#淵上

[honey-meraki]

Enjou has been licked 👅

[madamemachikonew]

My Genshin Fics on AO3

Here are my various Genshin self-insert/reader insert fics and character studies, sorted by rating

Strictly R18 ONLY - rated EXPLICIT

The Serpent - Pantalone x Fem Reader SLOW BURN long fic (currently mature but there will be eventual smut)

A Flower Without A Seed - Baizhu x Fem Reader long fic

The Lies of Handsome Men - Enjou x Fem Reader long fic

Spider Lilies at Sunset - Baizhu x Fem Reader hanahaki long fic (currently on hiatus)

The Walls Have Ears - Kaeya x Fem Reader one shot

Please Yourself - Thoma x Fem Reader one shot

Rating Mature

This Mortal Coil - Baizhu x Chronically Ill/Disabled Fem Reader one shot (mature tragic romance)

The Selfish Moth - Part 1 and Sequel - Baizhu x Gender neutral Reader angst, no comfort

Genshin Male Character Love Languages - male characters x gender neutral reader

Habemus Papam - Harbinger Vatican AU - Cardinal Pantalone tries to become Pope

Golden Buttons - Royal AU and winner of the Fatuicon 2023 Fic Contest - Pantalone & Dottore

Wake Up and Smell the Coffee - Kaveh x Fem Reader

Hanabi - Thoma x Fem Reader, mutually unrequited confession

Teen and up

The Longest Winter Before Spring - Baizhu x Gender Neutral chronically ill Reader, romantic fluff

Les Madeleines - Neuvillette x Gender Neutral Reader, fluff and comfort

General

A Taste of Home - Baizhu x Gender Neutral Reader romantic fluff based on his White Day message

Unfinished Business - character study - Pantalone encounters a ghost after he acquires the Northland Bank in Liyue Harbour

Bitter Tincture - character study re Baizhu

A Coconut Contract - character study re Baizhu & Qiqi

Rewriting the Rulebook - character study re Baizhu & Qiqi

Warmth - Thoma x Fem Reader - romantic fluff

I also have a couple of Pantalone WIPs which I hope to publish soon.

I don't use Y/N in my fics, and only use minimal, strictly plot-relevant descriptors for Reader. This is to make them more immersive.

If you want to ask me any questions about me, or characters or HCs for the characters I write about, then go ahead! :)

If you want to commission a fic (self-insert or non-romantic, it's up to you!), then you can also get in touch.

Hope you enjoy my work! Thanks for your time in reading it!

~MM

xx

[vietarchon]

smth smth i'm a genshin npc enjoyer. rejoice

[noritama0301]

上海ジミー＠淵野辺

[tokyonow]

(6月29日(土)より放送・配信スタート！『WOWOW×テレビ東京 共同製作連続ドラマ ダブルチート 偽りの警官 Season2』完成披露試写会に市原隼人、淵上泰史、陣内孝則ら登壇 – Tokyo Nowから)

[nozawaballet]

【新着】相模原のバレエ教室　野沢きよみバレエスタジオ便り　Vol.24

Nozawa Ballet News Letter　 1週間の振り返り、野沢きよみバレエスタジオ便りです！ 10月31日のハロウィン！では、ハロウィンレッスンは行いませんでしたが、生徒の皆さんにお菓子をプレゼント！ 11月1日の「世界バレエデー」についてはコラムで紹介しましたが、多くの方の関心の高さに驚きました。 11月2日、『英国ロイヤル・オペラ・ハウス…

[tw-meg-2-the-trench-full-version]

巨齒鯊2：海溝深淵線上看(2023) || 小鴨影音完整版 ｜台灣字幕

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電影信息：Meg 2: The Trench巨齒鯊2：海溝深淵

這次傑森史塔森潛入未知水域，帶著大膽的研究團隊，潛到海底最深處進行探勘。然而，這趟探勘很快就陷入混亂；一場惡意的採礦作業威脅到他們的任務，迫使他們捲入一場高風險的生存之戰。

片長：115分 上映日期：2023/08/02 廳數 (84)

劇情簡介

本片由《玩命鎗火》班懷特利執導，傑森史塔森和吳京主演，其他演員包含《巨齒鯊》蔡書雅、佩吉甘迺迪、《藍波：最後一滴血》賽吉爾佩里斯曼切塔、《變種天賦》絲凱樂山繆斯和克里夫柯提斯等。

這次傑森史塔森潛入未知水域，帶著大膽的研究團隊，潛到海底最深處進行探勘。然而，這趟探勘很快就陷入混亂；一場惡意的採礦作業威脅到他們的任務，迫使他們捲入一場高風險的生存之戰。為了要對抗龐大的巨齒鯊及無情的環境掠奪者，英雄們必須靠智取、智勝，甚至要游得比恐怖掠食者更快，才能贏得這場與時間的賽跑。

除了由班懷特利執導，這次劇本由瓊霍伯、艾瑞克霍伯（《巨齒鯊》、《變形金剛：萬獸崛起》） 和迪恩喬治亞斯（《巨齒鯊》、《古墓奇兵：風起雲湧》）負責，然後再由迪恩喬治亞斯與瓊霍伯和艾瑞克霍伯根據史提夫艾爾頓的小說《The Trench》所改編而來。製片包含羅倫佐迪波納范圖拉（《巨齒鯊》、《大黃蜂》）和貝拉艾弗里（《巨齒鯊》、《魔鬼知道你死前》），而監製則包含傑森史塔森、凱特亞當斯、黎瑞剛、凱瑟琳徐俊英、吳京、E班奈特華許、艾瑞克豪森、傑洛德R莫倫和藍迪格林伯格。

加入導演班懷特利的幕後團隊包含攝影指導哈里斯傑姆巴羅庫斯（《貝爾法斯特》、《東方快車謀殺案》）、美術指導克里斯洛伊（《灰影人》、《007：生死交戰》），和剪輯師強納森阿莫斯（《玩命再劫》、《柏靈頓熊熊出任務》）。視覺特效總監由彼得貝布（《怪獸與牠們的產地》、《全面啟動》）擔綱，而服裝設計則是琳賽珀（《駭客任務：復活》、《超人前傳》）。配樂則是由哈利葛瑞森威廉斯（《巨齒鯊》、 《絕地救援》）負責。

IMDb

影片年份：2023

出 品 國：United States

出 品：Apelles Entertainment

發 行 商：華納兄弟

語 言：English

色 彩：color

音 效：Dolby

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⏩ 現在播放 👉👉 [MEG 2: THE TRENCH/巨齒鯊2：海溝深淵]

