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lunaetis · 2 years ago

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─「カサネ」─ one would've thought it'd be easy to get their feelings known now that she had been on EARTH again, yet, the lunar rabbit herself found it difficult to speak the words locked within her throat for so many days. how was it that you no longer know what to say to a person when you're in front of them ? even when she had spent countless nights recounting what she would say the moment she saw him.

or maybe, words were unnecessary as the SAS connected their minds. even the technology paled in comparison to the warmth their lips that clashed to one another. it was unlike her, unlike the usual reserved individual to take such action out of impulse. she didn't know what she was thinking, she wasn't exactly following her MIND right now. it was her HEART that governed each and every breath.

how it longed for him, so, so deeply.

was this what it's like to kiss someone you love ?

it was exhilarating, nothing like she had ever experienced before. when the taller male pushed forward to take the lead, the homunculus found herself melting right into the touch, right into the love he poured into her with every movement of their lips.

a sound akin to a breathless gasp escaped their connected lips, and the prodigy felt her knees going weak at the taste of his tongue gently pushing its way past her gaping lips. fingers that held onto him turned into a clutch, unable to keep herself standing without a proper support. this kind of touch, this kind of kiss, it was making her head spin in both delight and ecstasy. his taste, his warmth, the sensation, she could hardly think proper.

" ka ... gero ... " his name sounded like a plead, falling in between the passionate lip-lock as her mind was filled with nothing but him. this is what it's like to love someone ? it was painful when they were apart, but the kiss was so, so sweet she felt like she would get drunk on it.

-> TIME CONTRACTED into a single instant with the hum of her presence beneath his flesh, every aspect of his mind, his SOUL, wrapped in violet embrace. The hum and kiss of her weave drowned out the deafening silence of SAS switching to local connection mode, her presence igniting the searing flash of memories buried over the course of 379 days. Slowly he felt her thoughts filter in like waves crashing against the shore, a by-product of using the SAS one to one, meant there was no one to filter the encroaching sea.

he FELT that whirlwind rise up to meet him, every poorly controlled emotion from the past year rising to meet her thoughts in chorus. A reminder his restraint had long since become detrimental, with each moment the distance closing with a grace belonging to a former ASSASSIN. The lightest of touches upon her shoulder, pulling her closer, into his weave of infinite nothingness, emotions bursting through the seams of his soul to whisper words written day after day.

HOW EASY would it be to spirit her away? Far beyond the reaches of brain talk and Himuka, to make up for day turned month turned week with nothing but a simple step? He had waited 2000 years to live, to have the drive to finally move on from the life that he'd left behind when he ventured out into that sea of stars with the promise of creating a better world.

NOTHING remained amidst the stars, not when the Lunar blessed homunculi had returned, to him. Even now, holding her was a foreign feeling, one that often plagued his sleepless nights when the moon seemed further out of reach. 'I missed you too' words accentuated by the static of her soul singing out in chorus.

EVEN then, her soul did nothing to betray her intentions, body moving to meet her grasp and the clumsy kiss screaming' I LOVE YOU' with what felt every minuscule second that passed. With fading shock at how forward the usually passive woman was, gloved hand reaching to steady her as he pushed to take the lead

I love you too

#tempestforged #.[ kasane.randall ]#[ yELLS LOUDLY INTO MY PAWS ONCE MORE #THESE TWO #i do not take responsibility for how it gets #a little heated #at the end #you totally know who to blame & it's not the pupper no ]

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dobdobrock · 7 years ago

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#カサネ #フィルム二枚重ねスキャン #実験 #avayotosakura #35mm #35mmfilm #filmphotography #filmcamera #ishootfilm #filmphotographic #streetphotography #buyfilmnotmegapixels #filmphoto #photography #35mmstreetphotography #film #streetshot #analogphotography #analog #japan #mamiya135 #mamiyafilm #mamiya #monochrome #blackandwhite #bw #うえろくカメラ

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l12srna · 3 years ago

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Scarlet Nexus うさ耳カサネ

カサネの隣にねこ耳シデンを描く予定だったが、諦めた

#カサネ・ランドール #kasane randall

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claeculus · 2 years ago

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カサネ log

old Scarlet Nexus drawings of Kasane

#scarlet nexus #スカーレットネクサス #kasane randall #fanart #my artwork

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waheipon · 2 years ago

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今日の授業から。ネガティブシェイプとニジミとカサネ。上手い！

