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Shinden-zukuri 寝殿造

The Shinden-zukuri (寝殿造) is a traditional style of Japanese residential architecture that emerged during the Heian period (794–1185) and was primarily used for aristocratic palaces and mansions. It is one of the key architectural styles in Japanese history, influencing later developments in both religious and residential buildings. Below is a historical overview of the Shinden style:

1. Origins and Development (8th-9th Century)

Heian Period: The Shinden-zukuri style emerged during the Heian period when the capital of Japan moved to Heian-kyō (modern-day Kyoto) in 794. This period was marked by a significant focus on courtly life, aristocratic culture, and the development of sophisticated aesthetic sensibilities, particularly among the Fujiwara clan, who were highly influential at the time.

The term "Shinden" (寝殿) refers to the main building or hall of a noble's estate, where the head of the household lived. Over time, the style of the Shinden-zukuri became symbolic of aristocratic wealth and status.

2. Architectural Features

Central Shinden Hall: The Shinden style revolved around a central hall called the "shinden," facing a large garden, often featuring ponds. The building was usually elevated on stilts and had an open, airy structure with large verandas.

Symmetry and Layout: The overall layout was symmetrical, with long covered corridors extending from the central shinden to subsidiary buildings, such as the tai-no-ya (residential quarters) and the tō-no-ya (servants' quarters). The openness of the structure was designed to harmonize with the natural surroundings, allowing for a close connection with nature.

Tatami and Shoji: Although tatami mats were not common in early Shinden-zukuri, the spaces were often divided by shoji screens, which were sliding doors made of wood and paper, allowing light to pass through. These screens could be moved to create larger or smaller spaces as needed.

Engawa (Veranda): The building featured long verandas, which connected the interiors with the surrounding gardens. Aristocrats would enjoy the views and seasonal changes in the landscape from these spaces.

3. Cultural Context

Influence of Chinese Architecture: The Shinden style was influenced by Chinese Tang Dynasty architecture, but it was adapted to fit the Japanese environment and climate, emphasizing openness and the use of natural materials like wood and paper.

Integration with Nature: The relationship between the buildings and the surrounding landscape (gardens, ponds, and trees) was crucial in Shinden-zukuri. It reflected the Japanese aesthetic ideal of harmony with nature, which was deeply rooted in Shinto and Buddhist principles.

Aristocratic Life: The Shinden style reflected the lifestyle of the Heian aristocracy, who engaged in cultural activities such as poetry, music, and calligraphy. The architecture provided a suitable backdrop for leisurely and ceremonial activities, with large spaces for banquets, festivals, and gatherings.

4. Decline and Evolution (12th Century Onwards)

Decline in Use: The Shinden-zukuri style began to decline after the Heian period, largely due to the rise of the samurai class and the political shift from aristocratic to militaristic rule. With the rise of the Kamakura shogunate (1185–1333), residential styles like buke-zukuri (武家造), which were more suited to the warrior class, became popular.

Influence on Later Styles: Although the Shinden-zukuri style was no longer dominant, it influenced later architectural styles, such as the shoin-zukuri (書院造) during the Muromachi period (1336–1573) and the sukiya-zukuri (数寄屋造) of the Edo period (1603–1868). These styles continued to emphasize a connection to nature and the use of traditional materials but became more refined and formalized.

5. Examples of Shinden-zukuri

Unfortunately, many original Shinden-style buildings have not survived due to the passage of time, fires, and other natural disasters. However, reconstructions and illustrations, such as those of the Byōdō-in Temple in Uji, offer insight into how these aristocratic residences looked. The temple’s Phoenix Hall (built in 1053) reflects some of the aesthetic principles of Shinden architecture, especially in its integration with the surrounding landscape and water features.

6. Legacy in Modern Architecture

The Shinden-zukuri style’s influence can still be seen in modern Japanese architecture, especially in its focus on natural materials, integration with gardens, and an overall aesthetic of simplicity and harmony. These principles continue to be important in contemporary Japanese residential design, which often seeks to create fluid spaces that blend indoor and outdoor environments.