劇情簡介 : 新「牙」舊恨，凶惡巨物在《極悍巨鯊 2：深溝》(MEG 2: THE TRENCH) 中再開殺戒！華納兄弟暑假二度震撼回歸，比5年前叫好叫座的第一集，驚險刺激程度更 all in；上集型佬男主角積遜史達頓 (Jason Statham)、暨《殺破狼》動作巨星吳京，與多隻巨鯊世紀大對決，觀眾腎上腺素集體狂飈！他倆一起潛入未知水域，帶領一個大無畏的研究團隊探索海洋最深處。 衆人受到惡意採礦作業影響，導致潛行時極度凶險，更被迫跟多隻無情的巨齒鯊、巨型怪物、環境掠奪者較量，捲入連場高風險體能極限搏鬥，瀕臨生死邊緣⋯⋯

炭治郎完成首次任務斬殺沼澤鬼後，又接到任務前往淺草，途中他聞到當年家人被殺害時的殘留氣味，炭治郎終於和最初的鬼——鬼舞辻無慘——首次接觸，令炭治郎震驚無慘竟偽裝人類組成家庭。在那之後炭治郎結識與無慘對立的鬼珠世和愈史郎，但突然遭遇到無慘的刺客來襲，解除來襲危機後，炭治郎答應收集鬼的血液要求，與珠世建立起合作關係。

炭治郎接到新任務後，前往傳說中有吃人鬼存在的鼓鬼之家，接續遇見同期的隊士我妻善逸及嘴平伊之助，炭治郎在屋外發現兩個孩子表情十分恐慌，於是前來關心，原來他們的哥哥被惡鬼抓進屋內，為了救回被抓走的人類，進入屋裡的兩人，卻陷入包含十二鬼月「原下弦之陸」響凱在內幾個惡鬼為爭奪稀血而互相殘殺的大亂鬥完成任務後，善逸和伊之助加入炭治郎行列。在結識同伴我妻善逸和嘴平伊之助後，他們前去蜘蛛山支援與「下弦之伍」累的對戰。炭治郎在苦戰之際使出祖傳的呼吸法「火之神神樂」，以及禰豆子覺醒的血鬼術一度扭轉頹勢，最終在義勇助陣下取勝。

由於長期違反隊規帶著身為鬼的禰豆子一同行動，炭治郎被押送往產屋敷耀哉的宅邸進行審判，然而他們早已被產屋敷認可。炭治郎等人在恢復後接受特訓。隨後，炭治郎等人前往無限列車執行下一個任務。

這部動畫片的製片是照明娛樂創辦人和執行長克里斯梅勒丹德利以及任天堂的「瑪利歐之父」宮本茂。這部動畫片將由環球影業與任天堂共同出資製作，並由環球影業全球發行。

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TW-4K電影巨齒鯊2：海溝深淵免費線上看小鴨完整版

巨齒鯊2：海溝深淵 完整版2023免费在线试用。 巨齒鯊2：海溝深淵((MEG 2: THE TRENCH))電影 HD | 观看巨齒鯊2：海溝深淵在线电影2023 HD Free HD.720Px | 观看巨齒鯊2：海溝深淵在线电影2023 Free HD !! 巨齒鯊2：海溝深淵2023带有英语字幕，提供中文、英文、西班牙、法文、匈牙利文、德文的語言

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⏩ 現在播放 👉👉 [MEG 2: THE TRENCH/巨齒鯊2：海溝深淵]

劇情簡介 : 新「牙」舊恨，凶惡巨物在《極悍巨鯊 2：深溝》(MEG 2: THE TRENCH) 中再開殺戒！華納兄弟暑假二度震撼回歸，比5年前叫好叫座的第一集，驚險刺激程度更 all in；上集型佬男主角積遜史達頓 (Jason Statham)、暨《殺破狼》動作巨星吳京，與多隻巨鯊世紀大對決，觀眾腎上腺素集體狂飈！他倆一起潛入未知水域，帶領一個大無畏的研究團隊探索海洋最深處。 衆人受到惡意採礦作業影響，導致潛行時極度凶險，更被迫跟多隻無情的巨齒鯊、巨型怪物、環境掠奪者較量，捲入連場高風險體能極限搏鬥，瀕臨生死邊緣⋯⋯

炭治郎完成首次任務斬殺沼澤鬼後，又接到任務前往淺草，途中他聞到當年家人被殺害時的殘留氣味，炭治郎終於和最初的鬼——鬼舞辻無慘——首次接觸，令炭治郎震驚無慘竟偽裝人類組成家庭。在那之後炭治郎結識與無慘對立的鬼珠世和愈史郎，但突然遭遇到無慘的刺客來襲，解除來襲危機後，炭治郎答應收集鬼的血液要求，與珠世建立起合作關係。

炭治郎接到新任務後，前往傳說中有吃人鬼存在的鼓鬼之家，接續遇見同期的隊士我妻善逸及嘴平伊之助，炭治郎在屋外發現兩個孩子表情十分恐慌，於是前來關心，原來他們的哥哥被惡鬼抓進屋內，為了救回被抓走的人類，進入屋裡的兩人，卻陷入包含十二鬼月「原下弦之陸」響凱在內幾個惡鬼為爭奪稀血而互相殘殺的大亂鬥完成任務後，善逸和伊之助加入炭治郎行列。在結識同伴我妻善逸和嘴平伊之助後，他們前去蜘蛛山支援與「下弦之伍」累的對戰。炭治郎在苦戰之際使出祖傳的呼吸法「火之神神樂」，以及禰豆子覺醒的血鬼術一度扭轉頹勢，最終在義勇助陣下取勝。

由於長期違反隊規帶著身為鬼的禰豆子一同行動，炭治郎被押送往產屋敷耀哉的宅邸進行審判，然而他們早已被產屋敷認可。炭治郎等人在恢復後接受特訓。隨後，炭治郎等人前往無限列車執行下一個任務。

這部動畫片的製片是照明娛樂創辦人和執行長克里斯梅勒丹德利以及任天堂的「瑪利歐之父」宮本茂。這部動畫片將由環球影業與任天堂共同出資製作，並由環球影業全球發行。

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[sannoaudium]

「フォルテピアノで聴くドイツリートの愉しみ ～ ベートーヴェンからシューベルトへ」

2023年10��14日(土) 14時開演

ソプラノ:馬淵元子

フォルテピアノ: 上尾直毅

[yamayuandadu]

"Nine-headed hermit": the early history of Zhong Kui (and his sister)

Gong Kai's painting Zhongshan Going on Excursion, showing Zhong Kui, his sister and various demons during a journey (wikimedia commons) Zhong Kui is probably one of the most recognizable figures from Chinese mythology today and continues to star in novels, movies and other works. However, his modern image largely depends on sources the Ming and Qing periods. In this article, I’ll attempt to instead shed some light on some lesser known aspects of his earlier history. You will be able to learn why he was called a “nine headed hermit” despite having only one head, what he had to do with foxes, when his sister was portrayed as an exorcist like him, and more. As a bonus, I’ve included a brief summary of Zhong Kui’s reception in medieval Japan.

