#���キstyle

[daily-hyosatsu]

Not a name today, but a beautiful soap design! And it smells very nice too :)

喜 means joy, to rejoice, or to take pleasure in. It’s read よろこ.ぶ, よろこ.ばす, or キ. The radicals are 十 ten, 豆 bean, and 口 mouth. Because what makes you happier than 10 beans in your mouth?

Double the 喜 and you get 囍, a common ornamental or calligraphy design in China. It's particularly common as a symbol of marriage, where the two 喜s represent the bride and groom. There are some beautiful examples even just on Wikipedia...

It also appears in a more abstracted style, like this.

And once you start to recognize that, you might notice it everywhere!

The character 囍 does not *technically* exist in Japanese, but it's referred to as 双喜 [そうき], literally, "double happiness," so it can, at least on paper, be read そうき or キ.

[tokidokitokyo]

埼玉県

Japanese Prefectures: Kantō - Saitama

都道府県 (とどうふけん) - Prefectures of Japan

Learning the kanji and a little bit about each of Japan’s 47 prefectures!

Kanji・漢字

埼　さき、さい、みさき、キ　cape, spit, promontory

玉　たま、～だま、ギョク　jewel, jade; ball

県　ケン　prefecture

関東　かんとう　Kanto, region consisting of Tokyo and surrounding prefectures

Prefectural Capital (県庁所在地) : Saitama City (さいたま市)

Saitama is Tokyo's neighbor to the north. Much of southeastern Saitama is considered a suburb of Tokyo, but the western parts are mostly rural with mountainous forested areas, and include a castle town and the Chichibu-Tama-Kai National Park. Saitama has historically been a fertile agricultural region and is currently the major food supplier for the metropolitan area of Greater Tokyo. Some of the first currency in Japan came from copper discovered in the Chichibu area in the 8th century. Saitama's central location has made it a historical hub for transportation to all parts of Eastern Japan, and the modern radial roads and railroad system are designed for ease of transportation to all parts of Japan. Saitama is also the backdrop to the famous Miyazaki Hayao (Studio Ghibli) film "My Neighbor Totoro."

Recommended Tourist Spot・おすすめ観光スポット Kawagoe - 川越

Kawagoe

The Edo-period castle town of Kawagoe is also known as Ko-edo (小江戸 or "Little Edo") because of its many traditional buildings dating from the Edo period. The streets have been maintained as-is since the Edo period (1603-1867). The weekends are the most popular times for visitors to gather here and experience the atmosphere, shops, and popular seasonal events. In the third week of October, the Kawagoe Festival is held with a parade of traditional ornate floats and a musical competition.

The Warehouse District is lined with old earthen storehouses, which are unique two-story buildings that have remained unchanged since the days when the city was a major transportation and commerce hub for Eastern Japan. The Toki no Kane, or "Bell of Time," has marked time for the town for centuries, and continues to ring four times daily. Candy Street is a street lined with stores where traditional Japanese sweets are made in the old-fashioned way.

For more recent history, the Taisho-Roman Street has old, retro western-style buildings from the Taisho and Showa areas. There are also no overhead power lines, which makes this a popular spot to shoot many Japanese period films set in these eras.

There are severable notable temples and shrines in Kawagoe, especially Kitain Temple, which was built over 1,000 years ago. This temple has 538 stone statues of Buddha, each with its own face and unique posture. No two statues look alike, and the popular belief is that there is a statue to resemble any visitor to the temple. Kawagoe Hikawa-jinja Shrine is a Shinto shrine dating back to the 6th century that boasts a torii shrine gate that is 15 metres tall. Kawagoe Kumano-jinja Shrine has fortunes, lucky charms, and also boasts the "stepping health road," which is a path to walk barefoot to stimulate the acupuncture points on the soles of your feet for health benefits.

Regional Cuisine - 郷土料理 Miso Potato - 味噌ポテト

Miso Potato (source)

Famous in the Chichibu region of Saitama, miso potatoes are a well-known winter treat in the area. This dish is similar to a baked potato covered in sweet miso sauce and is traditionally from the rural areas in the mountainous part of the prefecture. It is now a popular street stall snack that combines the sweet and savoury miso flavours with the earthy baked potato texture.

Saitama Dialect・Saitama-ben・埼玉弁

1. むじっけー　mujikkee　cute

むじっけー猫だね。 (mujikkee neko da ne)

Standard Japanese: かわいい猫だね。 (kawaii neko da ne)

English: What a cute cat.

2. ああみぃ　aahmii　no good, can't do it (also, ああみ, aahmi)

ごめん、明日ああみぃ。 (gomen, ashita aahmii)

Standard Japanese: ごめん、明日行けない。 (gomen, ashita ikenai) or ごめん、明日はダメ。 (gomen, ashita wa dame)

English: Sorry, I can't go tomorrow. or Sorry, tomorrow is no good.

3. かみぎっちょ　gamigiccho　lizard

庭のすみっこにかまぎっちょがいたで。 (niwa no sumikko ni kamagiccho ga itade)

Standard Japanese: 庭の隅にとかげがいたよ。 (niwa no sumi ni tokage ga ita yo)

English: There was a lizard in the corner of the garden.

4. うちゃる　ucharu　to throw away

そこにうちゃるなよ。 (soko ni ucharu na yo)

Standard Japanese: そこに捨てるなよ。 (soko ni suteru na yo)

English: Don't throw that away there.

5. こわい　～kowai　hard

このおせんべいこわい。 (kono osenbei kowai)

Standard Japanese: このおせんべい硬い。 (kono senbei katai)

English: This senbei is hard.

*Note: senbei is a Japanese rice cracker

6. えらい　erai　a lot

今日はえらい食べるな。 (kyou wa erai taberu na)

Standard Japanese: 今日はたくさん食べるな。 (kyou wa takusan taberu na)

English: Don't eat a lot today.

[afra-blueraz]

🐺 Yuna Sekigetsuro 🐺

⚠️ Please note that Yuna is not a real person. But I wanna imagine her as myself for my self-insert ship with Yui. So she can be an OC or me. ⚠️

🐺 _____________________________________ 🐺

General information

Real name: Sekigetsuro Afra

Changed name: Sekigetsuro Yuna

Kanji: 赤月狼 優菜

Kana: せキげっロ ユナ

Name explanation:

赤 ( Seki ) _ red

月 ( getsu ) _ moon

狼 ( ro ) _ wolf

優 ( Yu ) _ gentleness

菜 ( na ) _ greens

Age: 18 ( Changed her records of her age to 20 )

Birthday: March 24th

Zodiac Sign: Aries ( Ram )

Race: A werewolf from the red moon clan

Blood Type: O_

Gender: Female

Pronounce: She / Her

Sexuality: Bisexual

School: Ryoutei Academi, English Teacher

Voice Actor: WIP

🐺 _____________________________________ 🐺

Appearance

Sprites: WIP

Ryoutei Academi: WIP

Hair: When Yuna was a child, she had long and dark black hair. Her hair was wavy and sloppy. After immigrating to Japan, she cut her hair. Now she has short, dark wavy hair.

Before immigrating to Japan VS After that

Eyes: In her human form, Yuna has dark black eyes. But when the moon is full and her wolf power goes out of control, her eyes turn blood red.

Height: 163 cm / 5'4 ft

Weight: 46 kg

Body type: Yuna has a very skinny body.

Scent: Yuna was a girl who lived in the forest. She loved the pleasant and natural scent of flowers, that's why modern perfumes are too artificial and annoying for her. Because Yuna has a half-forest, her hair always smells of Afra flowers. If Yuna wants to use perfume, she prefers to use natural perfumes. She loves the scent of flowers, especially Afra flowers.

Style: Yuna is not a fashion girl and prefers to wear simple clothes. She wears glasses with a red frame, which was the symbol of their clan. During the red moon, when Yuna's wolf power is at its maximum and her eyes turn red, she does not need to wear glasses.

School: Yuna is employed as an English teacher at the academy so she doesn't need to wear a uniform. She usually does not wear formal clothes and appears in the class as a teacher with a normal look.

General: Yuna is not a fashion girl and prefers comfortable clothes. She usually wears clothes that cover most of her body because it makes her feel safe. She usually wears a white shirt and a blue wool vest. However, she likes to have a little girly style, so instead of wearing pants, she usually wears skirts. Yuna prefers to use boots instead of shoes.

Colors: Red is the symbol of her clan so everyone knows Yuna as a red girl. But her favorite colors are blue and purple so she usually use blue for her clothes. And white and black are so common in her clothes.

