperial closet."
A half century ago this subject brought authors to prison or death. Using tools such as archeology, stylistic analysis, Japan's sacred scriptures themselves, its imperial line is here traced back to Korean origins, its legitimacy established by an iron sword from Paekche kept inaccessible at Iso-no-Kami) with a gold inscription, which dates Japan's founding ruler from 369 A.D., rather than orthodoxy's 660 B.C.
"Japanese culture," up to the eighth century, derived primarily from Korea--whether it was music, landscape gardening, textiles, ceramics, or major masterpieces of architecture, sculpture, and painting.

Top "National Treasures" of Japan either came from Korea or were sponsored by Korean-descended aristocrats, such as the famed Shotoku Taishi, who imported artists and Buddhist priests to the islands.
- source : www.amazon.co


. Discussion of facebook .

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An Illustrated Guide to Korean Mythology
by - Won-Oh Choi



This highly engaging volume by one of Korea’s leading scholars of comparative mythology - the the first study of its kind in English - provides a valuable introduction to centuries-old beliefs, myths and folk tales relating to Cosmology and Flood, Birth and Agriculture, Messengers of the Underworld, Shamans, Disease, Good Fortune, Love and Family, Gods of Village Shrines, and Heroes. Containing thirty traditional stories, the book is fully illustrated throughout and contains a wide variety of Korean art, including rare shamanist paintings, as well as the work of some contemporary Korean artists.

All the stories, based on Korean oral tradition, have been retold by the author according to their main plot and meaning because the original texts’ songs by shamans, containing many obsolete words and obscure idioms, are not easily understood today. The original title and source, including text notes, are provided at the end of each story. The author’s Introduction sets out the historical background and significance of the myths that appear here. He also provides full details of each of the Korean gods and their roles in mythology.

While being a welcome addition to the literature on Korean culture for the non-specialist, An Illustrated Guide to Korean Mythology also provides an invaluable reference source for scholars and researchers in the fields of East Asian Mythology and Anthropology, as well as Korean History, Religion and Literature.
- source : barnesandnoble

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Heian Period - Foreign Relations - Korea
Very little has needed said about Japan's foreign relations since the end of the wars with Silla over the Mimana region of southern Korea for the good reason that there were essentially no foreign relations to write about. However, there were two instances during Michinaga's time where the government had to take note of the outside world.
On the 1st day of the 10th month of 997
an emergency messenger arrived from Dazaifu in Kyushu and interrupted a ceremony at court to deliver his message. He had ridden all the way using the post system of relays of horses that had been set up for this purpose. The courtiers initially had the idea that the message concerned an invasion by Koreans, but when Michinaga read the letter from the commander at Dazaifu, it became clear that what had happened was an attack by pirates from Amami Oshima, the second largest island of the Ryukyu chain, south of Kyushu. The Ryukyus were not made a part of Japan until the 19th century and did not come under Japanese political control until the 17th century. This is the only time that they caused a problem that reached the central government. Michinaga decided that this was not a real emergency and the ceremonial was resumed. A meeting of the Dajokan was set for the next day. . . . .

- - - - - Continue reading here :
. Heian Period History .

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The Japan-South Korea Identity Clash
East Asian Security and the United States

Brad Glosserman and Scott A. Snyder

- quote -
Japan and South Korea are Western-style democracies with open-market economies committed to the rule of law. They are also US allies. However, despite their shared interests, shared values, and geographic proximity, divergent national identities have driven a wedge between them. Drawing on decades of expertise, Brad Glosserman and Scott Snyder investigate the roots of this split and its ongoing threat to the region and the world.