The earliest history of Zhong Kui

Zhong Kui’s history goes all the way back to the Zhou period (most of the first millennium BCE). A homophone of his name (鍾馗), zhongkui (終葵; also zhongzui, 終椎) at the time referred to a type of ritual mallet used to expel demons. During the Six Dynasties period first cases of this term (now written as 鍾馗 ori 鍾葵) being used as a personal name start to pop up. The purpose was most likely to confer the protection granted by such objects to a child just through their name. Numerous cases are attested, and it doesn’t seem the bearers of the moniker Zhong Kui can be distinguished by a specific origin, social class or even gender. The earliest possible reference to a specific supernatural being named Zhong Kui comes from the Taishang Dongyuan Shenzhou Jing (太上洞淵神咒經; “Scripture of the Divine Incantations of the Abyssal Caverns of the Most High”), a Daoist work possibly composed as early as in the fourth century. The oldest surviving copy of the passage concerning Zhong Kui has been identified in a copy from Dunhuang dated to 664. He appears in it as an assistant of king Wu of Zhou and Confucius (sic) who helps them subjugate ghosts and disease demons. It is not impossible that to the compilers of Taishang Dongyuan Shenzhou Jing Zhong Kui was only a stand-in for an exorcist, though, not a single well defined figure. There’s an eyewitness account of such specialists dressing up in leopard skins, painting their faces red and announcing they are Zhong Kui in another, slightly newer Dunhuang text. It specifies that many Zhong Kui exist, and that they answer to the “General of Five Paths”, an originally apocryphal Buddhist figure eventually canonized as one of the kings of hell (you can find an excellent article about him here). In any case, regardless of the clear evidence for ambiguous use of the term in earlier times, it is agreed Zhong Kui became a well defined figure by the end of the Tang period. That’s also when legends about his origin started to circulate.

The legend of Zhong Kui

A typical depiction of Zhong Kui as a Tang period official by the Qing period artist Lü Xue (wikimedia commons)

According to the most popular version of Zhong Kui’s origin story, he was a scholar from the Zhongnan Mountains who lived during the reign of Gaozu of Tang (reigned 618-626). He took part either in the imperial examination or the imperial military examination (that’s an ahistorical detail - it was established by Wu Zetian in 702), but failed. This detail is not elaborated upon further in early accounts, but by the Ming period it was attributed not to lack of skill but rather to prejudice against Zhong Kui’s physical appearance (he is fairly consistently described as dark-skinned, unusually tall, with a bulbous head and excessive facial hair). It’s possible that this new backstory was based in part on experiences of real officials of foreign origin, whose appearance was sometimes mocked by their peers, as already documented in Tang sources. Another possibility is that the descriptions were meant to be exaggerated to the point of making him resemble a demon, though. Either way, out of despair caused by failure Zjong Kui committed suicide by smashing his head against the steps leading to the imperial palace. However, since in his final words he swore to protect the emperor and his realm, he didn’t return as a vengeful ghost, but rather as a queller of malevolent supernatural entities. Alternatively, he took this role out of gratitude for Gaozu, who was saddened by his death and organized the burial worthy of an honored official for him. Note that in later plays which often serve as the basis for modern adaptations, the burial is typically arranged by a certain Du Ping (杜平), a friend of Zhong Kui from back home. Apparently a version in which the kings of hell are so impressed by Zhong Kui that they decide to make him the king of the ghosts also exists, though I was unable to track down its original source. In any case, he is associated with Mount Fengdu - one of the terms referring to the realm of the dead - in a poem by Song Wu (宋无; 1260–1340) already. He, or at least generic clerk figures based on his iconography, also sometimes appear in Song period paintings of the Ten Kings.

Several Zhong Kui-like clerks from a depiction of hell in Sermon on Mani's Teaching of Salvation (wikimedia commons)

According to Shih-shan Huang a single example of such a figure has even been identified in a Manichaean context, specifically in the scroll Sermon on Mani’s Teaching on Salvation.

Manichaean curiosities aside, supposedly the first person to be aided by Zhong Kui was emperor Xuanzong of Tang. At some point he fell gravely ill. In a dream, he saw a demon who attempted to steal a flute which was one of his most prized possessions. However, the attempt was foiled by a fearsome giant, who dealt with the thief rather brutally, poking out one of his eyes and then devouring him. After completing this act of demon quelling, he explained that he is Zhong Kui, and how he came to fulfill his current role. After waking up, Xuanzong felt healthy again. He was so impressed he commissioned Wu Daozi, arguably the most famous artist in China at the time, to prepare a painting of Zhong Kui which could be used as a talisman against any further supernatural issues. Supposedly it left quite the impression on the general populace, and soon numerous images of Zhong Kui started to be distributed as talismans. There is definitely a kernel of truth to this part of the legend, as eyewitness accounts of Wu Daozi’s painting exist, but the work itself is lost. As a side note, it’s worth pointing out the flute thief demon, despite meeting a gruesome end here, enjoyed a literary afterlife of his own. A certain Li Mingfeng (李鳴鳳), the author of a colophon on one of the earliest surviving Zhong Kui paintings, suggests that the (in)famous rebel An Lushan might have been a reincarnation of this specific entity. While I am not aware of any other attempts at providing him with a backstory, in Ming period retellings of the legend, he received a name, Xu Hao (虛耗).

Zhong Kui’s later career

Zhong Kui’s popularity grew after the Tang period, and he arguably eclipsed figures such as the fangxiang (方相) or the baize (��沢) as the demon queller par excellence. Legends about his origin and his first notable act of demon quelling which I summarized above spread far and wide during the reign of the Song dynasty. After becoming a well defined figure, Zhong Kui came to be most commonly classified as a ghost (鬼; gui). In texts from the Song and Yuan periods he is often labeled more specifically as a “big ghost” (大鬼, dagui) or “ghost hero” (鬼雄, guixiong). However, his popularity effectively made him a god in popular imagination, and as a matter of fact he is referred to as such. His divinity is not exactly conventional, though. This topic is addressed in Fu Lu Shou Xianguan Qinghui 福祿壽仙官慶會 (The Immortal Officials of Happiness, Wealth and Longevity Gather in Celebration) by the Ming playwright Zhu Youdun (朱有燉; 1379-1435). Zhong Kui says himself that unlike his peers, he has no festival to call his own, and receives no regular offerings - and yet, he still vanquishes malicious entities on behalf of humans as long as talismans showing him continue to be distributed.