#京都の水彩画教室 #水彩スケッチ #風景画 #水彩画 #京都水彩画 #透明水彩画 #水彩 #水彩画の上手い人 #水彩画教室 #水彩画を習いたい #京都の風景 #滋賀の風景 #きれいな水彩画 #絵のある暮らし #水彩画を飾りたい #watercolours #aquarelle #aquarell #watercolorlandscape #painting #京都水彩画 #2月25日画塾展覧会来てね #京都水彩画塾winwin展 #会期:2/25(土)〜2/28(火) #gallery Fable(京都府山科区)

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tomboyjessie13-artblog · 5 years ago

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Kasane VIII, also known as Madam Kasane and born Mayo Kasane, is the 8th and current Procuress of her family's brothel: "The House of Kasane", in Little Edo's Red Light District, Tsumibara. Coming from a line of Pimps and Madams, she takes over the business with a firm yet brash demeanor, she's also shown to be very stingy and arrogant. She often puts on a show or introductions for the clients visiting her Brothel, meaning she also expresses flamboyancy and showmanship as well.

Speaking of which, due to Levianta’s city state opening it's borders to the rest of the country, she often worries that her family's Brothel would be shut down due to the outcries of Leviantans(mostly the wives of their cheating Husbands) wanting to dismantle Tsumibara as Prostitution in Levianta is illegal. Despite pimping her workers though, she does have a soft side for them due to being a woman herself, having sympathy for her workers and their pasts that lead to them being sold to her family's brothel, as such she becomes furious and protective when her clients physically abuse her workers, she also doesn't tolerate clients not paying for services, cheating on their spouses or girl/boyfriends, and people blackmailing her.

~Technical Information~ Name: Kasane VIII Japanese: カサネVIII Romaji: Kasane VIII Other names: Mayo Kasane(Birth Name), Madam Kasane(title), Twin-drilled peddler(by Gallerian Marlon), Breadwinner(by Tom Gonzo) UTAU: Kasane Teto ~Biographical Information~ Born: April 1, EC 950 Age: Early 30's(looks 15) Classification: Human Race: Hafu(Jakokunese-Leviantan) Gender: Female Sexual Orientation: Unknown Hair Color: Red Eye Color: Red Affiliation(s): Little Edo(Place of Birth) Tsumibara(Currently) The House of Kasane(Current Procuress)

Trivia: - She shares the same birthday and surname as her UTAU, Kasane Teto, she also shares the same given name as her voice provider; Oyamano Mayo.

- Like her UTAU, she's often confused for a teenager due to looking 15 but is actually 31. - Her fashion was inspired by Kagamine Rin's Project Diva outfit for Yuuyu-P's Tengaku, but I changed her obi to a corset and her getas to pumps to give her a bit of a modern-western look after being inspired by Suzuhana Yuko(singer of Wagakki band)'s fashion, also it's to prevent her clients from confusing her for a courtesan since the obi tied in the front means you are one.

- Her entire character is inspired by the UTAU song and it's novel adaptation, "Yoshiwara Lament", by Asa feat. Kasane Teto and Oyamano Mayo, the protagonist(played by Teto) is named "Kasane" in the novel adaption.

- It's quite possible that she's a descendant of the Rangu Clan(or at least a relative from it) due to her resemblance to the Clan's 1st Matriarch, Chartette Langley, but it's currently unknown. - She and her family are close friends with the some of the members of the Gonzo Bloodline and it's Patriarch Thomas(Tom) Gonzo, but strictly forbids Mary Gonzo from going near her family's Brothel(or Tsumibara as a whole) due to being a Psychotic Lesbian Demon. She also doesn't give Gallerian Marlon any of her workers to him due to hearing rumors of his affair with Ma, in addition to being a corrupted Judge(not that he minds anyways since he hates going to Tsumibara), she also despises him for blackmailing her. - Humorously, she enjoys Lucifenian Bread(French Bread) and she believes Chimeras are real, which is a reference to Teto's character Item and Gender...I'm not joking, she identifies as a Chimera instead of Female.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Finally, I made a character inspired by my RPs with Cameron112367 / @tomgonzo34 , she's the owner of The House of Kasane, a popular Brothel in Little Edo's Red-light district, Tsumibara. Considering she's based on the song "Yoshiwara Lament", I might as well make her a Teto character.