Yuna with Ryoutei outfit: WIP

Yuna's winter and autumn outfits: WIP

Yuna's underwear + pajamas outfits: WIP

Yuna's usual outfits:

Yuna's usual shoes:

🐺 _____________________________________ 🐺

Personality

MBTI: INTJ_A

When Yuna was a child, she was very happy and lively. She was playing in the forest and was very happy. After what happened to her family, Yuna became a bit isolated and introverted. She is very kind, but she gets very angry when others take advantage of her kindness. Yuna hardly trusts others and tries not to get too close to people. She hardly forgets and forgives the mistakes of others, but still tries to be more kind. She is very loyal and her family and friends are very important to her and she tries her best to take care of them.

More information about INTJs:

INTJs are hardworking, independent, and curious. INTJs often train their analytical eye on systems to see how things operate. These personality types often have self-motivation and work best independently or on small teams.

INTJs can be both the boldest of dreamers and the bitterest of pessimists. They believe that, through willpower and intelligence, they can achieve even the most challenging goals. But these personalities may be cynical about human nature more generally, assuming that most people are lazy, unimaginative, or simply doomed to mediocrity.

Likes: reading books, writing, walking in a garden ( because she remembers her real home in forest ), smelling flowers, cooking, drawing arts ( she is a big artist ), blue sky, nature

Dislikes: Crowded places, big cities, polluted air, noisy places, two_faced people, hunters

Strengths:

intelligence

Creativity

Painting

Flight

wolf power

Strong sense of smell

mind reading

Knowing people

Playing chess almost better than anyone

Weaknesses:

Lack of trust in people

being isolated

not being social

Nervous attacks due to trauma

🐺 _____________________________________ 🐺

Relationships

Canon story: In her canon story Yui is her girlfriend.

Au Ships / RP: based on our roleplays I don't mine ship Yuna with other OCs. But don't force her into relationships.

Yuna's relationship with canon characters: WIP

Yuna's relationship with other OCs: WIP

Ex-boyfriend: Hayashi Kenzo (deceased)

Father: Sekigetsuro Sota (deceased)

Mother: Kimaru Mika (deceased)

Cousin: Sekigetsuro Shina

Founded family: WIP

🐺 _____________________________________ 🐺

Backstory

Before Yuna was born:

Sekigetsuro Sota was the son of the chief of one of the largest werewolf clans known as the Red Moon Clan. This clan had very strong wolves that absorbed their most power from the moon during the red moon. This clan had extraordinary powers that they had to hide from greedy people.

Finally Sota grew up and met a girl from another clan and they fell in love and got married and their marriage brought about the union of two great clans.

Chlidhood:

After Sota and Mika got married, they had a daughter. The girl who was born at the time of the red moon set and symbolized a new power for the red moon clan. The power that strengthened this tribe and made their union stronger and stronger every day.

The girl had dark black hair that smelled of Afra flowers. A flower that Mika loved so she named her daughter Afra. Every time she hugged her and stroked her hair, she smelled the pleasant aroma of Afra.

Sota was very proud of his daughter and knew that she was the symbol of the glory of their territory and tribe and that she was supposed to be the largest tribe of werewolves.

Sota loved his daughter and raised her with love. He used to play with his daughter in the forests among the dense trees and teach her to become a powerful queen for her tribe one day.

Before leaving the forest:

Afra had a boyfriend named Kenzo from her mother's clan. They secretly played by the river that glowed at night and shared their first kiss there. The only person who knew about Afra and Kenzo's relationship was her cousin Shina and she always encouraged Afra to make her relationship with Kenzo stronger. Those three people were also best friends.

One day when they were playing by the river, far from home, hunters attacked their clan and killed most of their tribe.

Sota ran to save his daughter and niece but could not find them. When Afra came back, it was already too late. Everyone was dead. Afra heard her father's last words to her: I love you.

After leaving the forest:

Afra, Kenzo, and Shina ran away together. But finding a safe place was almost impossible. The hunters searched everywhere to finally find the daughter of the chief of the tribe who has great power.

When the hunters found the three, Kenzo shielded himself to save the girl he loves with all his heart. Kenzo's body fell into Afra's arms and he said to Afra with a beautiful smile: I love you Afra. please be strong

It was hard for Afra to leave Kenzo and the house, but Afra and Shina had to run for their lives. The hunters chased them and almost succeeded in killing Afra until a very large orange wolf was found and saved them.

When Afra regained consciousness, she met a man who introduced himself as Tsukinami Shin. Shin took care of Afra and Shina for a while, that's why Afra owes her life to Shin. Shin helped them escape from their country and go to Japan.

After immigrating to Japan:

As strangers, Afra and Shina were forced to stay in Japan to avoid predators. Fortunately, both of them had good skills in learning foreign languages ​​and were able to learn Japanese very quickly. But Afra, who was much smarter, learned other languages ​​besides Japanese.

In order to find a suitable job, Afra manipulated her records and created a fake name and age for herself so that she could find a job. Her real name was Afra and she changed it to Yuna. The only people who called her Afra were her family, her boyfriend, her cousin and Yui.

Ryoutei Academi:

She was hired as an English teacher at the academy, where she met a girl named Komori Yui.

🐺 _____________________________________ 🐺

⚠️ Spoil for her future route ⚠️

After finding a job at the academy, she met a girl named Yui Komori who lived with four brothers, the Mukami brothers.

One of the brothers, named Ruki, became suspicious of Yuna's fake identity and set out to uncover her secret.

While Yui and Yuna's relationship grew stronger, Ruki tried his best to keep Yui away from Yuna.

🐺 _____________________________________ 🐺

⚠️ Important notes: All arts has been drawn by me. Don't repost. Reblog is OK. ⚠️

⚠️ The photos in edits are from pinterest. ⚠️

🐺 _____________________________________ 🐺

[comoda2013]

ビッグポケットベスト、別注カラー"MOCHA" 採用となれば、こんな感じでスタイリング提案しようとイメージしていました。 ベージュ系の色味はホワイトを始め色々なカラーと合わせやすいですが、完成するのが寒い時期ということで、ブリックやブラウンなどの暖色とワントーン的にレイヤードするのはいかがでしょう？ 今回は深みのあるブリックが印象的なスティルのニットパーカーと。 しかしパーカーとこんなに違和感なくレイヤードできるベストってなかなか無いですよ。 これもキ―ネック効果ですね！ 特徴的なデザインだけのベストではなく、実際に使えるベストです。 サンプルはLサイズで作りました。 で、これから量産していくわけですが、完成予定は11月末～12月上旬予定。うまくいけば先のブラックとスミクロと同時期くらいに上がってきてくれるかもです。 というわけで、こちらも本日よりご予約をスタートしたいと思います。 本日中にはご予約用ページをオンラインストアにUPしますね。 ブラックも合わせて追加生産しますので、3色共々ぜひご検討ください！ では、以下にてご予約詳細です。 ■品名  キ―ネック ビッグポケットベスト   ■カラー ブラック/スミクロ/モカ(別注新色) ■価格 7,800円＋税 ■サイズ M/L/XL  ■ご予約方法 ご予約ページにてカート決済 ※代金引換は除きます ※銀行振込の場合はオーダー日より2日以内のご入金をお願い致します。   ■納期 11月末日～12月上旬 ※工場の進捗により、納期の多少の前後はご了承ください。   ■ご予約締め 生産予定枚数に達し次第終了 #ベスト #キ―ネック #ビッグポケット #モカ AUDIENCE 7,800JPY+TAX SIZE L #パーカー STILL BY HAND 18,000JPY+TAX SIZE 48 #outfit #outfitoftheday #fashion #fashionphotograpy #instafashion #style #mensfashion #mensstyle #メンズファッション #メンズスタイル #メンズコーデ #コーディネイト#ファッション #今日の服   SELECTBRAND #eelproducts #stillbyhand #avontade #lamond #jackman #manualalphabet #ordinaryfits #audience #military #vintage and more! https://www.instagram.com/p/CGkMJRFjeYG/?igshid=17x1vuy6mgbp9

[koishua]

キ SIM JAKE AS YOUR BF!

ᜌ — he confesses through a grandiose attempt, but ends up losing his composure and brain cells to the nerves and excitement anyways and ends up drifting off so much from his oh-se well prepared speech or script. it's honestly so heartwarming to witness the mighty and confident king jake stumble upon his words and it makes your heart swell so much.

ᜌ — he likes to brag about his significant other to everyone. he adores the fact that you accepted him of all of the other people that you could, not that he ever really admits his disbelief to you, because he has to keep up his image around his s/o haha. he also likes to get you matching stuff for a similar reason and he practically never takes off the ring you had gifted him. it's one of his most prized possessions ever.

ᜌ — he doesn't push you too much, because he understands your needs after having picked up on your little cues. he doesn't prod more than necessary whenever he sees you upset over something. he knows that when the time is right, you will tell him by yourself. he also doesn't get too heated while he feels jealous, contrary to popular belief i guess. he does end up going silent for a little while and that's how you notice how bothered he is by some other person acting too close with you for comfort.