Interestingly, despite his long career in texts, no images of Zhong Kui older than the thirteenth century are known. This is mostly a matter of selective preservation, though - we know that depictions of him existed as early as in the ninth century, and that they were mass produced, presumably as woodblock prints, in the tenth. However, he didn’t necessarily look similar to his modern depictions. He actually only came to be depicted as a Tang scholar in the Song period. It seems earlier his costume might have varied. One thing which seemingly remained consistent when it comes to Zhong Kui’s appearance is his facial hair. This feature is even emphasized in many of his epithets, such as “Old Beard” (老髯, Lao Ran), “Bearded Elder” (髯翁, Ran Wong) or “Bearded Lord” (髯君, Ran Jun). It’s possible that this was initially a way to highlight his vitality and his opposition to disease-causing demons. Tang and Song sources indicate the state of facial hair could be viewed as an indicator of health. There’s even a handful of peculiar anecdotes about certain emperors, like Taizong of Tang or Renzong of Song, believing their facial hair has supernatural healing powers and offering ailing courtiers concoctions in which it was one of the ingredients. There’s no evidence Zhong Kui’s hair was ever believed to serve a similar purpose, though. Not all of Zhong Kui’s titles revolve around his beard, though. An interesting example is “Nine-Headed Hermit” (九首山人). The intent isn’t to imply he has nine heads, it’s a multilayered pun instead. The character 馗 in Zhong Kui’s name is a combination of 九, “nine”, and 首, “head”. Referring to him as a “hermit”, literally “man of the mountain”, is likely supposed to show that he traverses areas traditionally believed to be inhabited by demons.

The nine-headed snake Xiangliu (wikimedia commons)

Chun-Yi Tsai suggests that this title also highlights Zhong Kui’s physical prowess by implicitly evoking “a nine-headed serpent known for its tremendous strength in Guideways through Mountains and Seas” (presumably Xiangliu).

Zhong Kui’s strength lets him punish his enemies in various unexpectedly creative ways. The earliest sources already mention he could grind vanquished demons in a mill, for instance. References to eating them are particularly common. Depending on the source, Zhong Kui might simply devour them whole, hunt and prepare them like game animals, chop them up to pickle them, mince them to prepare meat snacks, squeeze them to make juice and wine, and so on. Such comedically gruesome descriptions are generally limited to textual sources, since violence was rarely depicted in other mediums, even in relation to military topics. Wu Daozi’s lost painting was apparently one of the exceptions, as according to a tenth century description it showed Zhong Kui gouging out the eyes of the captured demon.

Zhong Kui’s sister and other assistants

While Zhong Kui is often depicted in the company of nondescript demons, there are relatively few recurring figures associated with him. The main exception is his sister. The Song period painter Gong Kai (龔開) and his contemporary Li Mingfeng (李鳴鳳) simply refer to her as Amei (阿妹), literally “younger sister”, though here it’s apparently a personal name, following Chun-yi Tsai’s interpretation. Her origin is unknown, and she is not present in any of the early variants of the legend. 

Zhong Kui Marrying Off His Sister (wikimedia commons)

Today Zhong Kui’s sister is known chiefly from works of art in various mediums which can be broadly subsumed under the label “Zhong Kui marrying off his sister” (鍾馗嫁妹, Zhong Kui jiamei) which proliferated through the Ming and Qing periods. This label is sometimes applied to earlier paintings too, for example Zhong Kui Marrying Off His Sister (鍾馗嫁妹圖, Zhong Kui jiamei tu) is the conventional modern title of a scroll attributed to the poorly known painter Yan Geng (顏庚). A colophon from the Ming period describing this work calls the figure presumed to be Zhong Kui’s sister Ayi (阿姨; an informal way to refer a maternal aunt) as opposed to Amei. Chun-yi Tsai states it is not impossible that the woman is supposed to be Zhong Kui’s wife, rather than his sister, though. The painting can be dated to the Yuan period, and there is no evidence for the story of Zhong Kui marrying off his sister before the Ming plays - granted, it is not impossible that it was already in circulation earlier. Still, other paintings showing Zhong Kui marrying off his sister only date to the Qing period. Additionally, the procession might be a parody of paintings showing rural marriages or couples moving to a new house. 

While as far as I am aware this eventually went out of fashion, in early sources Zhong Kui’s sister could be portrayed as an exorcist herself. An example can be found in one of the sermons of the Chan monk Yuanwu (圓悟; 1063–1135), in which he states that celebrations on the “Double Fifth” (端午節, duanwu jie) - the fifth day of the fifth month - involved a dance of “Zhong Kui and his little sister”. A reference to performers dressed up as the pair (as well as kings of hell, gods of soil and stove, various warrior deities and more) has alsobeen identified in an account of celebrations in Kaifeng from the end of the reign of the Northern Song dynasty.

Similar evidence can be found in art too. For example, Zheng Yuanyou (鄭元祐; 1292-1364) in a poem inspired by a painting titled Zhong Kui’s Sister (馗妹圖; as far as I am aware, this work has not been identified) states that she travels alongside her brother, that she’s armed with a sword, and that demons fear her. A related portrayal of her is known from a critical review of the works of Si Yizhen (姒頤真), a Song dynasty painter. According to Gong Kai, in one of his paintings she is shown in tattered (or unbuttoned - the term used, 披襟, can mean both) clothes, and chases away a boar attacking her brother. He was evidently not fond of this innovation, and criticizes it as “vulgar” and inappropriate. It needs to be stressed that Gong Kai’s displeasure wasn’t necessarily tied to presenting Zhong Kui’s sister as a demon queller, though. In fact, he is actually the author of the most famous work portraying her in this role. 

Gong Kai's take on Zhong Kui's sister and her attendants (wikimedia commons; cropped for the ease of viewing)

Gong Kai depicted Amei in unusual black makeup, which is also worn by female demons accompanying her (note the one carrying a kitty!). This might be a parody of the sanbai (三白; “three whites”) face painting popular in the Song period. She and her attendants wear robes decorated with depictions of the “five poisons” (五毒), a term referring to animals perceived as particularly dangerous and inauspicious. The exact list varies, though centipedes, scorpions and snakes in particular are mainstays. The five poisons are directly associated with Zhong Kui, as he can be invoked to ward them off. Direct evidence first appears in the Qing period in accounts of the well known Dragon Boat Festival, but it’s not impossible this was an earlier development.

It is presumed that Gong Kai’s painting might depict Zhong Kui and Amei looking for a demonic version of Yang Guifei, as indicated by various hints in colophons. Her portrayals in art are quite diverse, but attributing demonic traits to her would be hardly unparalleled - she could even be described as a “palace demon” (宮妖, gong yao). The decline of the Tang dynasty was blamed on her, and metaphorically she might have been invoked to criticize other people believed to improperly use the power granted to them by the imperial court.