Fun fact: I just learned that Asa, the producer behind said song, is also the bassist for Wagakki Band, so the song pretty much belongs to them, just through Asa. Just like the VOCALOID songs done by Ryo of Supercell.

#artwork #evillious chronicles #roleplay #oc #utau #kasane teto

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lunaetis · 2 years ago

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@tragidies asked :

‘oh, kasane.’ seto waves her down, setting a bag of homemade chocolates in her hands when she comes to a stop, along with a note inside with a location and time. it was white day, after all, weren’t you supposed to give something to the girl you like ?? seto’s free hand comes up to ruffle her hair once more with a smile.

‘good luck out there.’

WHITE DAY. ( unprompted. ) || always accepting

─「カサネ」─ the OSF OFFICER was on her way back from the recent mission and about to head for the headquarter for report when a familiar sight caught her attention. there was a skip of beat that came almost instinctively when it was him before her. CRIMSON hues blinked up at him, almost curiously so. a ... paperbag ?

" ... for me ... ? " it was as clear as day that the CADET had little to no idea what this was for. something smelled rather sweet, though, and her cheeks tinted the moment she felt his warmth ruffling through her white locks. and her heart did another skip of a beat. her cheeks were hot —

" thank you, seto-san. i — " not that she got the chance to actually finished the sentence itself as her platoon members were calling for her. she gave a reluctant look towards the commander, before bowing her head in both gratitude and apology. she wanted to be able to talk to him more, but she had her own duties to follow. " i must submit the report for the recent mission. thank you again, for this. "

her fingers gripped upon the bag, and with yet another bow, she rushed off towards the HEADQUARTER.

it was several hours later that the female was seen running through the street of NEW HIMUKA, almost as though she was chasing the others in quick pursuit. it wasn't the case, however. footsteps echoed and breaths were labored. she was running at top speed as though her life depended on it.

if it weren't for arashi, she still wouldn't realize the whole concept of this day. stupid, stupid, stupid kasane !

when she turned the corner, the OSF OFFICER was greeted with the sight of him still seated there, right where the note had indicated while her heart thumped loudly. the quickened pace of the organ in her left chest wasn't only induced by the fact that she had been running nonstop for the past fifteen minutes, no. most of it came from the fact that she was educated on what his gift meant and his presence there, still waiting.

" seto ... san ... " panting harshly, she had to take a moment to catch her breath, feeling her head a little light at the rush of blood and the realization slapped onto her forehead by her senior. what an idiot she is.

" i'm sorry ... to keep you waiting. " please don't hate me for it.

#tragidies #.answered #.[ kasane.randall ]#.[ i'd give him all that i am. i'd give him all that i was: seto & kasane ]#[ MY DEAR GIRL WHY YOU THIS DENSE SRSLY #BUT YESH HJLKHHJLK #THANK YOU FOR THE ASK AAAAAAAH #SORRY SETO SHE'S SO SLOW #SHE LOVES YOU THO BUT SHE'S REALLY SLOW #it's so sweet of him to still be waiting hjlkjhk sHE FEELS BAD FOR MAKING HIM WAIT #*SCREAMS ABOUT THESE TWO* ]

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chanoyu-to-wa · 5 years ago

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Nampō Roku, Book 5 (28): Two Varieties [of Tea] and Two Bowls, with the Sasa-mimi Displayed on a Tray.

28) Ni shu ni wan sasa-mimi bon-kazari nari [二種二碗サヽ耳盆飾也]¹.

[The writing reads: (above) ichi no (一ノ)²; (between the ten-ita and the ji-ita) sasa-mimi fukuro iri (サヽ耳袋入)³; kasane-chawan (カサネ茶碗)⁴; (below) ni no (二ノ)⁵; kaku no gotoku isshu ha hakobite mo suru (如此一種ハハコヒテモスル)⁶.]

_________________________

¹Ni shu ni wan sasa-mimi bon-kazari nari [二種二碗サヽ耳盆飾也].

“Two kinds [of tea], two bowls, the sasa-mimi is displayed on a tray.”

The “two kinds [of tea]” may both be served as koicha, or the first may be prepared as koicha, while the second is served as usucha*. This is up to the host, and to the quality or flavor of the tea that is available to him†.