Glosserman and Snyder isolate competing notions of national identity as the main obstacle to a productive partnership between Japan and South Korea. Through public opinion data, interviews, and years of observation, they show how fundamentally incompatible, rapidly changing conceptions of national identity in Japan and South Korea--and not struggles over power or structural issues--have complicated territorial claims and international policy. Despite changes in the governments of both countries and concerted efforts by leading political figures to encourage US-ROK-Japan security cooperation, the Japan-Korea relationship continues to be hobbled by history and its deep imprint on ideas of national identity. This book recommends bold, policy-oriented prescriptions for overcoming problems in Japan-Korea relations and facilitating trilateral cooperation among these three Northeast Asian allies, recognizing the power of the public on issues of foreign policy, international relations, and the prospects for peace in Asia.
- source : cup.columbia.edu


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- quote -
Yamato people (大和民族 Yamato minzoku, also "Yamato race")
and Wajin (和人 Wajin, literally "Wa people")
are names for the dominant native ethnic group of Japan. It is a term that came to be used around the late 19th century to distinguish the settlers of mainland Japan from other minority ethnic groups who have settled the peripheral areas of Japan, such as the Ainu, Ryukyuans, Nivkh, Oroks, as well as Koreans, Taiwanese, and Taiwanese aborigines who were incorporated into the Empire of Japan in the early 20th century.
The name was applied to the Imperial House of Japan or "Yamato Court" that existed in Japan in the 4th century, and was originally the name of the region where the Yamato people first settled in Yamato Province (modern-day Nara Prefecture).[citation needed] Generations of Japanese historians, linguists, and archeologists have debated whether the word is related to the earlier Yamatai (邪馬台). The Yamato clan set up Japan's first and only dynasty.
- - - More in the WIKIPEDIA !


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CLICK for more books !

Wontack Hong
Korea and Japan - The Origin of the Yamato Dynasty in the Japanese Islands
List of 11 PDF files, reference etc.
East Asian History
- source : www.wontackhong.com


Early Korea - Web Resources

- source : www.art-and-archaeology.com


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. Hajibe Hajibe 土師部 / 土師氏 / 土部 pottery clan and Haniwa .

. Kishitsu Shusui 鬼室集斯 .
白村江の戦い Hakusonko no tatakai - Battle of Baekgang

. komainu, koma inu, koma-inu 狛犬 lit. "Korean Dog" . .

. Korean Ambassadors to Japan in the Edo Period .

. Koryo Museum of Art 高麗美術館 .

. . . to be updated . . .
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. Chinese learning 漢学 kangaku - study of the Chinese classics .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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2/22/2015

ikakeya tinker

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. Repairmen in Edo 修理屋 .
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ikakeya 鋳掛屋 / 鋳掛け屋 / いかけや  tinker, repairing metal tools, pots and pans
ikakeshi 鋳掛け師

A popular job from the Edo to the Showa period. He repaired the metal home items, which were prone to damage, getting holes and splitting of all kinds.

Every little damage was repaired carefully, till a pot could not be used any longer.


『守貞謾稿』- Illustration from Morisada Manko

The tinker walked around in Edo and the villages of Japan, calling out for his service. He carried his tools in a wooden box and also had to carry a little  fuigo bellows. He had to heat the metal in a small fire and blend the hot metal over the split.

金属を「鋳て」(溶かして)「かける」から「いかけや」


source : wikidedia - Kusakabe Kinbei 日下部金兵衛

During the Meiji and then Showa period the pots and pans were made of better quality to start with and easier to buy in the stores. So the job of the tinker slowly died out.



source : Cony のブログ


Until about 1965, the roadside tinkers were still working in Osaka 大阪.

They used to call out:

いかけ、鍋釜、バケツいか〜け
ikake nabe kama baketsu ikaaaake

the tinker is here -
pots and pans, buckets for the tinker



The word ikakeya いかけ屋 in Osaka was used to describe a happy couple that went out together. Since around 1810 there were a few female tinkers working in Osaka.

今日は徳さんとこ、芝居行くンかいな。いかけ屋やなあ

There is also a famous rakugo story from Kamigata (Osaka)

いかけ屋 Ikakeya
「鋳掛屋だけによくくっつくな」「鋳掛屋は鋳掛屋どうしくっつくな」



source : shobuen2

The village children surround the tinker and try to divert him from paying attention to his job. They ask him silly questions and wait for his answer.
When he asks the kids to go away, they never do. . . .
- - - More in the Japanese WIKIPEDIA !


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There is a famous proverb

月夜に釜を抜かれる
tsukiyo ni kama o nukareru

An iron pot is stolen in a moonlight night.