Conclusion

The Shinden-zukuri style represents a significant era in Japanese architectural history, reflecting the cultural and aesthetic values of the aristocracy during the Heian period. Its emphasis on openness, harmony with nature, and elegant simplicity continues to resonate in Japanese architecture today.

Shinden-zukuri 寝殿造

O Shinden-zukuri (寝殿造) é um estilo tradicional de arquitetura residencial japonesa que surgiu durante o período Heian (794–1185) e era utilizado principalmente para palácios e mansões aristocráticas. É um dos estilos arquitetônicos mais importantes da história do Japão, influenciando desenvolvimentos posteriores tanto em edifícios religiosos quanto residenciais. A seguir, uma visão geral histórica do estilo Shinden:

1. Origem e Desenvolvimento (Século VIII-IX)

Período Heian: O estilo Shinden-zukuri surgiu durante o período Heian, quando a capital do Japão foi transferida para Heian-kyō (atual Kyoto) em 794. Esse período foi marcado por um foco significativo na vida cortesã, na cultura aristocrática e no desenvolvimento de sensibilidades estéticas sofisticadas, particularmente entre o clã Fujiwara, que era altamente influente na época.

O termo "Shinden" (寝殿) refere-se ao edifício principal ou salão de uma propriedade nobre, onde vivia o chefe da casa. Com o tempo, o estilo Shinden-zukuri tornou-se simbólico da riqueza e status aristocrático.

2. Características Arquitetônicas

Salão Central Shinden: O estilo Shinden girava em torno de um salão central chamado "shinden", voltado para um grande jardim, geralmente com lagos. O edifício era geralmente elevado sobre estacas e possuía uma estrutura aberta e arejada, com amplas varandas.

Simetria e Layout: O layout geral era simétrico, com longos corredores cobertos que se estendiam do shinden central para os edifícios subsidiários, como o tai-no-ya (quartos residenciais) e o tō-no-ya (quartos dos servos). A abertura da estrutura foi projetada para harmonizar com o ambiente natural, permitindo uma conexão próxima com a natureza.

Tatami e Shoji: Embora os tatamis não fossem comuns no início do Shinden-zukuri, os espaços eram frequentemente divididos por telas de shoji, que eram portas deslizantes feitas de madeira e papel, permitindo a passagem de luz. Essas telas podiam ser movidas para criar espaços maiores ou menores conforme necessário.

Engawa (Varanda): O edifício apresentava longas varandas, que conectavam os interiores aos jardins circundantes. Os aristocratas apreciavam as vistas e as mudanças sazonais da paisagem desses espaços.

3. Contexto Cultural

Influência da Arquitetura Chinesa: O estilo Shinden foi influenciado pela arquitetura da dinastia Tang da China, mas foi adaptado ao ambiente e clima japoneses, enfatizando a abertura e o uso de materiais naturais, como madeira e papel.

Integração com a Natureza: A relação entre os edifícios e a paisagem circundante (jardins, lagos e árvores) era crucial no Shinden-zukuri. Isso refletia o ideal estético japonês de harmonia com a natureza, profundamente enraizado nos princípios do xintoísmo e do budismo.

Vida Aristocrática: O estilo Shinden refletia o estilo de vida da aristocracia Heian, que se dedicava a atividades culturais como poesia, música e caligrafia. A arquitetura oferecia um cenário adequado para atividades de lazer e cerimônias, com grandes espaços para banquetes, festivais e encontros.

4. Declínio e Evolução (A Partir do Século XII)

Declínio de Uso: O estilo Shinden-zukuri começou a declinar após o período Heian, em grande parte devido à ascensão da classe dos samurais e à mudança política de uma governança aristocrática para uma governança militar. Com o surgimento do shogunato Kamakura (1185–1333), estilos residenciais como o buke-zukuri (武家造), mais adequados à classe guerreira, tornaram-se populares.

Influência em Estilos Posteriores: Embora o estilo Shinden-zukuri não fosse mais dominante, ele influenciou estilos arquitetônicos posteriores, como o shoin-zukuri (書院造) durante o período Muromachi (1336–1573) e o sukiya-zukuri (数寄屋造) do período Edo (1603–1868). Esses estilos continuaram a enfatizar a conexão com a natureza e o uso de materiais tradicionais, mas tornaram-se mais refinados e formalizados.