Gong Kai’s painting also depicts a less recurring member of Zhong Kui’s entourage. One of the demons carries a fox, specifically a nine-tailed specimen. The association between this animal and Zhong Kui goes all the way back to the early Tang period. In one of the Dunhuang manuscripts, the demon queller’s entourage includes a nine-tailed fox and a baize, who acted as bringers of good luck alongside him. It’s also worth pointing out that in another text from the same site, his mount during the hunt for a wangliang (魍魎; I will likely cover this entity a future article, stay tuned) is a “wild fox”. Chun-Yi Tsai attributes the inclusion of a nine-tailed fox among Zhong Kui’s servants as a “family pet” of sorts to the portrayals of this supernatural creature both as an apotropaic antidote to poison (including the five poisons) and as a demon in its own right. It would be a suitable member of Zhong Kui’s entourage both as a conquered malevolent being and as an amplifier for his exorcistic, protective power. A further possibility is that the association is the result of wordplay. A new year celebration involving a procession of people dressed up as members of Zhong Kui’s entourage, including his sister and various supernatural attendants, was known as dayehu (打夜胡). The homphony between 胡 and 狐, “fox”, might have resulted in the inclusion of the animal among the helpers.

Post scriptum: Zhong Kui in Japan

Zhong Kui, as depicted in Extermination of Evil (wikimedia commons)

Zhong Kui - or rather Shōki, following the Japanese reading of his name - probably reached Japan in the Insei period. Many other figures originating in China reached a considerable degree of popularity in Japan at roughly the same time - Taishan Fujun, Siming, Wudao Dashen, Pangu, Shennong, the examples keep piling up.

The oldest known Japanese depiction of Zhong Kui, which you can see above, is a painting from the twelfth century set known as Extermination of Evil. It might look a bit outlandish compared to most of the other depictions shown through this article, but I was able to locate a very close Chinese parallel:

A Yuan period depiction of Zhong Kui from the collection of the Beijing Library, via Richard von Glahn’s Sinister Way. Reproduced here for educational purposes only.

This is a Yuan period illustration said to be based on Wu Daozi’s painting. Zhong Kui doesn’t look like a Tang scholar yet, and the jacket and wide-brimmed hat are remarkably similar. It seems safe to assume that the Japanese painter was following a similar model - presumably one of the many now lost early depictions of Zhong Kui. Slightly antiquated iconography surviving far away from the core area associated with a specific figure would hardly be unparalleled - it has been recently suggested that the baize/hakutaku is a similar case, with Japanese depictions and descriptions matching Tang sources fairly closely, but missing the elements which developed in the Song period or later. For the most part, Zhong Kui fulfilled a similar role in Japan as in China: he was regarded as a fearsome demon queller, and images representing him were distributed for apotropaic purposes. However, it’s also important to note that there were certain innovations. He arrived in Japan at the brink of the middle ages - theologically speaking an era of unparalleled innovation, during which both native and imported figures were interpreted in unexpected ways, leading to the rise of a new “medieval mythology”. Zhong Kui was hardly an exception from this trend. A “medieval myth” involving Zhong Kui is known from Hoki Naiden (ほき内伝; “Inner Tradition of the Square and the Round Offering Vessels”), an onmyōdō treatise traditionally attributed to Abe no Seimei, but most likely written by one of his descendants in the fourteenth century. Curiously, Zhong Kui’s name is written in it as 商貴 instead of the expected 鍾馗.

Tenkeisei (wikimedia commons)

In the Hoki Naiden, Zhong Kui is still a queller of malevolent supernatural beings. However, instead of being a scorned scholar, he is a yaksha who became the ruler of Rājagṛha, a city in India. He is said to correspond to both the medieval Japanese deity Gozu Tennō (牛頭天王), and to his celestial “double” Tenkeisei (天刑星; from Chinese Tianxingxing), the “star of heavenly punishment” (I covered him here). They are said to be his manifestations respectively on earth and in heaven. This equation might seem random at first glance, but both of them actually had a lot in common with Zhong Kui: all three were believed to keep demons, especially those causing diseases, in check. Curiously, the reinterpretation of Zhong Kui as a yaksha turned king can also be found in the Genkō Shakusho (元亨釈書), a Kamakura period Buddhist history book. However, I am not aware of any studies examining it in more detail. I assume identifying him as a yaksha was a result of association with Gozu Tennō (I briefly discussed his yaksha credentials here), rather than the other way around, though.

While Hoki Naiden ultimately pertains more to medieval than modern religion, it’s worth noting that an unconventional take on Zhong Kui is still part of an extant tradition. Through history, Zhong Kui could be identified as a dōsojin (道祖神). This term denotes a class of deities meant to protect roads, crossroads and borders of villages. In parts of the Niigata prefecture this form of him is sometimes referred to as Shōki Daimyōjin (鍾馗大明神) today.

Bibliography

Joshua Capitanio, Epidemics and Plague in Premodern Chinese Buddhism

Bernard Faure, Rage and Ravage (Gods of Medieval Japan vol. 3)

Richard von Glahn, The Sinister Way: The Divine and the Demonic in Chinese Religious Culture

Shih-shan Susan Huang, Picturing the True Form. Daoist Visual Culture in Traditional China

Wilt Idema & Stephen H. West, Zhong Kui at Work: A Complete Translation of The Immortal Officials Of Happiness, Wealth, and Longevity Gather in Celebration , by Zhu Youdun (1379–1439)

Chun-Yi Joyce Tsai, Imagining the Supernatural Grotesque: Paintings of Zhong Kui and Demons in the Late Southern Song (1127-1279) and Yuan (1271-1368) Dynasties

[madamemachikonew]

This is an old fluffy chapter from my Enjou x fem Reader fic, The Lies of Handsome Men. But since it's Tanabata I'm giving it a bump.

This chapter is SFW but be warned that some chapters of the fic are R18 only.

Enjou sat in the shade of the tree outside his cabin reading a book, his yukata open at the chest while he lazily fanned himself. While he loved the summer heat, the Inazuma humidity was a little unpleasant for his tastes. Still, he’d take it any day over the severe winters that would blow through with their incessant rain and lightning. He yawned and then lay back in the soft grass, resting his forearm across his brow. A nice little nap would go down a treat while he caught some rays.

He later awoke to the sensation of you gently petting his head. As his eyes cracked open, he saw you sitting on the grass by his side, peering down at him with a soft smile. He smiled back up at you in recognition. You leaned down and planted a sweet kiss on his mouth. He laid a hand on the back of your head to keep you there a moment while he indulged in your affections. After a moment, you gently broke away and he suddenly realised that the sun was going down.

“Oh, I must have been out for ages.” he said hazily as he started to sit up.

You laughed softly and said, “It’s time to get ready, darling.”