In a dark night, people would be careful and watch out for thieves, but on a moonlit night . . .

to be completely taken unawares, to be taken by surprise, to be off my guard

Even in the Edo period, the metal of pots and pans was worth to be stolen.

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- - - reference - Japanese WIKIPEDIA !


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



source : blog.goo.ne.jp/aboo-kai

天高く いかけやなべ底たたく音
ten takaku ikakeya nabe soko tataku oto

bright autumn sky -
the sound of the tinker hitting
the bottom of the pot



. WKD : ten takashi 天高し "high sky", "high heaven" .
clear autumn sky
- - kigo for all autumn - -


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鍋鋳掛けすてっぺんから煙草にし
nabe ikake suteppen kara tabako ni shi

a pot for the tinker -
but first he takes a smoke
from his pipe





The people of Edo observed well. The tinker had to make the fire really hot before he could start to work, so he used that time to have a smoke himself.
source : jti - tobacco-world

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. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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- - - - - #edoikakeya #ikakeya #tinker - - - -
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2/06/2015

Edo no susume

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. Interior Design - The Japanese Home .
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Edo no susume 謎解き!江戸のススメ - BS-TBS

The program was ended in March 2015.
番組は2015年3月30日をもって終了しました。




and now also a book
謎解き!江戶のススメ Nazotoki Edo no susume







- source : bs-tbs.co.jp/edo/index.



Discussion themes since 2012:
- source : wikipedia


at google books to peek :
- source : xxx

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ARアプリ for the smartphone スマホ sumaho




歌川広重の連作浮世絵名所絵『名所江戸百景』がARで現代によみがえる!
江戸時代と現代を行き来することができるタイムトラベルARアプリ『謎解き

Walk around the famous spots of the woodblock prints by
Ando Hiroshige !



- source : www.bs-tbs.co.jp/edo

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Augmented reality (AR)
is a live direct or indirect view of a physical, real-world environment whose elements are augmented (or supplemented) by computer-generated sensory input such as sound, video, graphics or GPS data. It is related to a more general concept called mediated reality, in which a view of reality is modified (possibly even diminished rather than augmented) by a computer.

As a result, the technology functions by enhancing one’s current perception of reality. By contrast, virtual reality replaces the real world with a simulated one. Augmentation is conventionally in real-time and in semantic context with environmental elements, such as sports scores on TV during a match. With the help of advanced AR technology (e.g. adding computer vision and object recognition) the information about the surrounding real world of the user becomes interactive and digitally manipulable. Artificial information about the environment and its objects can be overlaid on the real world . . .
- - - More in the WIKIPEDIA !






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2/03/2015

chanoma living room

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. Interior Design - The Japanese Home .
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chanoma, cha no ma, cha-no-ma 茶の間 private family living room


CLICK for more photos !


- quote
chanoma 茶の間 lit. tearoom
A Edo period communal living room usually containing a hearth *irori 囲炉裏 and often situated close to the earth-floored area *doma 土間. Its character and use varied according to the scale of the structure.

1 
In relatively large residences of middle ranking warriors or leading farmers and merchants, chanoma was principally used by the women of the household or by female servants as a kind of common room, where meals were taken, some food prepared and informal conversation took place around the hearth.
In the Kansai 関西 region in particular the term was often used to refer to the maidservants' room.

2 
In smaller residences chanoma was often used interchangeably with *ima 居間 or *daidokoro 台所 to refer to the principal communal living room.

3 
In north eastern Japan, along the Japan Sea coast from the prefectures of Niigata to Shimane, in Shikoku 四国 and in parts of Nagano prefecture, the term was used in traditional vernacular houses *minka 民家 to refer to a large room adjacent to, and often opened to, the earth-floored area. Usually the room contained an hearth around which the family gathered for meals. The chanoma was often open to the rafters, allowing smoke to escape through a smoke hole *kemuridashi 煙出 in the roof.
Originally the floor was exposed timber boarding without mats *tatami 畳. Also, the family's Shinto and Buddhist altars *kamidana 神棚 and *butsudan 仏壇 were often located in this room.
- source : JAANUS


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CHANO-MA, Yokohama
A café featuring a 21st century depiction of tea ceremony rooms. The café has a lounge and dining area fusing oriental and occidental essences.
Yokohama Red Brick Warehouse - 1-1-2, Shinko, Naka-ku
- source : chano-ma



ochanoma ryūgaku お茶の間留学 "study abroad from the living room"
Nova is a large eikaiwa school (private English teaching company) in Japan.
- source : wikipedia


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- quote -
Chanoma - tea - of - space -
As our lifestyles have changed, some languages have also changed. A Japanese term “cha-no-ma” is one of them.