It is important to mention that, on account of their being tied in shifuku, both Shibayama Fugen and Tanaka Senshō assume that both kinds of tea will be served as koicha. (This was true of the previous arrangement also, even though the sasa-mimi, in that case, was not tied in its shifuku, meaning that the tea it contained was of a lesser quality -- for whatever reason‡.) However, both of these scholars have ignored the fact** that, in the early days, both the koicha-ire and the usucha-ire were tied in shifuku, to protect the tea that they contained. ___________ *While it will strike us as being odd that the usucha-ire is tied in a shifuku (and so lead us to doubt this interpretation of the kazari), in the early days the container of tea that would be served as usucha was also tied in a shifuku, to protect the tea -- specifically, when the matcha it contained had been freshly ground for that gathering (as was the preferred way of doing things in the early days). The decline in this practice only began when the custom of reusing the left over matcha that had been prepared for koicha as usucha later (whether during the same gathering, or on a later occasion), so it would not go to waste. This was a distinctly wabi sort of attitude that would have been counterintuitive to the ideas of chanoyu in the early period (when the norms of the practice, as it has come down to us, were generally focused on people like Ashikaga Yoshimasa, and the members of his court).

Since the arrangements associated with the sasa-mimi originated around the turn of the century, they sometimes partake of the style of chanoyu favored by Yoshimasa, and sometimes anticipate the practices of the wabi machi-shū chajin that would flower later in the sixteenth century.

†Though it might not be necessary to say so, certain varieties (or blends) of matcha lend themselves to preparation as usucha, while others are best served as koicha.

In the early days (and even in the present), the tea from the tea plantations was divided into six grades -- three (high, middle, and low) for the tea that had been harvested before the 88th day of the Lunar year, and three for the tea that had been harvested after that date. Some of the first and second of these were mixed (half and half) to form an intermediate grade, and some of the second and third were, likewise, mixed, resulting in five grades of hatsu-no-mukashi [初の昔] (the tea from the first harvest), and five grades of ato-no-mukashi [後の昔] (the tea from the second harvest). The upper two grades of each were almost always served as koicha, and the lower two were usually served as usucha, while the middle grade could be used for either. The five grades were priced accordingly, and, with the exception of the wealthy (who could afford to have their cha-tsubo filled with enough tea to last a year), the tea was purchased in small amounts, that could be ground (usually at home) for one occasion. Small amounts of tea were usually sold in boxes made of paulownia wood, since this kind of wood would stabilize the moisture content (the same kind of wood was used for the stopper for the large cha-tsubo, for the same reason), and some say that these boxes were the original sa-tsū-bako [茶通箱].

‡Each time the lid is removed from the chaire, the tea that it contains looses some of its flavor. In Jōō’s day, when serving koicha to five guests, the chaire would have to be opened five times (since each guest was served with an individual bowl of koicha). Rikyū abridged this practice by serving the shōkyaku an individual bowl of koicha, while doubling up on the remaining guests (so, in his case, the chaire would only have to be opened three times). Nevertheless, opening it only once means that any subsequent bowls of koicha will necessarily be inferior to the first. But since the quality of the tea leaves used for koicha is inherently better than those used for usucha, using the left over koicha tea to serve usucha is still offering the guests usucha prepared with a higher-than-usual quality of matcha -- while also allowing the host to use the left-over tea up before it degrades any further.

Unfortunately, the subtlety of flavor and aroma to which this argument refers is lost on modern day readers, because we almost always drink matcha that was commercially ground days -- and maybe weeks or months -- before sale, under conditions that would have appalled the people of Jōō’s or Rikyū’s period. In the classical period, just enough tea leaves were removed from the cha-tsubo, and these leaves were immediately ground into matcha using a hand-powered tea mill. The matcha was then quickly put into the chaire (which was supposed to be filled fully, leaving little empty space into which the aromatics could diffuse), and then the chaire was tied into its shifuku. Today, 8-hours worth of leaves are fed into mills that are mechanically turned so fast that the stones become too hot to touch with the bare hand (when hand-turned, the stones do not become noticeably hotter than room temperature), while the ground tea collects in a shallow gutter (but otherwise fully exposed to the air in the grinding room) that is emptied only at the end of the eight-hour shift. The matcha is then stored in a large, metal-lined box until a sufficient quantity has been ground to allow for mechanical packaging (which might take several days, depending on the size of the operation -- usually these boxes have a maximum volume of perhaps a half cubic meter, while the amount of matcha in them typically occupies less than a quarter of the box). Thus, the tea has already lost most of the volatile elements long before it is even sealed into cans and ready to be sent off to the distributors.