5. Exemplos de Shinden-zukuri

Infelizmente, muitos edifícios originais no estilo Shinden não sobreviveram devido à passagem do tempo, incêndios e outros desastres naturais. No entanto, reconstruções e ilustrações, como as do Templo Byōdō-in em Uji, oferecem uma visão de como essas residências aristocráticas eram. O Salão da Fênix do templo (construído em 1053) reflete alguns dos princípios estéticos da arquitetura Shinden, especialmente em sua integração com a paisagem e os elementos aquáticos.

6. Legado na Arquitetura Moderna

A influência do estilo Shinden-zukuri ainda pode ser vista na arquitetura moderna japonesa, especialmente em seu foco no uso de materiais naturais, integração com jardins e uma estética geral de simplicidade e harmonia. Esses princípios continuam sendo importantes no design residencial japonês contemporâneo, que muitas vezes busca criar espaços fluidos que misturam ambientes internos e externos.

Conclusão

O estilo Shinden-zukuri representa uma era significativa na história arquitetônica do Japão, refletindo os valores culturais e estéticos da aristocracia durante o período Heian. Seu foco na abertura, na harmonia com a natureza e na simplicidade elegante continua a ressoar na arquitetura japonesa até hoje.

Layout

The Shinden-zukuri (寝殿造) style of architecture, developed during the Heian period in Japan, had a highly structured layout, reflecting the social hierarchy and lifestyle of the aristocracy. Each component of the Shinden-zukuri complex had a specific function, designed to accommodate the daily life of the nobility and their retinues. Below are the key components, elements, and their functions:

1. Shinden (寝殿) - Main Hall

Function: The central structure of the complex, this was the residence of the head of the household. It was typically oriented facing south toward a garden and pond. This open and spacious hall was used for formal occasions, ceremonies, and important social gatherings.

Features: The shinden was an elevated wooden structure with large verandas and sliding doors (shoji), allowing for flexible use of space and ventilation.

2. Moya (母屋) - Central Core of the Shinden

Function: The inner area of the shinden where the most important activities occurred. It was often used for sleeping and more private affairs, particularly for the lord of the house.

Features: Located in the center of the shinden, this was the heart of the building, sometimes enclosed by curtains or folding screens for privacy.

3. Hisashi (廂) - Veranda or Peripheral Area

Function: A surrounding narrow corridor or walkway located around the central moya. The hisashi provided additional space for servants, storage, or as a buffer between the living area and the outside.

Features: Often open to the outside, sometimes covered with tatami mats, it was a transitional area between indoors and outdoors.

4. Tai-no-ya (対屋) - Subsidiary Buildings

Function: Auxiliary buildings connected to the shinden by covered walkways. These were used for various purposes, including residential quarters for other family members, servants, or as storage spaces.

Features: These smaller buildings, typically located to the east and west of the shinden, were symmetrically aligned and connected to the main hall through watadono (corridors).

5. Watadono (渡殿) - Covered Corridors

Function: Long, roofed passageways that connected the shinden to the tai-no-ya and other outlying buildings. They served both practical and symbolic purposes, allowing for movement within the complex without exposure to the elements.

Features: These corridors were often designed with wooden planks and roofed with thin wooden tiles, reflecting the overall aesthetic harmony of the complex.

6. Tō-no-ya (東の屋) - Eastern Hall

Function: This was a hall or subsidiary building located on the eastern side of the complex. It often housed female family members or served as a private space for the lord.

Features: Like other subsidiary buildings, it was connected to the shinden by covered corridors and had rooms divided by sliding doors or curtains.

7. Nishi-no-ya (西の屋) - Western Hall

Function: The western counterpart of the tō-no-ya, this hall often housed male family members or guests.

Features: Similar in construction and layout to the eastern hall, maintaining symmetry in the overall design of the complex.