ᜌ — he will always carry a bottle of water around just for you, because he is that kind of a person; tease you about every little thing you do; call you by a new, but still sweet nickname; take you out on fun and entertaining dates; scream about his exciting moments with you and jump around on your bed.

ᜌ — he will never leave you upset with his brash actions and always apologizes, even if it is difficult for him at first. he doesn't think that his pride is more important than your hurt feelings. even if it's something like a prank, if he has gone too far with it, he will drop the game and make sure to make it up to you.

ᜌ — he makes sure to keep up with your interests too! also, he will always make sure that the sheets are covering your body properly before he falls asleep next to you too, not wanting you to feel cold at night. he also has to absolutely make sure that you know that he considers you layla's other parent hahaha.

ᜌ — his favourite things to do to you are waking you up in the morning; giving you a high five any time you accomplish something even if it isn't that large of a deal; tying your hair for you if you need to; calling you with his own surname as though you are legally married; recording layla and you playing together at the park; rub your back in small circles to make you fall asleep faster while you bury your face in the crook of his neck; tapping your cheeks with his index finger; kissing you, obviously; playing with your hair and sometimes even making weird and funny hair styles out of them, biting your shoulder lightly any time he comes to give you a back hug, nuzzling into your cheeks afterwards.

ᜌ — his habits range from slipping his hands into your sweater if he is cold so you end up feeling his freezing fingers on your waist, which is always a shock. he also doesn't realize that he always touches you in some way, whether it be his feet, knees, or shoulders— he just can't keep himself off of you. jake also has made it a habit to kiss your lips every time you sit down next to him. it's an automatic practice and he does it without much thought haha.

click here to be added to my taglist <3

[chanoyu-to-wa]

Nampō Roku, Book 7 (38c):  Three Kaki-ire from Shibayama Fugen’s  Tokushu Shahon [特殊写本]¹, Part 1.

〽 Kaki-ire [書入]:

    [Whether to place the fukuro-dana] 8-sun or 1-shaku 2-sun [from the corner of the ro] depends on the size of the kama².  As for 4-me and 1-shaku 2-sun, and also 7-me and 8-sun, knowing which [to use] reveals [the host's] understanding³.

    As for the way to place the fukuro-dana in the 4.5-mat room, [within] the roughly 3-shaku 1-sun 5-bu square that is half of the tatami, it should be placed in the exact center [of this half-mat]⁴.  However, for the sake of freedom -- because this will depend on the size of the kama -- 4-me and 8-sun, or 7-me and 2-, 6-sun [this is a mistake:  it should be 7-me and 1-shaku 2-sun] are also acceptable ways to orient [the fukuro-dana]⁵.

    Up until the time when Jōō fixed the orientation of the fukuro-dana, the [original] kane from the [ji-ita of the] daisu were said to be superimposed onto the tatami; but this did not always seem appropriate -- depending on how [the tana] was going to be placed⁶.  Also, up until this time, the size of the ro, too, had not yet been decided upon⁷.  Later, after discussing this matter with Sōeki, the dimensions of the ro were fixed⁸.  

    As for the way that the fukuro-dana is arranged [on the utensil mat], [as well as] the chū-ō no takushi [中央ノ卓子], Seirō-dana [城樓棚], Hora-dana [洞棚], and the others:  we must learn it by heart that all of these [tana] should always be centered [on the half-mat] -- so that, even after the passage of many years, this [way of doing things] will always remain the same⁹.

    [Ri]kyū arranged a mizusashi in his 4.5-mat room without a tana when he was going to serve tea; and Jōō also felt that this was an acceptable way of doing things¹⁰.  In this case [the half mat] between the ro [and the far end of the utensil mat] should be divided  by five kane, both lengthwise and widthwise, and [everything] should be arranged very carefully in accordance with these kane¹¹.  However, after discussing this question with Rikyū, Jōō established the rule that, as a matter of course, before the temae has begun, neither the chaire nor the chawan should be arranged [on the mat] in front of the fukuro-dana¹².

_________________________

◎ About this tokushu shahon [特殊写本], Shibayama Fugen wrote:

kono bun ōki ni sankō ni ben nari. tsutanashi onajiku Nambō Roku no ha hon ni shite kaku made buntei wo koto ni suru ha nani-goto zo, osoraku ha Jitsuzan no te ni kakigae-shi naran. shikaraba tokushu shahon wa Nambō Sōkei no gencho ni chikai naru-beshi

[此ノ文大ニ参考ニ便ナリ。伹シ同ジク南坊録ノ写本ニシテ斯クマデ文躰ヲ異ニスルハ何事ゾ、恐ラクハ実山ノ手ニ書キ替ヘシナラン。然ラバ特殊写本ハ南坊宗啓ノ原著ニ近キナルベシ].

    “This text is a very important reference.  Though it is a crudely made copy of the Nampō Roku, what could be the reason for such a different style of writing?  Clearly [this text] was not reworked by Jitsuzan -- but, if that is the case, this tokushu shahon might just be closer to the original work composed by Nambō Sōkei.”

    Without being able to peruse the entire document, it is difficult to say when, much less by what sort of person, it may have been created (though, from what little Shibayama has shown us, it does seem to postdate the Shū-un-an documents by many decades, if not centuries; and the language of the kaki-ire -- which are uniformly subdivided into sentences according to the conventions of modern Japanese punctuation -- suggests that it was more likely a product of the nineteenth century, rather than of Sōkei’s time).  Nevertheless, the text of these three kaki-ire, even if it is to a certain extent repetitive, will surely be helpful to anyone who has an interest in penetrating the deeper meaning of this entry, and the machi-shū approach to chanoyu that it reveals*.

    The first kaki-ire discusses the way to arrange the fukuro-dana (and other movable tana) on the utensil mat; the second deals with the special case of the display of an hitotsu-mono [一ツ物]; and the last discusses the way the teachings of kane-wari apply not only to the tana, but to the toko, and to the room as well†.

    Given the length of the kaki-ire, and the battery of footnotes that are necessary to explain them, it became obvious that I would have to divide this material into two posts.  The first of the kaki-ire is considered here; and the other two will be discussed in the next post. ___________ *The author’s purpose seems to be summarizing the material presented in the Nampō Roku, interpreting it through the then-accepted teachings regarding the arrangement of the fukuro-dana (and other varieties of tana).  His analysis seems to be informed by the fact that, in the 4.5-mat room, Rikyū placed the mizusashi in the exact center of the mat when there was no tana., which is then accepted to mean that the mizusashi should always rest on the center-most of the five horizontal kane (the kane that are perpendicular to the heri).

†In Book Six there is this poem by Rikyū:

toko ha toko, zaseki ha zaseki, tana ha tana       ni chō ichi han ni han ichi chō

[床ハ床、座席ハ座席、棚ハ棚       二調一半二半一調].

    “The toko is the toko, the room is the room, the tana is the tana:  two [are] even, one [is] odd; two [are] odd, one [is] even.”

    This means that kane-wari is applied to these three places, which are independent from each other.  The “yin” or “yang” character of the za is related to the total of these three values.

¹Tokushu shahon [特殊写本] means a special manuscript copy (i.e., not a published work, but a hand-copied, privately annotated “version,” to which access was probably limited to the person who made the copy) of the Nampō Roku.  Thus, from what little we are able to see, the creator of this manuscript appears to have given precedence to a practical interpretation of the text (focused on the way the teachings it contains could be put into practice in his own chanoyu), rather than reproducing the exact wording of the original.  This suggests that the person responsible was not one of the Enkaku-ji scholars, but more likely an ordinary chajin from Kyōto, Ōsaka, or even Edo, who managed to borrow one of the manuscript that were circulating within the tea community, and made a quick copy for his own personal reference.

    Copies of other seminal texts that were being passed around during the Edo period are likewise replete with numerous kaki-ire that were often modified later -- sometimes by pasting a small piece of paper over an erroneous comment, in order to write something that was closer to the popular consensus.

²Hassun to isshaku ni-sun ha, kama no dai-shō ni yoru-koto nari　[八寸ト一尺二寸ハ、釜ノ大小ニヨルコトナリ].

    Hassun to isshaku ni-sun [八寸と一尺二寸] refer to the two usual distances between the ro and the front of the fukuro-dana -- the original conventions that were established by Jōō himself.

    It is said that the reason for the 8-sun  was so that the distance between the kama (in the ro) and the mizusashi (arranged in its compartment on the ji-ita of the fukuro-dana) would be essentially the same as between these two utensils when they were arranged on the daisu.  This also explains why the shaku-tate and futaoki were originally placed on the ro-dan (as shown in the sketch under footnote 7, below).

³Yon-me ni te isshaku ni-sun ni mo, nana-me ni te hassun ni mo, sore ha kokoro shidai nari　[四目ニテ一尺二寸ニモ、七目ニテ八寸ニモ、ソレハ心次第ナリ].