**Seemingly because both assume that these arrangements were created by Rikyu, rather than historically coming from much earlier in the century -- and, because the shin-nakatsugi seemed (to them) to establish the precedent for the koicha-ire to be displayed without a shifuku.

This shows a lack of understanding of both the shin-nakatsugi, and the purpose of the shifuku (at the time when Shibayama and Tanaka were active, the official teaching was that the shifuku was there to protect the chaire).

First, the original purpose of the shifuku was to protect the tea (not the chaire) by pressing the lid of the chaire (or other tea container) tightly against the mouth of the vessel, thereby preventing the volatile compounds that contribute to the flavor and aroma of the tea from escaping (this is also why the underside of the lid was covered with a thin gold foil pasted onto a piece of rather thick paper, and why, in the early days, the paper-backed-foil was changed before each gathering: when the lid is put on the chaire, and the shifuku is tied, the shifuku presses the lid tightly against the mouth of the chaire, with the paper allowing the gold to be pressed into all of the irregularities present at the mouth, and so effecting as good a seal as was technologically possible during that period).

As for the shin-nakatsugi, this container was made with a kiri-ai-guchi [切り合い口]. This kind of lid tightly matches the raised lip of the body (you can test this by lifting the lid off -- you should be able to feel resistance when you do so, and this shows how good the seal really is), once again providing one of the best seals technically possible at that time. As a result, a shifuku was not needed -- when the shin-nakatsugi was new (and so Shukō did away with it). However, making a kiri-ai-guchi was extremely difficult (especially without modern tools that can carefully match the inside of the lid with the lip: the body and lid are made separately, then covered with layers of paper and lacquered together, and then finally cut apart, so that the match between the two parts is virtually perfect), and expensive. Ordinary lacquered tea containers (including the natsume designed by Jōō) were not made in this way (kiri-ai-guchi natsume are available in the present, but Jōō‘s natsume had ordinary lids), and that is why the natsume is always described as being tied in a shifuku when it will be used to serve koicha.

Also, as the shin-nakatsugi ages, the wood continues to dry out and shrink, so that eventually the seal fails. This is why, when an old nakatsugi was used, it, too, was tied in a shifuku.

Consequently, if one wished to imitate Shukō’s arrangement of the shin-nakatsugi without a shifuku, then one had to use a newly made shin-nakatsugi. This is why Rikyū’s shin-nakatsugi, which was made for him by Hideyoshi’s personal lacquer artisan ten-ka-ichi Seiami [天下一盛阿彌], was revered and handled as if it were Shukō’s original: the nakatsugi was newly made, but its craftsmanship was identical to what Shukō’s shin-nakatsugi had been at the time it was made.

²Ichi no [一ノ].

“For the first.”

In the case of this temae, the tea in the sasa-mimi will be served first -- as koicha.

³Sasa-mimi fukuro iri [サヽ耳袋入].

“The sasa-mimi is [tied] into its fukuro.”

This piece of information informs us that the tea in the sasa-mimi is intended to be served as koicha.

⁴Kasane-chawan [カサネ茶碗].

“Chawan, one inside of the other.”

The chawan are stacked one inside the other, with a half of a dry chakin placed in between -- so that the foot of the upper bowl will not scratch, or soil, the lower chawan.

The lower chawan will be used to serve the first kind of koicha, and the upper chawan will be used when preparing the second kind of tea.

⁵Ni no [二ノ].

“For the second.”

The tea in the tea container that is resting on the floor will be served second.

The fact that the second chaire is placed directly on the floor suggests that the container itself is markedly inferior to the sasa-mimi*.

As a result, the only reason for displaying it would seem to be to inform the guests that two kinds of koicha will be served during the goza -- meaning that when such advance-notice was not necessary (for a particular group of guests), it would do just as well to keep the second tea container out of sight until it was time to serve the tea that it contained. ___________ *It would have almost certainly have been made in Japan, and more likely of lacquerware than of pottery.