He smiled and nodded as he rose to his feet and you both went into the cabin to freshen up for your outing into Inazuma City for the Tanabata festival. Because this wasn’t a shrine festival per se, the two of you could dress up and fully immerse yourselves in the atmosphere. Enjou wore an indigo cotton yukata with a coloured firework pattern dyed onto it, making him look very elegant despite its casual style. You decided to opt for a refreshing white yukata, with peach and yellow peonies and a contrasting turquoise obi. After carefully styling your hair, you applied some fancier make-up than usual. Once Enjou had locked the house, he gave your cheek a light kiss, making you glow with a warm blush which made him chuckle in turn.

As you walked together, hand in hand and swinging your kinchaku bag with every step, you explained the origins of the festival to Enjou.

“You see, it’s actually based on a legend from Liyue, about two unfortunate lovers, Orihime and Hikoboshi. Orihime was the daughter of Tentei, the Sky King, and she spent her days weaving beautiful cloth on the banks of the Milky Way which flowed like a river. But because she worked all the time, she got sad because she thought she’d never be able to meet someone and fall in love. Her father decided to arrange a meeting with Hikoboshi, a cowherd who lived on the opposite side of the Milky Way. It was love at first sight and they got married, but because they were spending all their time together, they neglected their work. So her father separated them again.”

“That’s a little unjust.” said Enjou, with a frown, “He got them together to begin with. Did he want her to be happy or not?”

“Right? But of course, they were so in love that instead of resuming their work, they simply got depressed and started pining for one another. So, eventually, Tentei promised Orihime that they could meet for one night a year if they worked hard. So every year, they meet in the sky on Tanabata.”

“What a terribly cruel existence.” replied Enjou.

“Mm. And to make matters worse, if it ever rains on Tanabata, the legend says they can’t meet.”

“The legend inflicts more misery on them? Haven’t they suffered enough?”

“Well, the first time they tried to meet, there wasn’t any bridge over the river so they couldn’t cross it. Orihime cried so much that a flock of magpies offered to form a bridge so she could be reunited with her husband. If it rains, that means the water will rise too high for them to make a bridge, so they have to wait another year to meet.”

“You mean her father would make them wait a whole year rather than simply shifting the date to a day it wasn’t raining? Utter tyranny. And this is celebrated as being romantic? A festival for lovers?”

“Yes. It’s considered peak devotion and constancy. The festival is to celebrate their reunion.”

He shook his head in bewilderment.

“I suppose I’ll never fully understand Inazuman customs.” he muttered.

The streets of Inazuma City were lined with food stalls to feed the hungry crowds; grilled meat and squid on skewers, castella cakes, taiyaki, okonomiyaki, yakisoba, karaage, takoyaki, and of course plenty of ice cold beer and brightly coloured sparkling ramune. The two of you strolled from stall to stall, enjoying an array of food and snacks with some bottles of beer.

Outside each store was a display with tall bamboo branches decorated with festive paper chains and little paper tags which fluttered and spun in the evening breeze as they proudly declared everyone’s wishes for the future. Some more stalls were selling souvenirs, pinwheels and festival masks. You picked out a white fox mask, its features hand-painted in red, black and gold. Enjou picked out a black one for himself. You wore yours at a slant on the side of your head, whereas Enjou wore his over his face, playfully enjoying the idea of roaming incognito among the populace, as if he didn’t already technically do that every single day. And yet, a familiar voice cut through the crowd as you passed the kitsune ramen stand.

“Ah, good evening Enjou san. So nice to see a pair of lovers out on Tanabata.”

You turned to see Yae Miko seated on a high stool enjoying a bowl of ramen. Had you been able to see Enjou’s eyes properly, you would have seen that they were wide with surprise at having been recognised. He was momentarily speechless, making Yae Miko laugh elegantly behind her hand, a set of chopsticks in the other.

“How did you-?” he stammered.

“Did you honestly think that I wouldn’t know your true face under that mask. Or indeed any mask for that matter?”

She stooped over her bowl and slurped the noodles nonchalantly. By now you were well-accustomed to her teasing suggesting she knew about his Abyssal nature, so it did not bother you in the same way it used to. She clearly had no ambitions to lose good revenue if Enjou wasn’t causing any trouble. Of course, that didn’t mean that she didn’t enjoy watching people squirm. But ultimately, she decided to put him out of his misery on this occasion.

“I recognised your sweetheart.”

Enjou let out a gentle sigh as he relaxed a little.

She added, “Have you made your wishes yet?”

“Erm, not yet.” you replied, “We thought we’d take in the atmosphere a little first.”

“Well don’t leave it too late, or the night will be over and you’ll miss your chance.” she sang.

You both smiled as you excused yourselves and bid her good evening. As the two of you strolled, you stopped by the Ogura Textile shop, browsing their summer hairpins and other seasonal accessories, like fans and decorative obidome. Enjou helped you pick out a pretty kanzashi with handmade silk flowers. After he had paid, he wore a look of supreme contentment and pride as he slid it into your hair. The admiration was clear in his eyes as he looked at the woman he prized above all else, looking so radiant and happy. And all because of him. Ogura Mio discreetly pretended to rearrange the displays with a smile so as not to impinge on this lovers’ moment. But before the two of you left, she cheerfully called out to you.

“Ah! Before you go, would you like to add a tanzaku to the wish tree?”

She gestured to the colourful yet elegant bamboo display, which had been reserved for the wishes of her customers.

“That would be lovely!” you replied enthusiastically.

She offered you both a box containing strips of paper, so you could select which colour you both wanted. But that was the easy part. As you both stood, with calligraphy brushes in hand, the two of you hummed in contemplation as to which wish to declare. It felt strangely selfish to write a wish, and you felt self-conscious because it would be on display, even if nobody would know it was yours. And yet, writing something altruistic felt insincere and performative.

“Hmm…” you said, lightly tapping the handle of the brush against your cheek pensively.

Enjou was similarly stuck for inspiration. Truthfully he had all he wanted for now. But after a moment, his brush started to move across the little slip. Seeing his inspiration, you decided to write down the only thing that you really wanted.

With an excited flutter in your tummy, you both tied your wishes to the rustling branches of bamboo using a piece of silk thread. Enjou gave you a mischievous smile as he tried to peek at your wishing slip, making you blush and cover it protectively with your hands.

“Hey!” you whined playfully, making him chuckle.

In the end you relented and let him look, as you read his tanzuki in turn. Each one putting the needs of the other first, you had both wished for each other’s happiness. That was all that either of you really wanted in order to be happy yourselves. Enjou’s face brightened with a soft, but satisfied smile as he read your wishing slip before he looked over at you, then planted an affectionate kiss on your cheek, before wrapping his arm snugly around your waist as you left the store together.