    Yon-me...isshaku ni-sun [四目...一尺二寸] is referring to the arrangement on the kyōma-datami where a fukuro-dana* was centered between the heri, and placed 1-shaku 2-sun from the ro.

    Nana-me...hassun [七目...八寸] is referring to the case, on an inakama-datami, where the fukuro-dana is placed to that it touches the heri on the side of the mat toward the ro, while being 8-sun away from it†.

    These are two of the possible ways to orient the fukuro-dana on the utensil mat (in keeping with the system espoused here‡).  The other two are discussed below, in footnote 5.

     It would appear that, by the time this was written, two sizes of fukuro-dana were already in use:  a larger version for use in the kyōma**, and Jōō’s original, which was now apparently relegated exclusively to the inakama yojō-han��†.

    Kokoro shidai [心次第] literally means it is up to (one) to decide; the decision to act (in a certain way) is based on (one’s) understanding‡‡. ___________ *This requires a fukuro-dana of the modern dimensions -- where the ji-ita measures 2-shaku 5-sun 5-bu by 1-shaku 3-sun.

†This arrangement is based on a fukuro-dana of the sort used by Jōō and Rikyū, which measures 2-shaku 4-sun by 1-shaku 3-sun.

‡Where, in the inakama setting, the fukuro-dana is placed so it touches the heri on the side of the mat that adjoins the ro (rather than resting that side on top of the heri as Jōō had done).

    Jōō had placed the tana on top of the heri so that the mizusashi would be in the same place as it would have been had it been arranged on the daisu.  Placing the tana so that it simply touches the heri has no apparent meaning at all, but simply indicates a historical misunderstanding of what “ippai” [一杯] (“fully” -- literally, a drinking cup filled to the brim) was intended to mean in Jōō’s and Rikyū’s instructions.  Given that this way of understanding the orientation first appeared in Imai Sōkyū’s explanation of the way to position the fukuro-dana in the inakama, it sees that he was probably the one responsible for the confusion.

**Some sources ascribe this version to Rikyū (as was common during the Edo period when the size of virtually anything was shown to not match the original example).

††Which sort of room was already almost unknown -- outside of Edo (where the lack of space brought about the creation of even smaller tatami than those used in the countryside surrounding Kyōto and Ōsaka).

‡‡Kokoro [心] here should be understood to mean (one’s) mind, with shidai [次第] meaning “in accordance with,” or “depending on” (one’s mind).

⁴Yojō-han fukuro-dana no oki-kata, oyoso san-shaku issun go-bu shi-hō, tatami han-bun no mannaka ni oki nari　[四畳半袋棚ノ置方、凡ソ三尺一寸五分四方、畳半分ノ真中ニ置ナリ].

    Oyoso [凡そ] means approximately, roughly, around:  even the size of the kyōma-datami* was becoming more flexible during the Edo period, as suggested by this comment.

    Tatami han-bun no mannaka ni oki [畳半分の真中に置き] means that the (larger version of the) fukuro-dana was supposed to be placed in the very center of its half of the utensil mat, as shown below.

    When centered on the half-mat, there will be 9-sun 2.5-bu in front and on the far side of the tana, and 2-sun (which is approximately 4-me†) on both sides between the tana and the heri.

    Centering the fundamental objects placed out on the utensil mat (whether a tana-mono, or simply the mizusashi‡) is a Sen family teaching. __________ *As has been mentioned many times before, the kyōma-datami measured 6-shaku 3-sun by 3-shaku 1-sun 5-bu, at least since the original daisu was imported from Korea in the early fifteenth century -- since the width of the tatami was fixed to accommodate the ji-ita of that daisu (which measures 2-shaku 9-sun 5-bu by 1-shaku 4-sun).

†As has been explained elsewhere in this blog, the distance between the me on the omote [表] (the woven rice-straw panel that faces the tatami) differs from region to region (and often from maker to maker as well), with there usually being between 60 and 61 me between the heri on a kyōma-datami.  Thus, the range is generally somewhere between 4.8-bu (1.45 cm) and 4.9-bu (1.48 cm) -- so 2-sun would actually be a little more than 4-me.

    That said, it should be kept in mind that both Jōō and Rikyū said that everything displayed on the mat (including things like tana-mono) should always be aligned to match a me on the side toward the guests.  Thus, this is another example where the Sen family’s teachings directly contradict those of their supposed progenitor and guardian kami.

‡Given the concern over things being too far from the host’s seat, this practice has always seemed curious, since centering the mizusashi on the half-mat means it will be so far from the ro that dripping water is almost unavoidable.

⁵Shikaredomo jiyū no tame, kana no dai-shō ni ōjite yon-me hassun, nana-me ni- roku-sun to oki-koto ari　[然共自由ノ為、釜ノ大小ニ応ジテ四目八寸、七目二六寸ト置コトアリ].

    Shikaredomo jiyū no tame [然れども自由のため] means something like “however, for the sake of freedom....”

    Kama no dai-sho ni ojite [釜の大小に応じて] means “as a consequence of the size of the kama....”

    Nana-me ni- roku-sun [七目二六寸] appears to be an orthographic mistake*.  Presumably it should have been nana-me isshaku ni-sun [七目一尺二寸].

    This sentence is simply reversing the measurements that were suggested above in footnote 3, since (in accordance with the text of the Enkaku-ji manuscript) placing the fukuro-dana 8-sun from the corner of the ro was the usual arrangement, in both the inakama and in the kyōma; while moving it backwards so it was 1-shaku 2-sun from the ro was done when the utensils that the host was planning to use during the gathering made that increase in the space available in front of the tana necessary.  These variations are shown below.

    This version of the text is a curious mixture of the early teachings, combined with subsequent variations introduced by Imai Sōkyū (placing the ji-ita adjacent to the heri, rather than resting upon it as Jōō had done), and later, by the Sen family (the insistence on centering the tana on the utensil mat). __________ *As Shibayama commented, this manuscript of the Nampō Roku was “crudely written.”

    The word that he used, tsutanashi [伹し] (which would usually be written tsutanai [拙い] today), means inept, awkward, ill-chosen, incompetent, bungling, error-ridden.  This suggests that the manuscript contained many instances where words were blotted out and changed, as well as other sorts of mistakes (such as here).  The tokushu shahon was clearly copied from some other source, though without much care being taken (suggesting a document copied hurriedly by someone, for personal reference only -- books of this sort can still be found in the old book shops in Kyōto from time to time, though their accuracy always has to be questioned until verified by cross-referencing with the Enkaku-ji manuscript).

⁶Jōō kono fukuro-dana ni te okarare-shi jibun made ha, tatami ni daisu no kane wo utsusu to iu-koto mo anagachi naku-shite mi-ai no yoki-yō ni okarare-shi-koto nari　[紹鷗此ノ袋棚ニテ被置シ時分迄ハ、畳ニ臺子ノカネヲウツスト云フコトモアナガチナクシテ見合ノヨキ様ニ被置シコトナリ].

    Okarare-shi jibun made [置かられし時分まで] means “up until the time when the placement (of the fukuro-dana) was decided....”

    Tatami ni daisu no kane wo utsusu [畳に臺子のカネを映す] means “the kane of the daisu were reflected (or superimposed) onto the tatami.”

    In other words, this is arguing that the kane-wari of the ji-ita of the daisu was simply applied to the mat in front of the daisu.  This, however, is not entirely correct, at least in so far as gokushin theory is concerned.  The ji-ita of the large daisu measures 2-shaku 9-sun 5-bu across, meaning it exactly fit between the heri (it touched the heri of the kyōma-datami on both sides).  But the temae-za , which was an extension of the shiki-shi [敷き紙], reached roughly to the middle of the heri on both sides.  So, at least according to Rikyū, there was, from an early date, an understanding that the kane of the daisu were not simply projected onto the mat*.

    Anagachi naku-shite mi-ai no yoki-yō ni [強ちなくして見合のよきように] means “not necessarily appear to be good;” “not necessarily appear to be balanced.”

    This might be referring to the earlier arrangement, where Jōō lifted the ji-ita of the fukuro-dana up onto the heri, in order to keep the mizusashi aligned with its original kane (which were projected from the ji-ita of the daisu); or it may be referring to the version of this arrangement that was being championed by Imai Sōkyū, which had the ji-ita placed so that it abutted the heri on the side closest to the ro (in which case the mizusashi would have lost its association with its original kane that had been defined by the daisu)†. __________ *This appears to have been a consequence of the shiki-shi [敷き紙] -- or, more specifically, a consequence of the folds of the shiki-shi (each of the eight panels of the shiki-shi measures 5-sun by 6-sun, with each of the folds being 3-bu wide:  thus, the shiki-shi measures 2-shaku 9-bu by 1-shaku 2-sun 3-bu).