"Cha-no-ma", literally means “the space of tea”, referrers to a place where family members get together to chat, eat and relax. That is, a living room. I am not sure about its origin of the word, but in a good old days, when family members spent time together in the same place, tea was always there. “Cha-no-ma” is a nostalgic word associated with cozy and relaxing time in a large family.

Now, the time has changed. The family is smaller, and we live in busier society, and hustle and bustle of life. Eventually, the term of "cha-no-ma" is on its way out. We call the room “ima (literally, existing room)” or “living room” nowadays.

But still, whatever the term is, whatever the size of family is, spending time together among family while having tea will make us mellow out, always.



Sazae san family sitting in their "cha-no-ma"
(One of the most popular manga among men and women of all ages)
- source : japaneseteastory.blogspot.jp


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

座敷より茶の間が好きや切山椒
zashiki yori chanoma ga suki ya kirisanshoo

better then the guest room
I like the family living room -
New Year sweets

Tr. Gabi Greve

Ikenouchi Takeshi 池内たけし (1889 - 1974)
The nephew of Takahama Kyoshi 高浜虚子.


. kirizanshoo 切山椒 sweet desert dish .
lit. "cut mountain pepper"
- - kigo for the New Year - -

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A kind of sweet made from rice flour, sugar and mountain pepper. It can be cut and served over a bowl of rice for a quick snack. It is usually served steamed, which enhances the fragrance of the pepper. It is supposed to brick luck with money affairs.

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お茶の間は女ばかりや置ごたつ
ochanoma wa onna bakari ya okigotatsu

in the living room
there are only the womenfolk -
this tabel to get warm

Tr. Gabi Greve

竹田小時 Takeda Kotoki



source : Cleanup Corporation
こたつで本を読む女性たち  Women reading books in the kotatsu
『絵本常磐草』享保15年(1730) 江戸風俗図絵 - より


. okigotatsu 置炬燵 kotatsu table to put on the floor .
- - kigo for all Winter - -


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膳立の茶の間かしまし謠初
正岡子規 Masaoka Shiki


お茶の間に二月礼者のやや長居 山田弘子
お茶の間に集りやすし庭若葉 星野立子
お茶の間の隅にころげて竹婦人 小山佳栄

茶の間と別に家の一角雛あかり 平井さち子
茶の間にて用済む仲や切山椒 大久保橙青
茶の間には笑初めともなくつゞく 皆吉爽雨
茶の間にも桃の色紙や雛の宿 高橋淡路女
茶の間まだ帰宅そろはず霙降る 亀井糸游
茶の間まで葭戸幾重を見とほしに 大島民郎

どこよりも茶の間が親し福沸 高橋真智子
なまはげのずいと茶の間に踏み込みて 高澤良一
わが雛を母の飾れる茶の間かな 下田実花
ストーブに湯気も影なす茶の間かな 藤井知子
万両の雪に明けある茶の間かな 橋本鶏二
亡き妻の茶の間の画像豆の飯 河野静雲
声まがふ茶の間の父子春の宵 亀井糸游
夕河岸の鯵を囲みて茶の間かな 星野 椿
妻の書架茶の間に小さく花曇 遠藤梧逸
寒い朝巨大空母と茶の間に居り 国 しげ彦

扇風機まはれる茶の間ぬけにけり 芝不器男
春めきて小夜の客ある茶の間かな 松尾 静子
牡蠣豆腐茶の間へ客の座を移す 及川貞 夕焼
玉子酒みんな茶の間にあつまりぬ 市村洋子
百菊もさくや茶の間の南向 嵐竹
破蓮に茶の間より掃く埃かな 比叡 野村泊月
籾摺を昨日に終えし茶の間かな 大島麦邨