On the walk out of the city, you stopped by Naganohara’s firework shop to pick up some sparklers. Enjou was unfamiliar with them, but they were a fun summer tradition of your childhood that you thought he might enjoy. You used to play a game where you and some friends would all light the sparklers at the same time, and whoever’s one remained alight the longest won. There was never any prize to speak of beyond bragging rights or maybe some snacks. But it was innocent fun and a magical way to while away an evening together.

You and Enjou found a quiet spot on the beach to sit down. Across the water, you could both see Amakane Island, where the larger firework festival would be held later in the summer. With a snap of his fingers and a contented smile, he produced a flame from which to light the sparklers. As they fizzed and crackled, they illuminated both your smiles. When the sparkle started to make its way down to the bottom of the stick you both started cheering on your own one until finally, Enjou’s was the first to go out. Both of you laughed at your little game as he put an arm around you and drew you close, gazing into your eyes with a warm smile. Holding your cheek with a gentle touch, he leaned in and pressed the most tender kiss to your mouth, one which conveyed a sincere and earnest love. His lips moved slowly and sensuously against yours as he held the kiss as long as he could, taking his time to pour all of his heart into it. When he finally pulled back, he rubbed your soft cheek with the pad of his thumb as his eyes searched yours, as if looking for something. His lips parted slightly, as if hesitating to say the next words, and a small frown creased the space between his eyebrows.

“My love…if...if ever we need to part one day, I promise I’ll do everything I can to come back to you. Even if it’s just for one night of the year on Tanabata. And I wouldn’t let a shower of rain stop me either. Not even the Electro Archon would be able to stop me.”

Despite his sad and somewhat fatalistic words, you smiled for him.

“I know you would, my darling. And even if something prevented you from getting back, I’d never think it was because you’d abandoned me.”

He smiled weakly and gave you a faint nod in agreement before leaning in to kiss you again, this time a little more passionately, letting his tongue slowly and deeply entwine with yours. You flinched slightly as a raindrop hit your face, causing you both to look skywards.

“Oh no...” you said softly, seeing that the stars had become obscured by thick clouds.

Enjou smiled. “Perhaps Orihime made it over to meet him earlier tonight, but now the river’s too high for her to go back to her father.”

You laughed softly at his optimism. It was a nice way of thinking about it.

“Let’s get home before it gets heavier.” he said, quickly rising to his feet and holding his hand out to help you up.

With hasty steps, the two of you made your way back up the mountain to spend the night in each other’s embrace.

[fuyaho]

パロディ

元ネタは逃げ上手の若君

[kennak]