    It is unclear where the shiki-shi came from (though it apparently was used with the daisu before the daisu was brought to Japan, from Korea, around the start of the fifteenth century), but measurements of things like the meibutsu naka maru-bon [中丸盆] (which is exactly 1-shaku 2-sun 3-bu in diameter -- which is an extremely odd measurement, if one tries to argue that it was selected by Nōami independent of any knowledge of the shiki-shi) were apparently decided based on this mysterious object.  Indeed, the folds of the shiki-shi appear to have been the actual (and, frankly, rather obvious) origin of the five yang-kane.  (In which case, it might be better to say that the kane of the daisu were projected onto it from the shiki-shi., though with the space consumed by the folds of the shiki-shi removed)

    Later, it is true that Rikyū moved away from this way of thinking about the temae-za:  once the widths of the folds are removed, the temae-za did, indeed, shrink to the space between the heri (so, at this point, it might be possible to argue that the kane of the daisu were now being superimposed onto the mat in front of it).  As the Sen family only had an inkling of Rikyū's teachings from the 5 years after Rikyū was ordered to take Shōan’s mother as his second wife (to manage his Kyōto household -- and act as Hideyoshi’s resident spy), their knowledge was naturally limited to hearsay based on the things that he was saying during that time.

†In other words, the author of the kaki-ire might be saying either that (in the first instance) the fukuro-dana was not aligned with the kane; or (in the case of the second possibility), the mizusashi was misaligned.

⁷Ro mo kono toki made ha, kō-kyō sadamarazu　[炉モ此ノ時迄ハ、廣狭定ラズ].

    Ro mo kono toki made ha, kō-kyō sadamarazu [炉もこの時までは、広狭定まらず] means “up until this time, the size of the ro had also not been fixed (or defined)*.” __________ *Evidence from the kaiki of the period suggests that originally the ro measured 1-shaku 8-sun square.  However, this is not to say it looked like the “dai-ro” [大炉] that is used by certain schools today.  While the ro-buchi did indeed measure 1-shaku 8-sun, the mouth of the ro-dan (into which the kama was lowered) measured 1-shaku square.  The original arrangement is shown below (Jōō’s 4.5-mat room had the guests seated on the host’s left).

    The reason for this was that, when Jōō first began to use the ro, he moved into this setting directly from the chanoyu of the daisu.  Originally, the hishaku was never rested on the futaoki (or on the mouth of the kama).  Every time it was used, it was immediately returned to the shaku-tate.  Thus, when Jōō began to use the ro, he quite naturally retained this convention -- so, both the shaku-tate and the futaoki were placed on the ro-dan, allowing the host to return the hishaku to the shaku-tate, and place the lid on the futaoki which retained its former proximity to the kama.

    When the decision was made to place these things on the mat (the ro-dan is made of mud-plaster, so it could possibly cause damage to anything made of bronze that was placed on it), the surplus was eliminated, reducing the ro to the size of the ji-ita of the daisu.

⁸Ato ni Sōeki ni dangō no ue, ro no sun-pō mo kiwamerare-shi nari　[後ニ宗易ニ談合ノ上、炉ノ寸法モ被極シナリ].

    Sōeki ni dangō no ue, ro no sun-pō mo kiwamerare-shi [宗易に談合の上、炉の寸法も極められし] means “(Jōō), after consulting with Sōeki, determined the dimensions of the ro*.” ___________ *There is nothing in the historical records to suggest that this defining the dimensions of the ro was delayed until 1554 (after Rikyū had returned from the continent).  On the contrary, Jōō seems to have come up with this by himself, probably as a way to give the guests more room (at the beginning of his middle period, the meal was still rather elaborate, so such a very large ro would take up too much space, making it difficult for the host to serve the guests properly).

    This sentence is derived from Kanamori Sōwa’s history of chanoyu in Japan, wherein the transmuting of Rikyū from a man into a tea-god began.

⁹Fukuro-dana oki-kata, chū-ō no takushi, Seirō-dana, Hora-dana nado mo subete shi-hō mannaka to oboeru ni chigawazu, hitachi ha naki-koto nari　[後ニ宗易ニ談合ノ上、炉ノ寸法モ被極シナリ、袋棚置方、中央ノ卓子、城樓棚、洞棚抔モ凡テ四方真中ト覚ルニ不違、ヒタチハナキコトナリ].

   Chū-ō no takushi, Seirō-dana, Hora-dana nado [中央の卓子、城樓棚、洞棚など]:  these are the oki-dana [置き棚] (stands that can be moved, as opposed to those that are built-in) that are mentioned in Book Three*.

   Subete shi-hō mannaka to oboeru ni chigawazu [総て四方真ん中と覚えるに違わず] means that "we should commit to memory the fact that all of these things should be centered (on the half mat), without any deviation (from this rule).”

   Though this agrees with the Sen family’s teachings at this time, it differs from what we have been told before (where the orientation of these various tana was supposed to be determined by the part of the fukuro-dana from which they were derived).  In other words, since they represented the half of the fukuro-dana where the mizusashi was located, and the shelf (the naka-dana [中棚]) above, they were originally placed off center, so that the mizusashi would occupy the same place as when it was arranged on the fukuro-dana.

   The meaning of hitachi ha naki-koto nari [ひたちはなきことなり] is very obscure†.  Perhaps it is something like hitachi ha naki-koto nari [経過はなきことなり] -- using a rare, albeit historical, reading for the compound that is usually pronounced keika [経過] -- and so giving the meaning “changing this (orientation) as the years go by is imprudent.” ___________ *These three tana are shown below (as represented in Edo period block-printed texts):  Shino Shōha’s Chū-ō-joku [中央卓] on the left, Tennōji-ya Sōkyū’s Seirō-dana [城樓棚] in the middle, and Imai Sōkyū’s Hora-dana [洞棚] on the right.

◦ Chū-ō-joku [中央卓]:  cf. the post entitled Nampō Roku, Book 3 (11):  the Chū-ō-joku [中央卓].

https://chanoyu-to-wa.tumblr.com/post/185938650731/namp%C5%8D-roku-book-3-11-the-ch%C5%AB-%C5%8D-joku-%E4%B8%AD%E5%A4%AE%E5%8D%93

    The chū-ō-joku usually had only two legs (though occasionally a third leg was added to the far side).  This tana was originally made as a rest for a nobleman’s lacquered cap of estate, some varieties of which had rather heavy dependent tails or wings in back (necessitating the third leg).  The chū-ō-joku was originally “adapted” by Shino Shōha, who arranged incense utensils on it during the shoza (of his incense gatherings), replacing them with tea utensils during the naka-dachi, so that tea could be served to everyone in the goza (before the participants took their leave).

◦ Seirō-dana [城樓棚]:  cf., Nampō Roku, Book 3 (4,5):   Concerning the Seirō-dana [城樓棚]; and the Modification of the Naka-dana [中棚] of the Fukuro-dana and the Seirō-dana by Practitioners of Incense.

https://chanoyu-to-wa.tumblr.com/post/185616469930/namp%C5%8D-roku-book-3-4-5-concerning-the

    The Seirō-dana was derived from the fukuro-dana by Tennōji-ya Sōkyū, who basically eliminated the katte-side of that tana (the kō-dana and ji-fukuro not really being used much in chanoyu).  Originally this tana was oriented on the utensil mat so that the mizusashi would occupy the same place (on the mat) as it had done when arranged on the fukuro-dana.

◦ Hora-dana [洞棚]:  cf., Nampō Roku, Book 3 (8):   Concerning the Hora-dana [洞棚].

https://chanoyu-to-wa.tumblr.com/post/185777964865/namp%C5%8D-roku-book-3-8-concerning-the-hora-dana

    The Hora-dana was created by Imai Sōkyū, based on the kyū-dai daisu [及第臺子] -- with the bamboo peg (which can be seen in the drawing) nailed into one side taking the place of a shaku-tate.  Since the Hora-dana basically captures the seat of the mizusashi from the daisu, it was also oriented so as to maintain the mizusashi in its original place.

†It might also just be another case of a miswritten word appearing in the text.  But regardless, the meaning of the sentence would have to be something like what I have translated, given the context.

¹⁰Kyū yojō-han ni tana nashi ni mizusashi okite, cha wo taterare-shi ni, Jōō mo mottomo to dō-shin ari-shi nari　[休四畳半ニ棚ナシニ水指置テ、茶ヲ立ラレシニ、紹鷗モ尤ト同心アリシナリ].

    Kyū yojō-han ni tana nashi ni mizusashi okite, cha wo taterare-shi [休四畳半に棚なしに水指置きて、茶を立られし] means “Rikyū, in a 4.5-mat room where there was no tana, placed the mizusashi (on the utensil mat), and in this way served tea.”