行火やめて今宵の茶の間四角なり 臼田亞浪
襖しめて隣茶の間や寒夜客 阿部みどり女 笹鳴
込み入った話に茶の間30Wのジヨーク 平田栄一
電車より茶の間が見える薄暑かな 石川文子
- source : HAIKUreikuDB

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. Japanese Architecture - Interior Design - The Japanese Home .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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1/25/2015

kugikakushi

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kugi 釘 nail, hook, Nagel



- quote JAANUS -
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kugi 釘 A nail made of metal, wood or bamboo and shaped according to use.
Traditionally, metal kugi are square, kakukugi 角釘. However there are a great variety of other kugi: flat nails hirakugi 平釘; double pointed bent nails aiorekugi 合折釘; double pointed nails aikugi 合釘; twice bent end nijuu orekugi 二重折釘, a thrice bent nails inazuma orekugi 稲妻折釘; and a bag hanging nails fukurokakekugi 袋掛釘.

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aikugi 合釘
Also kurekugi 呉釘, kirikugi 切釘. A straight nail with both ends pointed. It is made of wood, bamboo, iron, or bronze and used to join wooden boards. Some are round in cross section and others are square kakuaikugi 角合釘.
Note that maruaikugi 丸合釘 refers to a Western type nail, and not a round aikugi.

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aiorekugi 合折釘
Also called oreaikugi 折合釘 or mageorekugi 曲折釘. A type of double-pointed iron nail, square in section, and bent into an L-shape. Used to attach the frames of opaque paper sliding screens fusuma 襖, to a skeletal framework, hammered down so that they are not visible from the exterior. Aiorekugi typically are spaced about 21cm apart.

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asagaokugi 朝顔釘
Lit. morning glory nail. A two-pronged nail bent into a right angle for the purpose of hanging a flower vase. The nail usually is driven into the bamboo lath of a vine-laced, lattice-reed window shitajimado 下地窓, or on the lath of a small window hana-akarimado 花明窓, found at the side of the tea house alcove tokonoma 床の間. The points of this nail are bent around the bamboo lath of the window lattice after it has been pounded in. Typically, morning glories 'asagao 朝顔', are displayed in this vase hence the name, but sometimes other flowers are displayed.

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fukurokakekugi 袋掛釘 Lit. bag hanging nail.
A bamboo or iron nail inserted into the middle post nakabashira 中柱, of a tea ceremony room. It is used to hang up the tea caddy bag, shifuku 仕服. The nail is bent to form a hook with the under part being bent at a right angle and rounded to make it easy to hang up the bag gracefully. A small guard regulates how far the nail is to be hammered into the post. The nail is positioned about 11cm above the horizontal wooden piece which holds the extended sleeve wall sodekabe 袖壁, and terminated by the nakabashira. This prevents the bag from touching the floor. Example: Kohouan 孤篷庵 Daitokuji 大徳寺 (rebuilt by Matsudaira Fumai 松平不昧 flourished ca. 1800), Kyoto.

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hanakugi 花釘
A nail used to hang a flower vase in a tea ceremony room chashitsu 茶室. Some are hammered into the center of the alcove tokonoma 床の間, wall and others are hammered into the alcove pillar tokobashira 床柱. The former is also called nakakugi 中釘 and the latter hashirakugi 柱釘 or tokobashira hanakugi 床柱花釘. All are metal nails, bent up into an L- shape to form a hook.

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inazuma orekugi 稲妻折釘
Also nijuu orekugi 二重折釘. A twice bent nail that is used under the ceiling molding or under the attached lintel for hanging scrolls. They are created by first bending them 90 degrees and then a second time.
If set in a channel, musou shibuichi 無双四分一, nails of this type can also be moved to the left or right and are also used for hanging scrolls in an alcove. In this case, they are called inazuma hashirikugi 稲妻走釘 (running right angle hook). The bottom part is inserted through the opening in the web of the channel, and the prongs are bent so that they hang on the edges of the web. When a pair or set of three scrolls are hung, these special nails can be slid to the position needed.