8. Kita-no-ya (北の屋) - Northern Hall

Function: Located at the rear (north) of the shinden, this building was often reserved for servants, storage, or lower-ranking family members. In some cases, it could also serve as a space for quieter activities like writing or personal retreats.

Features: A simpler structure compared to the other halls, connected by corridors.

9. Kichō (几帳) - Decorative Curtains or Screens

Function: Used inside the shinden to partition spaces and provide privacy. These portable screens or curtains were often elaborately decorated and played a crucial role in separating spaces for various activities or statuses.

Features: They were typically made of fabric stretched on frames and could be easily moved or adjusted to create flexible space arrangements.

10. Shoji (障子) - Sliding Doors

Function: Shoji were used to partition rooms or control the flow of light and air. These sliding doors allowed the aristocrats to adjust the space according to needs, ensuring privacy while also maintaining flexibility.

Features: Made of wooden frames covered with translucent paper, they allowed soft light to enter the room while maintaining some degree of privacy.

11. Engawa (縁側) - Veranda

Function: An outer veranda surrounding the shinden and connecting it to the garden. It was used as a transitional space between the indoors and outdoors, providing a view of the garden and a place for relaxation or informal activities.

Features: Raised wooden flooring that extended from the main structure, offering an elevated platform to enjoy the scenery.

12. Garden (庭園, Teien)

Function: The garden was a key element in the Shinden-zukuri style, reflecting the deep connection between architecture and nature in Japanese aesthetics. The garden, often with a pond, bridges, and carefully arranged plant life, was the focal point of the complex, visible from the shinden.

Features: Designed to be viewed from the main hall, it often included artificial ponds, small islands, and natural landscapes that changed with the seasons.

13. Chūmonrō (中門廊) - Central Gate Corridor

Function: A central gate located between the garden and the shinden. It served as a formal entry point for visitors or as a boundary between the residential area and the outer courtyards.

Features: The chūmonrō was often a grand structure, marking the entrance to the aristocratic residence, and its architectural design was meant to reflect the status of the household.

14. Kairō (回廊) - Roofed Walkways

Function: These roofed walkways connected the various buildings of the complex and served to protect residents and servants from rain or sun while moving between spaces.

Features: Similar to the watadono, the kairō formed an interconnected grid that linked the different parts of the estate.

15. Shitsu (室) - Private Rooms

Function: Private rooms for sleeping or personal affairs, typically enclosed with shoji or kichō. These rooms were located within the auxiliary buildings (tai-no-ya) or less prominent parts of the shinden itself.

Features: They were often sparsely furnished, reflecting the minimalist aesthetic, with futons used for sleeping and movable furniture.

16. Koya (庫屋) - Storehouses

Function: Dedicated storage spaces, usually located at the periphery of the complex, for food, clothes, and other materials necessary for the daily running of the household.

Features: Simple, utilitarian buildings, often constructed from wood or stone, designed to keep goods dry and secure.

17. Shinsensha (神饌舎) - Religious Structures

Function: Small shrines or spaces for religious offerings to the gods or ancestors. These spaces were important for carrying out the spiritual and ritualistic duties of the household.

Features: Simple and discreet structures within the complex, reflecting the close connection between the aristocracy and spiritual practices in Heian Japan.

Conclusion:

The Shinden-zukuri style was highly structured and reflected the hierarchical society of the Heian aristocracy, with each building and element serving a specific function. The architecture emphasized harmony with nature, flexible use of space, and aesthetic simplicity, with the layout of the complex representing both the practical needs and cultural values of the time.

Estrutura Arquitetônica

O estilo Shinden-zukuri (寝殿造), desenvolvido durante o período Heian no Japão, tinha um layout altamente estruturado, refletindo a hierarquia social e o estilo de vida da aristocracia. Cada componente do complexo Shinden-zukuri tinha uma função específica, projetada para acomodar a vida diária da nobreza e seus serviçais. Abaixo estão os principais componentes, elementos e suas funções:

1. Shinden (寝殿) - Salão Principal

Função: A estrutura central do complexo, esta era a residência do chefe da casa. Normalmente estava orientada para o sul, em direção a um jardim e lago. Este salão aberto e espaçoso era usado para ocasiões formais, cerimônias e importantes encontros sociais.