    It seems that the first time he did this was when receiving Jōō in his 4.5-mat room shortly after the two had been introduced:  on that occasion, the young Rikyū performed the first hakobi-temae [運��手前] -- since he had lost all of his good tea utensils (they had been purchased by Jōō), he apparently felt it was not appropriate to display anything but the kakemono and the chabana, and the kama in the ro.  After Jōō entered and took his seat, Rikyū brought out everything needed for the service of tea from the katte, served tea, and then took everything away at the end.  The “go-chisō”  [ご馳走] (special feature or focal point of the gathering), rather than being one of the utensils, were Rikyū's physical actions performed in the service of his guest.

    Jōō mo mottomo to dō-shin ari-shi nari [紹鷗も尤もと同心ありしなり] means that Jōō also agreed with what Rikyū had done.

    According to his densho, Rikyū explained that, when the mizusashi is placed out by itself on the utensil mat -- that is, without a tana -- it should be centered on the half-mat.  It appears that this was the precedent for the Sen family’s insistence that everything that was placed on the utensil mat should be centered.

¹¹Shikaraba ro yori ue, han-jō tate-yoko tomo ni itsutsu kane ni kokoro-ete shikaru-beki to te kane wo kuwashiki ateraruru　[然ラバ炉ヨリ上、半畳タテヨコ共ニ五ツカネニ心得テ可然トテカネヲ委敷アテラルヽ].

    Shikaraba [然らば] means if so; in that case.

    Ro yori ue [炉より上] is referring to the direction toward the far end of the utensil mat.  In other words, the half of the utensil mat that extends in that direction.

    Han-jō tate-yoko tomo ni itsutsu kane ni kokoro-ete shikaru-beki [半畳縦横共に五つカネに心得て然るべき]:  tate [縦] means lengthwise, yoko [横] means widthwise; tomo ni [共に] means both (that is, 5 kane are distributed across the half-mat both lengthwise and widthwise).

    In other words, the half mat is divided by five kane that are distributed not only across its width (as we have usually been doing), but also by 5-kane lengthwise (with the 5-bu yū-yo [有餘] at the far end excluded from this division*), as shown above.

    Kane wo kuwashii aterareru [カネを委しい当られる]:  kuwashii [委しい] means carefully, paying minute attention to detail; aterareru [当られる] means to be applied to something, to be put on, to be pressed against†.

    In other words, the kane have to be visualized carefully, with the utensils then distributed across the mat with exactitude, so that they correspond to the kane. __________ *Which -- since no mention of this point has been made -- may or may not have been known by the author of this kaki-ire.

†This probably refers to the kane being pressed onto the surfice of the mat,  but it could also refer to the utensils being associated with those kane.

¹²Kore Jōō, Rikyū sōdan ni te no teiken no aru-koto mochiron naredomo, temae-naki i-zen, chaire・chawan ni te mo, fukuro-dana mae ni oki-awase-suru to iu-koto ha nakare-shi-koto nari　[是レ紹鷗、利休相談ニテノ定見ノアルコト勿論ナレドモ、手前ナキ以前、茶入・茶碗ニテモ、袋棚ノ前ニ置合スルト云フコトハナカリシコトナリ].

    Kore Jōō, Rikyū sōdan ni te [これ紹鷗、利休相談にて] means “Jōō, in consultation with Rikyū....”  Possibly giving Rikyū a more authoritative role than would have actually been the case during Jōō's lifetime*.

    Teiken no aru-koto mochiron naredomo [定見のあること勿論なれども]:  teiken [定見] means a fixed or definite opinion; mochiron [勿論] means self-evident, as a matter of course; and naredomo [なれども] means but, however (in other words, the rule thus established applies to what follows).

   Temae-naki i-zen, chaire・chawan ni te mo, fukuro-dana mae ni oki-awase-suru to iu-koto ha nakare-shi-koto nari [手前なき以前、茶入・茶碗にても、袋棚の前に置合すると云うことは無かりしことなり]:  temae-naki i-zen [手前なき以前] means before the temae has begun†; chaire・chawan...fukuro-dana mae ni oki-awase-suru [茶入・茶碗...袋棚の前に置合する] means to arrange the chaire and/or chawan (on the mat) in front of the fukuro-dana; nakari-shi koto [無かりしこと] means something (koto [こと]) that should not exist (nakari-suru [[無かりする]).

   In other words, this is saying that Jōō and Rikyū decided, after discussing this, that before the temae actually begins, arranging the chaire and/or chawan on the mat in front of the fukuro-dana is something that is better not done‡. __________ *Rikyū had learned kane-wari from Kitamuki Dōchin.  And, indeed, this seems to have been his main attractiveness to Jōō (the element that determined to have more than a strictly professional relationship with the young man).

    Dōchin seems to have been disinclined to answer Jōō’s questions about kane-wari, though Jōō had apparently persisted in his inquiries for a long time.  And, after Rikyū’s family lost their money, Rikyū was forced to sell his tea utensils.  So, as a final act of kindness (Rikyū’s lessons stopped as soon as he was no longer able to pay for them, of course), Dōchin introduced Rikyū to Jōō (ostensibly because, as the leading dealer in antiques, Jōō would be prepared to give Rikyū a good price for the things).  But the unspoken part of the deal was that, since Rikyū had already studied with Dōchin for a number of years, he possessed enough knowledge to assuage Jōō’s curiosity.  Nothing that we know indicates that Jōō had a true desire to understand kane-wari deeply (otherwise he would have become Dōchin’s student).  He only wanted to know enough so that his own arrangements would not look wrong to people who had received the orthodox teachings (which is why Jōō, though called the greatest master of the age, does not seem to have ever given lessons, but preferred to keep himself in the background with his collection of meibutsu utensils -- the possession of which implied, to his contemporaries, that he was equally well informed about their correct usage:  Jōō allowed his utensils to be used by people who had been taught about such things, and then took note of what was done, adding that to his store of information; but until Rikyū provided him with a basic introduction to kane-wari, an understanding of the reason behind what was being done had eluded him).

    After Jōō had learned what he needed, he showed his thanks to Rikyū by financing a utensil-collecting mission to Korea (which Rikyū extended to a sojourn of around 10 years):  as the financier, Jōō would have received a percentage of the profits when the utensils were later sold in Japan; but this trip allowed Rikyū to reestablish his family’s fortunes (indeed, if we ignore this -- as do the Japanese biographies of Rikyū -- no explanation can be found for how he became one of the three great masters of Sakai, given the utter impecunity of his situation when we last saw him in his youth...a situation that quite suddenly seems to have dissipated in 1554, when Rikyū once again begins to host chanoyu gatherings).  And upon his return, Rikyū informed Jōō of the ideas and practices to which he had been exposed on the continent, so that their chanoyu began to evolve in a massive way in the year or so between his return and Jōō’s death (at the end of 1555).

†More literally, in the time before the temae has come into being....

‡The whole purpose of the tana is to give the host somewhere to place the utensils -- and, in this, it takes the daisu as its example.  If one wishes to display something on the mat, then why does one need the tana?

    If we consider things in this way, it becomes clear that the whole hitotsu-mono [一ツ物] episode (that figures so importantly in the Enkaku-ji manuscript’s version of this entry) is something added by the machi-shū because, if Rikyū had wanted to protect his Shiri-bukura from the danger of being lowered from the kō-dana to the mat, then there would have been no reason for him to use the fukuro-dana in the first place (since making the other utensils easily available to the utensil mat could have been accomplished simply by placing them in the dōko -- which was always a feature of Rikyū’s tearooms).

[unrestedjade]

What did I do with my Friday night, you may ask?

Half-assed a Ferengi katakana font, is what. Yeah, I'm what you'd call...pretty cool.

Deets below:

So it turns out the phonemes for the Ferengi character set (ganked from LCARS47.com) map fairly well onto katakana? With some notable exceptions. A lot of phonemes map 1:1 very nicely, but there are spots where Ferengi sounds mush together (ta/da, for example) where the kana make them distinct タダ (ta and da respectively).

There are also sounds that aren't present in Japanese that are distinct in the Ferengi that necessitated some counterintuitive mapping. All the Ferengi l- sounds map onto the z- dakuon, for instance. Ferengi z-sounds already lump into the s-/z-/sh- group, which left the z- dakuon free.

So, Leeta would be リタ ri ta in actual katakana. But to type her name in Ferengi, you have to spell it ジタ (ji ta) to give you "li ta".

For another example, to spell Garak: ガラク ga ra ku. But k- and g- sounds are grouped in Ferengi, so instead it's spelled ka ra ku.

And that left the g- dakuon free to use for the q- sounds that don't exist in katakana, so Quark, in katakana, would need to be クワルク ku wa ru ku. But in this Ferengi font it's spelled ga ru ku, which looks a lot closer to English Garak, doesn't it? ¯\_(ツ)_/¯

Ferengi doesn't appear to have terminal consonants going by the chart, so sounding out words feels eerily familiar to spelling in katakana. Maybe they clip off the vowel at the end, ~desu~ style.