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jikukakekugi 軸掛釘 / Also jikukugi 軸釘, kakemonokugi 掛物釘.
A hook for hanging scrolls kakemono 掛物 that is made of metal or bamboo and hammered into the upper part of the back wall, or the bottom edge of the ceiling molding of a tea ceremony alcove tokonoma 床の間. Metal jikukakekugi are bent twice to form a three-pronged, trident shape. If made of bamboo, the hook is hammered straight into the wall, or with a slight upward incline in a rustic style tea ceremony room.
Bamboo nails are 0.63cm long and are nailed 2.8cm below the ceiling molding, projecting from the wall. Around the late 16c - early 17c, in shoin 書院 style tea rooms one, three, four or eight scrolls were hung and each had a hook. When three hooks, mitsukugi 三ツ釘, were used, the right and left ones were made smaller and projected 3cm. When a set of three scrolls, sanpukutsui 三幅対, were hung, in a large shoin style room, a board 6-8mm thick, 12-30cm wide and 180cm long was nailed to the bottom edge of the ceiling molding and a groove was made so that the inserted zigzag shaped nails could be moved easily.

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kaiorekugi 貝折釘
Also written 皆折釘. A large, square, angular nail used for wooden or bamboo fences. Its head is bent at right angles but has a gable-shaped top. It varies from 8-9cm to 20-30cm long.

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musoukugi 無双釘 Musokugi
Also musou orekugi 無双折釘. A type of nail used to hang a scroll in an alcove nakakugi 中釘. A nail which is composed of two parts: a sharply pointed tip and a second part which is bent up at a right angle to form a hook. The pointed part is securely driven into the plastered wall of an alcove and the latter part can be inserted into a fixed pocket and removed at will. This type of nail prevents damage to the scroll. It may also be used to hang a flower vase.

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nakakugi 中釘
Also hanakugi 花釘, tokonakakugi 床中釘 (see orekugi 折釘).
A nail hammered into the center of the back wall of an alcove tokonoma 床の間, on which to hang a flower vase or a scroll in a tea ceremony room. The nail is bent in such a fashion that when it is driven into the wall the back of the scroll is not damaged. Most nakakugi are placed about 1 m above the surface of the straw mat tatami 畳, but this distance varies widely, usually from 90cm-150cm, depending on the height of the ceiling.

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nijuu orekugi 二重折釘
Also called kakemonokugi 掛物釘. A type of hooked nail orekugi 折釘.
A square, double-bent nail that is used to hang scrolls kakemono 掛物. The nail head forms a ' コ' shape. A nail with three bends is called sanjuu orekugi 三重折釘.

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noshigata-no-kugi 熨斗形の釘
An archaic term for taru-no-kuchi 樽の口. Also called kanimekugi 蟹目釘 or noshigashira kugi 熨斗頭釘.
A large, half-dome-shaped nail similar to a present day rivet. The WAMYOUSHOU 倭名抄 describes it as a large, high-headed nail, kashiradaka ookugi 頭高大釘. It is used to secure a gable pendant, gegyo 懸魚 or a non-penetrating tie beams, nageshi 長押.

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orekugi 折釘 A type of hooked nail made from one piece of iron.
It is bent at a right angle and is square in cross section. The name is a corruption of orikugi 折釘. Orekugi are used for both the interior and exterior of a tea ceremony house *chashitsu 茶室. There are many different sizes and most have stops or guards which determine the extent to which the nail can be inserted into a wall, post, or molding. Orekugi are named according to their placement, or purpose. There are many types of bent nails.
These include: fukurokakekugi 袋掛釘; musoukugi 無双釘; asagaokugi 朝顔釘; *tokobashirahana kugi 床柱花釘; tokonakakugi 床中釘; tokokakenaka kugi 床掛中釘; and tokootoshikake kugi 床落掛釘.




折釘に掛た所が粽哉
orekugi ni kaketa tokoro ga chimaki kana

from a hooked nail
they hang here,
these Chimaki dumplings . . .


. Kobayashi Issa 小林一茶 in Edo .

. Chimaki 粽 dumplings for the Boy's festival, May 5 .

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sanjuu orekugi 三重折釘
A nail that is bent in three tines at a ninety degree angle.