Características: O shinden era uma estrutura elevada de madeira com grandes varandas e portas deslizantes (shoji), permitindo o uso flexível do espaço e ventilação.

2. Moya (母屋) - Núcleo Central do Shinden

Função: A área interna do shinden, onde ocorriam as atividades mais importantes. Era frequentemente usada para dormir e para assuntos mais privados, particularmente para o senhor da casa.

Características: Localizado no centro do shinden, este era o coração do edifício, às vezes cercado por cortinas ou biombos para maior privacidade.

3. Hisashi (廂) - Varanda ou Área Periférica

Função: Um corredor estreito ao redor do moya central. O hisashi fornecia espaço adicional para servos, armazenamento ou como uma área de transição entre a parte interna e externa.

Características: Muitas vezes aberto para o exterior, às vezes coberto com tatami, funcionava como uma área de transição entre o interior e o exterior.

4. Tai-no-ya (対屋) - Edifícios Subsidiários

Função: Edifícios auxiliares conectados ao shinden por passagens cobertas. Eram usados para várias funções, incluindo alojamentos para outros membros da família, servos ou como áreas de armazenamento.

Características: Esses edifícios menores, geralmente localizados a leste e a oeste do shinden, eram dispostos simetricamente e conectados ao salão principal através de watadono (corredores).

5. Watadono (渡殿) - Corredores Cobertos

Função: Longas passagens cobertas que conectavam o shinden aos tai-no-ya e outros edifícios externos. Serviam tanto para funções práticas quanto simbólicas, permitindo o deslocamento dentro do complexo sem exposição ao clima.

Características: Esses corredores eram geralmente feitos de tábuas de madeira e cobertos com telhas finas de madeira, refletindo a harmonia estética do complexo.

6. Tō-no-ya (東の屋) - Salão Leste

Funç��o: Este era um salão ou edifício subsidiário localizado no lado leste do complexo. Frequentemente abrigava membros femininos da família ou servia como espaço privado para o senhor.

Características: Como outros edifícios subsidiários, estava conectado ao shinden por corredores cobertos e possuía divisórias de portas deslizantes ou cortinas.

7. Nishi-no-ya (西の屋) - Salão Oeste

Função: O contraponto ocidental do tō-no-ya, este salão frequentemente abrigava membros masculinos da família ou convidados.

Características: Semelhante em construção e layout ao salão oriental, mantendo a simetria no design geral do complexo.

8. Kita-no-ya (北の屋) - Salão Norte

Função: Localizado na parte traseira (norte) do shinden, este edifício era frequentemente reservado para servos, armazenamento ou membros da família de menor hierarquia. Em alguns casos, também podia servir como espaço para atividades mais tranquilas, como escrita ou retiros pessoais.

Características: Uma estrutura mais simples em comparação com os outros salões, conectada por corredores.

9. Kichō (几帳) - Cortinas ou Biombos Decorativos

Função: Usados dentro do shinden para dividir espaços e proporcionar privacidade. Esses biombos ou cortinas portáteis eram frequentemente decorados de forma elaborada e desempenhavam um papel crucial na separação dos espaços para diferentes atividades ou status.

Características: Eram tipicamente feitos de tecido esticado em molduras e podiam ser movidos ou ajustados facilmente para criar arranjos espaciais flexíveis.

10. Shoji (障子) - Portas Deslizantes

Função: Os shoji eram usados para dividir cômodos ou controlar a entrada de luz e ar. Essas portas deslizantes permitiam que os aristocratas ajustassem o espaço conforme as necessidades, garantindo privacidade e mantendo a flexibilidade.

Características: Feitos de molduras de madeira cobertas com papel translúcido, permitiam a entrada de luz suave nos ambientes, mantendo certo grau de privacidade.

11. Engawa (縁側) - Varanda

Função: Uma varanda externa que cercava o shinden e o conectava ao jardim. Era usada como espaço de transição entre o interior e o exterior, proporcionando uma vista do jardim e um local para relaxamento ou atividades informais.