今回の報告書で「消滅可能性自治体」とされた自治体は、以下の通り。 【北海道】 函館市、小樽市、釧路市、夕張市、岩見沢市、網走市、留萌市、稚内市、美唄市、芦別市、赤平市、紋別市、士別市、三笠市、根室市、砂川市、歌志内市、深川市、富良野市、登別市、伊達市、北斗市、当別町、新篠津村、松前町、福島町、知内町、木古内町、鹿部町、森町、八雲町、長万部町、江差町、上ノ国町、厚沢部町、乙部町、奥尻町、今金町、せたな町、島牧村、寿都町、黒松内町、京極町、共和町、岩内町、泊村、神恵内村、、積丹町、古平町、余市町、赤井川村、南幌町、奈井江町、上砂川町、由仁町、長沼町、栗山町、月形町、妹背牛町、雨竜町、北竜町、沼田町、当麻町、比布町、愛別町、上川町、上富良野町、和寒町、剣淵町、美深町、音威子府村、幌加内町、増毛町、小平町、苫前町、羽幌町、遠別町、浜頓別町、中頓別町、枝幸町、豊富町、利尻町、美幌町、津別町、清里町、小清水町、訓子府町、佐呂間町、遠軽町、湧別町、滝上町、西興部村、雄武町、大空町、豊浦町、白老町、洞爺湖町、むかわ町、日高町、平取町、浦河町、様似町、えりも町、新ひだか町、士幌町、広尾町、池田町、豊頃町、本別町、浦幌町、釧路町、厚岸町、浜中町、標茶町、弟子屈町、白糠町、羅臼町 【青森県】 青森市、弘前市、八戸市、黒石市、五所川原市、十和田市、むつ市、つがる市、平川市、平内町、今別町、蓬田村、外ヶ浜町、鰺ヶ沢町、深浦町、藤崎町、大鰐町、板柳町、鶴田町、中泊町、野辺地町、七戸町、横浜町、東北町、六ヶ所村、大間町、東通村、風間浦村、佐井村、三戸町、五戸町、田子町、南部町、階上町、新郷村 【岩手県】 宮古市、大船渡市、久慈市、遠野市、一関市、陸前高田市、釜石市、二戸市、八幡平市、奥州市、雫石町、葛巻町、岩手町、西和賀町、平泉町、住田町、大槌町、山田町、岩泉町、田野畑村、普代村、軽米町、野田村、九戸村、洋野町、一戸町 【宮城県】 石巻市、気仙沼市、白石市、角田市、登米市、栗原市、蔵王町、七ヶ宿町、村田町、川崎町、丸森町、松島町、七ヶ浜町、大郷町、色麻町、加美町、涌谷町、女川町、南三陸町 【秋田県】 能代市、横手市、大館市、男鹿市、湯沢市、鹿角市、由利本荘市、潟上市、大仙市、北秋田市、にかほ市、仙北市、小坂町、上小阿仁村、藤里町、三種町、八峰町、五城目町、八郎潟町、井川町、大潟村、美郷町、羽後町、東成瀬村 【山形県】 鶴岡市、酒田市、新庄市、上山市、村山市、長井市、尾花沢市、山辺町、中山町、河北町、西川町、朝日町、大江町、大石田町、金山町、最上町、舟形町、真室川町、大蔵村、鮭川村、戸沢村、高畠町、川西町、小国町、白鷹町、飯豊町、庄内町、遊佐町 【福島県】 会津若松市、白河市、喜多方市、二本松市、田村市、伊達市、桑折町、国見町、川俣町、天栄村、下郷町、檜枝岐村、只見町、南会津町、北塩原村、西会津町、猪苗代町、会津坂下町、三島町、金山町、会津美里町、泉崎村、棚倉町、矢祭町、塙町、鮫川村、石川町、玉川村、平田村、浅川町、古殿町、三春町、小野町 【茨城県】 日立市、常陸太田市、高萩市、北茨城市、潮来市、常陸大宮市、稲敷市、桜川市、行方市、鉾田市、城里町、大子町、美浦村、河内町、八千代町、五霞町、利根町 【栃木県】 日光市、矢板市、那須烏山市、益子町、茂木町、市貝町、塩谷町、那珂川町、 【群馬県】 桐生市、沼田市、渋川市、藤岡市、富岡市、安中市、上野村、神流町、下仁田町、南牧村、甘楽町、中之条町、長野原町、嬬恋村、草津町、東吾妻町、片品村、みなかみ町、玉村町、板倉町 【埼玉県】 行田市、秩父市、越生町、小川町、川島町、吉見町、鳩山町、ときがわ町、横瀬町、皆野町、長瀞町、小鹿野町、東秩父村、神川町、寄居町、松伏町 【千葉県】 銚子市、勝浦市、富津市、八街市、南房総市、匝瑳市、香取市、山武市、いすみ市、栄町、神崎町、多古町、東庄町、九十九里町、芝山町、横芝光町、白子町、長柄町、長南町、大多喜町、御宿町、鋸南町 【東京都】 檜原村、奥多摩町 【神奈川県】 三浦市、中井町、山北町、箱根町、真鶴町、湯河原町 【新潟県】 小千谷市、加茂市、十日町市、村上市、糸魚川市、妙高市、五泉市、阿賀野市、佐渡市、魚沼市、胎内市、田上町、阿賀町、出雲崎町、湯沢町、津南町、関川村、粟島浦村 【富山県】 氷見市、南砺市、上市町、入善町、朝日町 【石川県】 七尾市、輪島市、珠洲市、加賀市、羽咋市、志賀町、宝達志水町、穴水町、能登町、 【福井県】 大野市、勝山市、あわら市、池田町、南越前町、越前町、高浜町、若狭町 【山梨県】 都留市、大月市、韮崎市、上野原市、甲州市、早川町、身延町、南部町、富士川町、道志村、西桂町 【長野県】 大町市、飯山市、小海町、佐久穂町、立科町、長和町、阿南町、阿智村、平谷村、天龍村、上松町、南木曽町、王滝村、大桑村、木曽町、生坂村、筑北村、小谷村、坂城町、高山村、山ノ内町、木島平村、信濃町、小川村、飯綱町、栄村 【岐阜県】 美濃市、瑞浪市、恵那市、山県市、飛騨市、郡上市、下呂市、海津市、養老町、関ケ原町、揖斐川町、池田町、七宗町、八百津町、白川町、東白川村 【静岡県】 熱海市、下田市、伊豆市、御前崎市、牧之原市、東伊豆町、松崎町、西伊豆町、川根本町 【愛知県】 津島市、新城市、南知多町、美浜町、設楽町、東栄町、豊根村 【三重県】 尾鷲市、鳥羽市、熊野市、志摩市、木曽岬町、大台町、度会町、大紀町、南伊勢町、紀北町、御浜町、紀宝町 【滋賀県】 高島市、甲良町 【京都府】 宮津市、京丹後市、井手町、宇治田原町、笠置町、和束町、南山城村、京丹波町、与謝野町 【大阪府】 富田林市、河内長野市、柏原市、門真市、泉南市、阪南市、豊能町、能勢町、岬町、太子町、河南町、千早赤阪村 【兵庫県】 洲本市、西脇市、加西市、養父市、朝来市、宍粟市、多可町、市川町、神河町、上郡町、佐用町、香美町、新温泉町 【奈良県】 大和高田市、五條市、御所市、宇陀市、山添村、安堵町、三宅町、曽爾村、御杖村、高取町、上牧町、河合町、吉野町、大淀町、下市町、黒滝村、野迫川村、十津川村、下北山村、上北山村、川上村、東吉野村 【和歌山県】 海南市、橋本市、有田市、御坊市、田辺市、新宮市、紀の川市、紀美野町、かつらぎ町、九度山町、高野町、湯浅町、広川町、美浜町、由良町、みなべ町、日高川町、白浜町、すさみ町、那智勝浦町、太地町、古座川町、串本町 【鳥取県】 岩美町、若桜町、智頭町、八頭町、大山町、日南町、日野町、江府町 【島根県】 雲南市、奥出雲町、津和野町、隠岐の島町 【岡山県】 玉野市、笠岡市、井原市、高梁市、新見市、備前市、真庭市、美作市、久米南町、吉備中央町 【広島県】 竹原市、府中市、安芸高田市、江田島市、安芸太田町、神石高原町 【山口県】 萩市、長門市、美祢市、周防大島町、上関町、田布施町、平生町、阿武町 【徳島県】 鳴門市、小松島市、吉野川市、阿波市、美馬市、三好市、勝浦町、佐那河内村、神山町、那賀町、牟岐町、美波町、海陽町、上板町、つるぎ町、東みよし町 【香川県】 さぬき市、東かがわ市、土庄町、琴平町 【愛媛県】 宇和島市、八幡浜市、大洲市、四国中央市、西予市、上島町、久万高原町、内子町、伊方町、松野町、鬼北町、愛南町 【高知県】 室戸市、安芸市、須崎市、宿毛市、土佐清水市、四万十市、東洋町、奈半利町、田野町、安田町、北川村、本山町、大豊町、いの町、仁淀川町、中土佐町、佐川町、越知町、檮原町、日高村、津野町、四万十町、大月町、三原村、黒潮町 【福岡県】 嘉麻市、小竹町、鞍手町、東峰村、添田町、川崎町、みやこ町、築上町 【佐賀県】 多久市、玄海町、大町町、白石町、太良町 【長崎県】 平戸市、松浦市、対馬市、壱岐市、五島市、西海市、雲仙市、南島原市、東彼杵町、小値賀町、新上五島町 【熊本県】 水俣市、上天草市、天草市、美里町、和水町、小国町、産山村、高森町、山都町、氷川町、芦北町、津奈木町、多良木町、湯前町、相良村、山江村、球磨村、苓北町 【大分県】 佐伯市、臼杵市、津久見市、竹田市、杵築市、豊後大野市、国東市、姫島村、九重町、玖珠町 【宮崎県】 串間市、えびの市、高原町、国富町、諸塚村、椎葉村、美郷町、高千穂町、日之影町 【鹿児島県】 枕崎市、阿久根市、西之表市、垂水市、曽於市、南九州市、三島村、さつま町、湧水町、錦江町、南大隅町、肝付町、大和村、喜界町、天城町

【全744自治体リスト】「消滅可能性自治体」を一挙公開…北海道から鹿児島まで　出産年代の女性人口が半数以下に　日光市や草津町も　　｜FNNプライムオンライン

[tokyonow]

(Season2の主演は市原隼人に決定！『WOWOW×テレビ東京 共同製作連続ドラマ ダブルチート 偽りの警官 Season2』6月29日より放送・配信スタート - Tokyo Nowから)

[lets-take-a-break]

西原郵便局　Nishihara Post Office

北海道上川郡剣淵町　Kembuchi-cho, Kamikawa-gun, Hokkaido, Japan

2023/08