Like the twice bent nail, nijuu orekugi 二重折釘, it is used to hang various kinds of decorative objects. Also called *inazuma orikugi 稲妻折釘.

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takekugi 竹釘 bamboo nail
Usually the nail is 7.5mm square and made from giant bamboo, madake 真竹 (also nigatake 苦竹). They have a hook on which to hang scrolls and are used in a small room or alcove, tokonoma 床の間. When pounded into a wall, the nail project 27mm with the exterior skin on the upper side. Kobori Enshuu 小堀遠州 (1579-1647) and Kanamori Souwa 金森宗和 (1584-1656) preferred nailing takekugi into a wall with the exterior skin on the under side. Hooked bamboo nails were used in a tea ceremony houses, chashitsu 茶室, kitchen, mizuya 水屋, for hanging up towels used to wipe tea implements.
Bamboo nails made from a smaller variety of bamboo that has a smooth surface with non-protruding joints are used by cabinet makers. Once shaped as nails, they are roasted in an iron pot and therefore have a brownish color.

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tokobashirahana kugi 床柱花釘 / hashirakugi 柱釘
tokonakakugi 床中釘; tokokakenaka kugi 床掛中釘; and tokootoshikake kugi 床落掛釘.
Also hanakugi 花釘. A nail on which a flower vase can be hung. It is nailed onto an alcove post tokohashira 床柱 in a tea ceremony room chashitsu 茶室. Opinion varies on its proper position which ranges from 33cm below the alcove lintel otoshigake 落掛, to 97cm above the straw mat tatami 畳 floor.

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wakugi 和釘
Also called nihonkugi 日本釘. A square nail used during and after the Tumulus period (CE 300-538/552). The nail was made of hand-wrought iron and was from 3cm-60cm long. Wakugi were classified by the shape of the nail head. The oldest nail of this type had a square head. Other heads were flat or spiral in shape. The nails were used to secure roof tiles yanegawara 屋根瓦, to eave ends, *nokisaki 軒先. Double pointed nails were used to join two wooden members to make a line like a seam, nuime 縫目. This method appeared during the Heian period (794-1185). At the Houryuuji Gojuu-no-tou 法隆寺五重塔, 27 different types of nails have been identified, ranging in length from slightly over 3.03,to over 60.9.

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yanagikugi 柳釘
Also yanagikakekugi 柳掛け釘. A nail hammered into a partially plastered post yanagibashira 柳柱 (see youjibashira 楊子柱), usually found in a 4 1/2 mat tea ceremony room chashitsu 茶室. The nail is hammered into the upper part of the post (the unplastered part) and a hanging flower vase is hung from it. According to Sen Soutan 千宗旦 (1578-1658) the nail gets its name from springs of willow draped from the nail at New Years. Examples can be seen at Yuuin 又隠 at Urasenke 裏千家, and Onigawara-no-seki 鬼瓦席 at Koudaiji 高台寺 both in Kyoto.

- source : JAANUS -
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. kasugai 鎹 / かすがい clamp, cramp, cleat, staple .

. yanefuki 屋根葺き roofer, craftsman making roofs .
using nails

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deru kugi wa utareru 出る釘は打たれる "A nail that sticks out will be hammered"
deru kui wa utareru 出る杭は打たれる "A stake that sticks out will be hammered"

. The nail that sticks out . . . .




- quote -
kui 杭 - kigui 木杭 Pile
A wooden stake or post driven into the ground.
Closely placed round wooden posts, often shaved to a point, pounded into the ground to form a base that can transfer the down bearing load from the superstructure through the footing, sills, or foundation to the ground. This system has been used from very ancient periods for foundation ground work. Pine logs were most common, but Japanese cedar, sugi 杉, and evergreen oak, kashi 樫, were also used. The stakes had to reach down below the water table, as they decayed if they dried up. In order to strengthen the tip of the kui when driving into hard ground, a protective metal band called a pile shoe, kutsukanamono 沓金物, was sometimes added.

hikaegui 控杭 pole, post
Any upright pole or post added to the inside of a castle wall for extra support. While hikaegui increased the strength of the wall, they did make it more difficult to move around close to the wall on the interior because the light was dim and people could easily fall against these protections.
- source : JAANUS -


国分尼寺守る杭打つ初仕事
Kokubun Niji mamoru kui utsu hatsu shigoto

first work of the year
to strengthen the piles
of nunnery Kokubun-ji


土屋尚 Tsuchiya Masa

. Kokubunji 国分寺 Kokubun-Ji .