Características: Piso de madeira elevado que se estendia da estrutura principal, oferecendo uma plataforma elevada para apreciar a paisagem.

12. Jardim (庭園, Teien)

Função: O jardim era um elemento chave no estilo Shinden-zukuri, refletindo a profunda conexão entre arquitetura e natureza nas estéticas japonesas. O jardim, frequentemente com lagoas, pontes e vegetação cuidadosamente disposta, era o ponto focal do complexo, visível do shinden.

Características: Projetado para ser apreciado do salão principal, o jardim muitas vezes incluía lagoas artificiais, pequenas ilhas e paisagens naturais que mudavam com as estações.

13. Chūmonrō (中門廊) - Corredor do Portão Central

Função: Um portão central localizado entre o jardim e o shinden. Servia como ponto de entrada formal para visitantes ou como limite entre a área residencial e os pátios externos.

Características: O chūmonrō era frequentemente uma estrutura grandiosa, marcando a entrada da residência aristocrática, com um design arquitetônico que refletia o status da casa.

14. Kairō (回廊) - Passarelas Cobertas

Função: Essas passarelas cobertas conectavam os vários edifícios do complexo e serviam para proteger os residentes e servos da chuva ou sol durante seus deslocamentos.

Características: Semelhante ao watadono, o kairō formava uma grade interconectada que ligava diferentes partes da propriedade.

15. Shitsu (室) - Quartos Privados

Função: Quartos privados usados para dormir ou para assuntos pessoais, geralmente fechados com shoji ou kichō. Esses cômodos estavam localizados nos edifícios auxiliares (tai-no-ya) ou em partes menos proeminentes do próprio shinden.

Características: Frequentemente mobiliados de forma simples, refletindo a estética minimalista, com futons usados para dormir e móveis móveis.

16. Koya (庫屋) - Armazéns

Função: Espaços dedicados ao armazenamento, geralmente localizados na periferia do complexo, para alimentos, roupas e outros materiais necessários para o funcionamento diário da casa.

Características: Edifícios simples e utilitários, geralmente construídos em madeira ou pedra, projetados para manter os bens secos e seguros.

17. Shinsensha (神饌舎) - Estruturas Religiosas

Função: Pequenos santuários ou espaços para oferendas religiosas aos deuses ou ancestrais. Esses espaços eram importantes para a realização dos deveres espirituais e rituais da família.

Características: Estruturas simples e discretas dentro do complexo, refletindo a conexão íntima entre a aristocracia e as práticas espirituais no Japão Heian.

Conclusão:

O estilo Shinden-zukuri era altamente estruturado e refletia a sociedade hierárquica da aristocracia do período Heian, com cada edifício e elemento servindo a uma função específica. A arquitetura enfatizava a harmonia com a natureza, o uso flexível do espaço e a simplicidade estética, com o layout do complexo representando tanto as necessidades práticas quanto os valores culturais da época.

Symbolic and philosophical meaning

The Shinden-zukuri style of architecture, developed during the Heian period, reflects not only the practical needs of the aristocracy but also holds deep symbolic and philosophical meanings that align with Japanese cultural values. Each component and element of the Shinden-zukuri complex carries a symbolic or philosophical significance tied to aesthetics, social structure, and the harmony between nature and human life. Below is an explanation of the symbolic and philosophical meanings of each key element:

1. Shinden (寝殿) - Main Hall

Symbolism: The shinden, as the central structure, symbolizes authority, status, and the heart of the household. It represents the connection between the aristocrat and the divine, as it was oriented to face south, where light and good fortune were believed to come from.

Philosophical Meaning: The spaciousness and openness reflect the Heian ideals of balance, elegance, and refinement. The design encourages a sense of calm and dignity, befitting the nobility's desire for aesthetic harmony and inner tranquility.

2. Moya (母屋) - Central Core of the Shinden

Symbolism: The moya represents the personal, intimate space of the family head, symbolizing the innermost sanctum of the individual. It is a private area where introspection and personal rest occur, embodying the separation of public and private life.