Still, it's pretty fun to play with as an English cipher or for names and decorative nonsense. Here's a screenshot of my mucking around. From left to right: original word - Ferengi phonemes - what to type while in full-width katakana input mode - final result.

And here's the full mapping of phonemes to kana. You can see where I had to make some allowances. It's possible there's a different writing system that fits better, or a better way to map onto katakana, but this is as well as I can do with my "occasionally fucks around on duolingo" level of expertise, lol.

assigned phonemes: mapped kana:

a/ha a ア

i/hi i イ

u/hu u ウ

e/he e エ

o/ho o オ

ka/ga ka カ

ki/gi ki キ

ku/gu ku ク gu グ

ke/ge ke ケ

ko/go ko コ

sa/za/sha sa サ

si/zi/shi shi シ

su/zu/shu su ス

se/ze/she se セ

so/zo/sho so ソ

ta/da/tha ta タ da ダ

ti/di/thi hi ヒ

te/de/the te テ

tu/du/thu tsu ツ

to/do/tho to ト

na na ナ

ni ni ニ

ne ne ネ

nu nu ヌ

no no ノ n ｎ

ma ma マ

mi mi ミ

me me メ

mu mu ム

mo mo モ

ya ya ヤ

ye yu ユ

yo yo ヨ

ra ra ラ

ri ri リ

re re レ

ru ru ル

ro ro ロ

wa wa ワ

wi do ド

we de デ

wo wo ヲ

pa/ba pa パ

pi/bi pi ピ

pe/be pe ペ

pu/bu pu プ

po/bo po ポ

fa/va ba バ

fi/vi bi ビ

fe/ve be ベ

fu/vu bu ブ

fo/vo bo ボ

cha/ja ha ハ

chi/ji chi チ

che/je he ヘ

chu/ju fu/hu フ

cho/jo ho ホ

la za ザ

li ji ジ

le ze ゼ

lu zu ズ

lo zo ゾ

qua/gwa ga ガ

qui/gwi gi ギ

que/gwe ge ゲ

quo/gwo go ゴ

[lolicoms-blog]

#bsasahi や #suntv #ＫＢＳ京都 などでは “ABCMART 40th”がチラ見え😁 #まんてんタビ好キ #天神style (はかた居酒屋　ばかちん) https://www.instagram.com/p/B1AkOiZg8VZ/?igshid=1artymo4xktch

[elydraws]

B A S I C • I N F O R M A T I O N

Name: Unmei Nakano 

Kanji: 運 命 中 野, Unmei Nakano 

Alias: Unmei-chan (only Twice calls her that), Sister (Toga), Lady Hazard (Villain name) 

Nickname: To annoy her, Dabi always calls her with some nicknames like "sweetness" or "baby doll", "Crow Girl" from Bakugo (In Japan the croaking of a crow means that something bad will happen). 

Gender: Female 

Years: 19

Birthday: November 11 (Scorpio) 

Nationality: Japanese 

Villain Name: Lady Hazard

BACKGROUND: Unmei Nakano, also known as Lady Hazard, is currently one of the best Tokyo thieves still around, who has not yet died or been arrested by the police. 

CHILDHOOD 

Unmei was born in Tokyo, Japan, as the eldest son of the Nakano couple two years after their marriage. 

Toshi, her father, works as an office worker and is part of the small percentage of the Quirk-free population. 

Hinata, her mother, like all women in the Nekomata family, owns the Quirk 'Good Luck' which allows her to manipulate her own fortune and that of others -with certain limits-. She also works as a saleswoman in an important clothing store in a shopping center. 

So when Unmei, at four years old, starts showing the first distinctive signs of maternal Quirk, it is not a surprise for both parents. 

And at that time Hinata discovers she is pregnant again, giving birth to a small boy. But the happy news is cracked by the tragedy, in going to the hospital from his office, Toshi remains involved in an accident caused by the attempt of some heroes to stop a robbery. 

The man dies a few hours later without being able to see the second son. 

The event is categorized as a 'service accident', the family, on the day of the funeral, is only given a moving preprinted speech by the mayor while Unmei and her mother are left alone with their pain. 

Widow, with two dependent children, Hinata finds herself inundated with debt. The job at the shop does not allow her to look after the two children full time, and, with reduced hours, she finds it hard to get to the end of the month. 

Desperate, she begins to steal from supermarkets to guarantee food for her children, and thanks to her Quirk, she is never discovered. 

The idea, however absurd, slowly forms itself shaped by despair and anger as she sees her children grow in sacrifice. Under the name 'Black Cat', she begins her climb as a thief to ensure her and her children a brighter future. 

Her fame grows as she juggles between robberies at night and her mother full time during the day, until her name reaches the ears of the high spheres and nothing less than Heroes n ° 2, Endeavor. 

This field will be completed as soon as its past is revealed in history.

P E R S O N A L • I N F O R M A T I O N

Positive: Bold | Determined | Witty | Independent | Ingenious | Passionate | Direct 

Negatives: Stubborn | Proud | Hostile | Ironic | Emotional | Tough 

Unmei lives her emotions intensely and often struggles to manage them, in front of others she hides behind a mask of cold and harsh irony so as not to show her weaknesses, but alone, often, she is overwhelmed by what she feels. Probably due to past traumas, she can hardly process her pain or what makes her suffer leading to violent and sudden outbursts of anger. She is wary of strangers and doesn't like surprises. 

Over the years living alone on the street, Unmei has learned not to trust anyone and to be very cautious with every move she makes in order not to receive a one-way ticket for Tartarus. 

 This field will be completed as the story progresses. 

✔ Love: Bubble Tea, cats, lipsticks, ice cream, trash horror films 

✖ Dislikes: Endeavor, vegetables, hunger, cold, dark, arrogant and those who underestimate her. 

- Hobbies: Shopping and Martial Arts 

- Fears: abandonment and flames 

Habits: when thoughtless she nibbles her lower lip or absently drums her fingers, tends to fall asleep late at night and wake up late in the morning.

A P P E A R A N C E:

Hair: Long and wavy. Greens oil hair.

Eyes: Purple

Height: 165.5 cm | 5"4'

Weight: 52 kg | 114,64 lbs

Physical: lean and athletic. Slightly higher than the national average.

Description

She loves Korean street fashion and refers to it with many of her outfits, Unmei prefers a casual and athletic style, but mainly because she hasn't had many opportunities to wear something formal, and she's not used to it. She feels embarrassed about clothes, especially the more "fluttering" ones. By far she prefers shorts. 

She really likes crop tops and, in total contrast, oversized sweaters or coats in winter.

VILLAIN COSTUME: This field will be completed as you progress through history.

Q U I R K • and • A B I L I T I E S

Quirk Name: Good Luck 【キ チ】

Type: Emitter

Description: 

The bearer of the Quirk is always surrounded by an aura of good luck. By touching a person or having him in his field of vision within 10 meters, the aura can also be extended to other people. The higher the number of objectives, the lower the duration and effectiveness of the Quirk. Also, by touching an enemy, you can get the opposite effect and "absorb" his luck and thus bring him bad luck. This move allows the user to recharge their luck and be able to continue using their power.

Luck/misfortune alters events around opponents, distorting reality in favor of the Quirk owner.

Excessive use causes the complete loss of the aura of good luck around the user with a consequent paradox effect.

MOVES: 

This field will be completed with the advancement in history.

Power:

This field will be completed with the advancement in history.

Weakness:

This field will be completed with the advancement in history.

STATISTICS:

- Power: 2/5 D

- Speed: 4/5 B

- Technique: 5/5 A

- Intelligence: 4/5 B

- Cooperativeness: 2/5 D

Physical parameter:

- Power: 2/5 D

- Speed: 4/5 B

- Endurance: 3/5 C

- Reaction: 4/5 B

-Flexibility: 4/5 B

-Teamwork: 2/5 D

EQUIPMENT:

1. Lady Hazard Bodysuit: her full-length thief suit is made of a reinforced bulletproof material that can absorb the impact of the latter in medium and long distances. Short-range prevents her from being killed by the shot, but the blow could leave her stunned or seriously injured especially with larger caliber pistols.

2. Grapple: thanks to Giran, the Unmei suit was equipped with a special grappling hook enclosed within the metal bracelets around the wrists. When she needs it, at Unmei she just has to aim and press a button to be able to climb any wall and reach any point.

3. Night visor: The helmet that she wears during her thefts not only allows her not to be recognized by the cameras or by any witnesses but, depending on the situation, always allows her to be able to keep an eye on the situation thanks to special sensors. In addition, the helmet also functions as a gas mask.

4. Multitasking belt.

5. Bō: secured on the back, Unmei has an extendable stick to use in the event of a collision.

6. EMP grenades.

[abi-is-personal]

Picrew Master List (For Me) Part 2

Here’s Part 1! And Part 3! Part 4! Part 5! Part 6! Part 7! Part 8! Part 9! Part 10! Part 11! Part 12! Part 13! Part 14! Part 15! Part 16!