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. Legends and Tales from Japan 伝説 - Introduction .

. kugi 釘 伝説 Legends about nails and curses .

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折釘に烏帽子かけたり春の宿
orekugi ni eboshi kaketari haru no yado

On a bent hook
hangs an official's cap,
the lodging house in spring.

Tr. Yuki Sawa

. Yosa Buson - Collection - 蕪村句集 Kushu .


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kugikakushi, kugi kakushi 釘隠し "hiding the nails" nail-hiding ornament

- quote
kugikakushi 釘隠
An ornament used to conceal the head of a large nail on a pressing tie rail *nageshi 長押 and on doors. Made of wood, copper, iron, or gilt bronze. From the Momoyama period techniques of cloisonne *shippou 七宝, inlay *zougan 象嵌, and openwork *sukashibori 透彫, decoration were used, and new materials such as ceramics were introduced. Pre-10c kugikakushi were hemispherical in shape and known as *bai 唄, manjuu kanamono 饅頭金物 (see *manjuugata 饅頭形) or *chichikanamono 乳金物.
From about the 10c, kugikakushi were designed using a circle of flower-petal shapes.
The most common types were the four-petalled *shiyou 四葉, six-petalled *rokuyou 六葉, and eight-petalled *hachiyou 八葉. They consisted of a central projection *taru-no-kuchi 樽の口 (cask plug), a round body *kikuza 菊座, and surrounding petal shapes *zagane 座金.
- source : JAANUS


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Decorative Nail Covers
Colored in various hues, these pieces are thought to be reproductions of nail covers with inlaid cloisonné. The attributed artist Ninsei (also known as Nonomura Seiemon, d. 1694), the prominent Kyoto ware ceramicist of the latter half of the seventeenth century, was a master in the technique of overglaze enamels.



Although these small pieces have no identifiable stamp or inscription, the variegated paints of gold, silver, red, blue, and green, demonstrate the features of Ninsei's Omuro ware. Moreover, considering that these pieces came from the Marugame Kyôgoku clan, which is known for its rich collection of Ninsei works, it appears highly likely that these pieces are authentic.
- source : www.emuseum.jp/detail -


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雛の間へ一間ごとの釘隠し
hina no ma e hitoma goto no kugi kakushi

to the room with Hina dolls
every room is decorated
with nail-hiding ornaments


Yasome Aiko 八染藍子 (1934 - )

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釘隠しまでも梅鉢あたかかし 
kugi kakushi made mo umebachi atatakashi

even the nail-hiding ornaments
like a plum-blossom
feels so warm  


Gotoo Yahan 後藤夜半 Goto Yahan (1895 - 1976)




umebachi was the family crest of the Maeda clan.
Kaga-umebachi kamon
Umebachi kamon in the shape of an ume blossom is the family crest of the Maedas of Daishoji clan (a branch family of Kaga clan) who originated Kutaniyaki Porcelain. An ume, together with a chrysanthemum, bamboo and an orchid was one of four flowers likened to wise man in old China, and the crest has deep relation with Tenjin faith.
The design is classified roughly into two patterns -realistic pattern and geometric pattern in the shape of ume blossom with five single petals. The Maedas used design to be called Kaga-umebachi that intended particular distinction from other similar family crests in shape of ume blossom.
source : kutanimus-volunteers.com


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啓蟄の日がとどきたり釘隠
小室善弘

春荒れのひと夜や鶴の釘隠し
長崎玲子

水亭は釘隠さへかきつばた
飴山實

行く春や緑青をふく釘隠し
渡部義雄

釘隠良夜の釘を隠しをり
真鍋呉夫

黴の戸の栄枯高きに釘隠
古舘曹人


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. Japanese Architecture - Interior Design - The Japanese Home .


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