Philosophical Meaning: The moya’s positioning within the larger shinden complex highlights the importance of privacy, contemplation, and the inner world of the individual, in line with Buddhist notions of inner peace and self-cultivation.

3. Hisashi (廂) - Veranda or Peripheral Area

Symbolism: The hisashi acts as a boundary between the internal and external worlds. It is both a physical and symbolic space that mediates the household’s relationship with nature and the outside world.

Philosophical Meaning: As a transitional space, the hisashi reflects the Buddhist concept of impermanence (無常, mujō), where life is seen as constantly shifting between different states. The ability to move between these spaces signifies fluidity and adaptability in life.

4. Tai-no-ya (対屋) - Subsidiary Buildings

Symbolism: These buildings, symmetrically arranged, symbolize balance, order, and the social hierarchy of the Heian aristocracy. The separation of spaces for different family members and servants reflects the rigid social stratification of the period.

Philosophical Meaning: The tai-no-ya reflect the Confucian ideal of proper relationships and the importance of each individual’s role within a defined social order. The symmetry also embodies the Buddhist idea of harmony and balance in the universe.

5. Watadono (渡殿) - Covered Corridors

Symbolism: These corridors symbolize connection and continuity between different elements of life. They reflect the need for structured pathways in relationships, communication, and movement within social and natural worlds.

Philosophical Meaning: The corridors represent the Zen Buddhist idea of the middle path—a balanced approach to life, avoiding extremes and maintaining fluidity in one’s journey through life.

6. Tō-no-ya (東の屋) & Nishi-no-ya (西の屋) - Eastern and Western Halls

Symbolism: The placement of the eastern and western halls represents the balance between yin and yang forces, male and female energy, and the cyclical nature of day and night. East (Tō) traditionally symbolizes beginnings and light, while West (Nishi) represents endings and sunset.

Philosophical Meaning: These halls reflect the idea of duality and complementarity found in Taoist and Buddhist philosophy. They serve as a reminder that opposing forces must exist in harmony for balance in life.

7. Kita-no-ya (北の屋) - Northern Hall

Symbolism: The northern part of a residence was considered to be a lower-status area, often reserved for servants or storage. It symbolizes humility and the notion of support roles within a larger, more important structure.

Philosophical Meaning: The positioning of this hall embodies the concept of humility and selflessness, values associated with Confucian teachings, where everyone, regardless of rank, plays a vital role in supporting the whole.

8. Kichō (几帳) - Decorative Curtains or Screens

Symbolism: The kichō symbolize separation and mystery. They demarcate spaces for different social or ceremonial functions and reflect the hidden, nuanced nature of life at court, where much was left unsaid or unseen.

Philosophical Meaning: The screens represent the concept of ma (間), the space or pause between things. In Japanese aesthetics, the idea of ma is central to appreciating the balance between form and emptiness, activity and stillness.

9. Shoji (障子) - Sliding Doors

Symbolism: The translucent shoji sliding doors symbolize permeability and the subtlety of the boundaries between spaces, reflecting a world where nothing is completely hidden or completely exposed.

Philosophical Meaning: Shoji reflect the idea of ephemerality and the interconnectedness of spaces, emphasizing the fluid nature of reality, much like the Buddhist understanding of the impermanence of all things.

10. Engawa (縁側) - Veranda

Symbolism: The engawa symbolizes the edge of domestic life and the beginning of the natural world, embodying the idea of liminality—a threshold between two realms.

Philosophical Meaning: This veranda reflects the philosophical ideal of wabi-sabi, the appreciation of the transient beauty found in nature and imperfection. It also represents the desire to be close to nature, a key element in both Shinto and Buddhist thought.

11. Garden (庭園, Teien)

Symbolism: The garden is a microcosm of the natural world, symbolizing harmony, balance, and the cyclical nature of life. Ponds, islands, and carefully placed stones or trees often symbolized spiritual or philosophical ideas, such as purity, rebirth, and the journey of the soul.

Philosophical Meaning: Inspired by Buddhist and Taoist teachings, the garden reflects the idea of natural order (秩序, chitsujo) and impermanence (無常, mujō). It is a space for contemplation and connecting with the cycles of life and death.