Something needs to be explained about the sasa-mimi (since the fact that they were “karamono” would seem to imply that these were high-class tea utensils). These containers were originally made to hold scented hair pomade, which was a popular souvenir gift item. The ko-tsubo were also associated with the souvenir trade -- but in their case, they held one or two little servings of medicinal liqueurs.

In China, it was popular for people, when visiting locations famous for their scenic beauty, to buy souvenirs for their friends back home -- at the souvenir shops that usually infested the locals that offered the best views. Usually these were small bottles of special medicinal liqueurs for the men, and little vials of pomade for the women -- both of which were touted to be, frankly, sexually stimulating (the liqueur was supposed to enhance the man’s virility, while the fragrance in the woman’s hair was intended to excited him further -- on the theory that the more the man was excited, the greater his partner’s pleasure would be). These souvenirs were costly (though the cost was connected with the contents, not the containers); and their contents were soon used up, leaving just the empty jars. In China, the little bottles were usually thrown away; but in Korea (and in Japan), the containers were treasured -- perhaps even more than their contents had been -- since, after all, they were all that was left of the gift.

The little bottles used for medicinal liqueur could be rinsed thoroughly, or soaked in water, and after a while the smell would go away. However, the pomade was more difficult to purge (in that period when dish-washing soap had yet to be invented, and badly stained dishes were usually cleaned by scouring them with sand), which is why the sasa-mimi did not figure in the shōgun’s collection of tea utensils.

The use of the sasa-mimi, like the suiteki [水滴] (and the other little containers of that sort -- many of which were originally made for serving condiments on the dining table), was brought into use as chaire by the machi-shū, because, until trade with the continent resumed, it was almost impossible to get those continental objects that were not absolutely essential (which is precisely the kind of things that were the mainstay of chanoyu) -- while the number of chajin was only increasing year by year. Thus anything made on the continent was valued (usually disproportionately -- the yō-hen and yu-teki temmoku, for example, were mistakes that the Chinese potters threw away, and it was only profitable to import them because the minimal outlay -- usually a tiny sum for the person who looked through the potters’ middens to collect the unbroken pieces -- promised exorbitant profits, particularly when the numbers available were kept small).

⁶Kaku no gotoku isshu ha hakobite mo suru [如此一種ハハコヒテモスル].

“It may also be done [in such a way] that the one variety [of tea] shown like this can also be brought out [from the katte].”

Since the tea in the tea container that is resting on the mat will not be served until after the tea contained in the sasa-mimi has already been drunk, it is completely possible for the second kind of tea to be brought out from the katte at the time it is needed -- since, if the host does things as shown, the second container of tea might get in the way.

It is never wrong to arrange things in the manner depicted in the sketch, but it is also possible for the host to simply bring the second tea container out later.

——————————————–———-—————————————————

◎ Analysis of the Arrangement.

Here there is really not much that needs to be explained. In any temae where there are two chawan stacked together, the lower bowl is used first, and the upper bowl is used second, as Shibayama Fugen discusses in his commentary. After entering the room and approaching the daisu, the container of tea that will be used second is moved to the left side of the mat before the sasa-mimi is lowered*; and while the first kind of koicha is being served, the smaller chawan functions as a kae-chawan for the main bowl.

The service of the second variety of koicha will be focused on the tea, since the utensils are not important. For this reason, Tanaka Senshō adds that if the second container of tea is going to be brought out from the katte just before it is needed, then perhaps the second chawan should also be brought out at that time (with a new chakin and chasen arranged in it), Doing so immediately precludes any possible cross-contamination between the first kind of koicha and the second†.

Because two different kinds of koicha will be served, two chakin should be arranged in the chawan. One chakin is used while serving the first kind of tea, and the second chakin is used when preparing the other. ___________ *After the bon-sasa-mimi is lowered from the ten-ita, it is placed in front of the mizusashi, as usual, and then the pair of chawan are lowered as a unit and stood to the left of the chaire-bon.

During the preparation of the first variety of tea, the smaller chawan remains on the left side of the mat, just forward of the host’s left knee -- again, as is usually done.

Throughout, the alignment of the various utensils with the kane is as always.

†In this case, there is no reason for two chawan to be displayed on the ten-ita; thus, only one chawan should be arranged with the bon-sasa-mimi when the guests return from the naka-dachi.

This idea is explored at greater length in elsewhere in the Nampō Roku -- as well as in the book of secret teachings that was appended to the collection as the ninth book.

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