Okay, I’m just gonna jump right into the Picrews!

Playhouse

https://picrew.me/image_maker/43383

Harvey’s Picrew Part 1

https://picrew.me/image_maker/104201

Makeover Maker

https://picrew.me/image_maker/55514

S2_S2 MAKER

https://picrew.me/image_maker/84337

5EYED IMAGEMAKER

https://picrew.me/image_maker/93922

Happyhappy

https://picrew.me/image_maker/5372

Push Dollar Maker

https://picrew.me/image_maker/10926

Nineteen Formula Manufacturer

https://picrew.me/image_maker/79516

Gear Maker

https://picrew.me/image_maker/140439

Fantasy Hero Creator

https://picrew.me/image_maker/125919

That’s the limit for this post! Part three coming up next, and I’ll be linking all the parts in each part.

[goldenscar]

( ◕ᴗ◕ ) happy burrito

what is this overwhelming power ???!!!! tch … you leave me no choice, i’m going to …

            NO SWORDS STYLE —

                         (キ▼▼)＿┏┳…… GUN !!

[daily-hyosatsu]

Oh I quite like the style here! Lots of character between the sign and the typeface. The name 崎谷 is read Sakiya here, but it's split pretty equally with Sakitani, rarely Sakigaya.

崎 means promontory, cape, or spit. It’s read さき, さい, みさき, or キ. It's one of those cases where one radical hints at the meaning (山 mountain) and the other provides a reading (奇 is also read キ). The internal logic of kanji is beautiful, isn't it?

谷 means valley. It’s read たに, きわ.まる, or コク.

[warehouse-staff-blog]

“70501XX”アナタならどう着る？～エピソード③～

ど～も、福岡店 隠塚(おんづか)です。

昼夜の気温差が大きくなり、一気に秋めいてきた福岡です。こうなってくると、『今年の秋冬は何を着ようかな？』と本腰を入れて考える毎日です。

シャツにスウェットにセーター。アウターはショートかロングか？ハイテク系でホッコリヌクヌク過ごすのか？防寒は劣るものの”雰囲気重視”のオーセンティック系でスマートに過ごすのか？靴は、ブーツ、スニーカー、革靴？などなど考え始めたらキリがありませんが･･･とにかく、服好きの皆さん、

イイ季節がやってきましたねっ!!

さて、2週続けてお送りしているWAREHOUSEスタッフの”70501XX”コーデ特集。今回は、福岡店の”凸凹コンビ”からご紹介致します。

それでは、どうぞ～

☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟

【福岡店 赤尾の場合】（175㎝/65㎏）

【OUTER】WAREHOUSE&CO. / Lot 2136 CLASSIC PILE VEST　Color：BEIGE　Size：38(M)

【TOPS】WAREHOUSE&CO. / Lot 3027 FULL OPEN CHECK SHIRTS　Color：KHAKI　Size：40(L)

【PANTS】WAREHOUSE&CO. / Lot 70501XX　Color：ONE WASH　Size：32

【SHOES】RUSSEL MOCCASIN / SPORTING CLAY CHUKKA　Color：DRIFTWOOD

【CAP】ROTOTO / BULKY WATCH CAP　Color：BURGUNDY

”70501XX”のゆったりとしたシルエットを生かした《CLASSIC OUTDOOR STYLE》でまとめました。

スタイリングの際に気を付けたのは、『サイズ』と『カラーリング』です。

パンツのル－ズなフィットに対して、トップスをコンパクトにしすぎると《OUTDOOR STYLE》の雰囲気を損ねてしまう為、ジャストサイズよりもワンサイズ上のシャツをセレクトし、ショート丈のパイルベストを重ねる事でシャツの丈の境目をぼかしています。

そうする事で、シャツの裾を出していてもだらしなく見えない効果がありますよ。

ジーンズ以外を＜カ－キ＞や＜ベージュ＞、＜ブラウン＞と言った暖色系の色味でまとめて大人っぽい印象をプラスして、街でも映えるOUTDOOR STYLEの完成です。

肩肘張らない40代のアウトドアスタイル。是非、お試し下さい。

さて、お次は『私』です･･･

【福岡店 隠塚の場合】（169㎝/70㎏）

【OUTER】Rocky Mountain×WAREHOUSE&CO. / Lot 2137 NYLON DOWN VEST　Color：RED　Size：40(L)

【INNER】HARLEY of SCOTLAND×WAREHOUSE&CO. / LAMB WOOL TURTLE NECK SWEATER　Color：BLACK　Size：L

【PANTS】WAREHOUSE&CO. / Lot 70501XX　Color：ONE WASH　Size：36

【CAP】KIJIMA TAKAYUKI×WAREHOUSE&CO. / DENIM BIG CASQUETTE　Color：OR　Size：3

【SHOES】私物

まず、この”70501XX”というパンツの『股上が深く、ワタリが広い』独特なシルエットの特徴をより強調するする為（視覚的により強く訴えかける為）、オーバーサイズの36インチをチョイス。

腰～尻までのルーズさは増すものの、テーパーが効いている為、野暮ったくならないのがイイですね～。｟＊裾は1ロール分(約4㎝程度)カットしています。｠

これだけ主張するパンツですから、他はなるべく抑え目にということで＜インナー＞をはじめ、＜靴＞＜メガネなどの小物＞は黒で統一。

そうする事で、赤いダウンベストやネルシャツなどを着ても、すんなりとまとまるんじゃないかと思います。

《アメカジ》のアイテムは、”一つ一つの個性が強い洋服”が多い為、着たいものだけを合わせていくとチグハグになりやすいように感じます。

『今日は何を主役に着たいのか？』という部分をクリアーにしていくと、自然とコーディネートが生まれてきますよ～

☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟☟

洋服選びが楽しくなる秋冬シーズン、いろんなスタイリングにチャレンジしてみて下さいねっ!!

それでは、次回もお楽しみに～

[comoda2013]

キルトジャケットの爆発で無理がたたったのか、上西ちょっと体調を崩しております。 にもかかわらずオーディエンスの来春夏のオーダーを何としても今日中に完成させなければなりません。 つまり追い詰められているということです笑 というわけで今日はさくっと。 ビッグポケットベスト・新色モカでもコックシャツのレイヤードを試してみました。 モカ×オリーブも試してみたかったんですが、今回はモカ×オフホワイトの間違い無い配色で。 ベストはLサイズ、コックシャツはMサイズ着用のバランスです。 ここでもキ―ネックがその存在感を存分に発揮してくれていますね👌 #ベスト #キ―ネック #ビッグポケット #モカ AUDIENCE 7,800JPY+TAX SIZE L #コックシャツ AUDIECE 9,800JPY+TAX SIZE M #outfit #outfitoftheday #fashion #fashionphotograpy #instafashion #style #mensfashion #mensstyle #メンズファッション #メンズスタイル #メンズコーデ #コーディネイト#ファッション #今日の服   SELECTBRAND #eelproducts #stillbyhand #avontade #lamond #jackman #manualalphabet #ordinaryfits #audience #military #vintage and more! https://www.instagram.com/p/CGmfih2jSm8/?igshid=1slu27za6gce

[lolicoms-blog]

#bsasahi や #suntv #ＫＢＳ京都 では “会員制富士ビラ 山花の正”がチラ見え😁 #まんてんタビ好キ #天神style (はかた居酒屋　ばかちん) https://www.instagram.com/p/B1Aju2gAo4o/?igshid=o0bynw4gg99q

[carbonostore]

Impressionante pôster do filme para Akira, artista desconhecido. Akira (ア キ ラ) é um filme cyberpunk animado japonês pós-apocalíptico de 1988, dirigido por Katsuhiro Otomo, produzido por Ryōhei Suzuki e Shunzō Katō, e escrito por Otomo e Izo Hashimoto, baseado no mangá de Otomo de 1982 com o mesmo nome. O filme tinha um orçamento de produção de ¥ 700 milhões (US $ 5,5 milhões), tornando-o o segundo filme de anime mais caro da época. ..... Repost @retroscifiart ...... Conheça a Carbono Store. Canecas - Pôsteres - Azulejos Camisetas - Quadros. Arte 🖼️ Cinema 🎥 e Música🎸 WhatsApp e Telegram: (11) 92003-0652📲 Envios para todo o Brasil 📦🚚✈️ Compre de forma segura diretamente no site.🔐 Link na bio. ....... #akiramovie#akira#akiraart#landscape#beauty#awesome#natural#art#artist#draw#painting#sun#light#colorful#retroscifi#ufo#clouds#eyes#amazing#beautiful#nature#design#artwork#style#drawing#sunset#scifi#scifiart#katsuhirootomo#akiraanime (em São Paulo, Brazil) https://www.instagram.com/p/CCOAarUjGok/?igshid=xn4pmn4tshqy