12. Chūmonrō (中門廊) - Central Gate Corridor

Symbolism: The central gate represents the transition from the outer world to the inner sanctum of the aristocratic residence, symbolizing the crossing of thresholds in life—from public to private, and from the mundane to the sacred.

Philosophical Meaning: It represents the Buddhist notion of upaya (skillful means), suggesting that all paths can lead to enlightenment if approached with the right mindset. It is a space of transition and potential, symbolizing personal and spiritual growth.

13. Kairō (回廊) - Roofed Walkways

Symbolism: The kairō symbolizes continuity and protection. Like the watadono, these roofed walkways represent structured movement and controlled pathways within the estate, reflecting the importance of order and direction in life.

Philosophical Meaning: In a broader sense, these walkways are a metaphor for life’s journey—sheltered yet interconnected. They embody the Buddhist idea of dependent origination (縁起, engi), where all things are interconnected and dependent on one another for their existence.

14. Shitsu (室) - Private Rooms

Symbolism: Private rooms represent introspection, self-reflection, and rest. They are intimate, personal spaces that symbolize the inner sanctum of the self, away from the public eye.

Philosophical Meaning: These spaces embody the Zen concept of zazen (sitting meditation), encouraging quiet reflection and solitude, essential for mental clarity and personal growth.

15. Koya (庫屋) - Storehouses

Symbolism: Storehouses represent the household’s wealth and stability, symbolizing accumulation and preservation.

Philosophical Meaning: The function of storing goods reflects the Buddhist teaching of impermanence (無常, mujō), reminding that while physical possessions can be held temporarily, they are ultimately transient.

16. Shinsensha (神饌舎) - Religious Structures

Symbolism: These small shrines or altars symbolize the connection between the human and the divine, reflecting the household’s spiritual duties and reverence for the gods and ancestors.

Philosophical Meaning: They reflect the concept of kami (神, spirits or gods) in Shinto belief, as well as Buddhist ideas of interconnectedness with the spiritual realm, acknowledging the unseen forces that influence the material world.

Conclusion:

The Shinden-zukuri style is rich in symbolic and philosophical meanings, with each element carefully designed to reflect the values of harmony, balance, social order, and the deep connection between humans, nature, and the spiritual world. This architectural style was not just about creating functional living spaces, but about constructing an environment that embodied the aesthetic and

philosophical ideals of the Heian aristocracy, steeped in the principles of Buddhism, Shintoism, Confucianism, and traditional Japanese aesthetics.

Significado Simbólico e Filosófico

O estilo arquitetônico Shinden-zukuri, desenvolvido durante o período Heian, reflete não apenas as necessidades práticas da aristocracia, mas também carrega profundos significados simbólicos e filosóficos que se alinham com os valores culturais japoneses. Cada componente e elemento do complexo Shinden-zukuri possui um significado simbólico ou filosófico vinculado à estética, estrutura social e à harmonia entre a natureza e a vida humana. Abaixo está uma explicação dos significados simbólicos e filosóficos de cada elemento chave:

1. Shinden (寝殿) - Salão Principal

Simbolismo: O shinden, como estrutura central, simboliza autoridade, status e o coração da casa. Representa a conexão entre o aristocrata e o divino, pois estava orientado para o sul, onde se acreditava que a luz e a boa fortuna vinham.

Significado Filosófico: A amplitude e a abertura refletem os ideais Heian de equilíbrio, elegância e refinamento. O design promove um senso de calma e dignidade, adequando-se ao desejo da nobreza por harmonia estética e tranquilidade interior.

2. Moya (母屋) - Núcleo Central do Shinden

Simbolismo: O moya representa o espaço pessoal e íntimo do chefe da família, simbolizando o santuário interior do indivíduo. É uma área privada onde ocorre introspecção e descanso pessoal, representando a separação entre a vida pública e privada.

Significado Filosófico: O posicionamento do moya dentro do complexo shinden destaca a importância da privacidade, da contemplação e do mundo interior, alinhando-se com as noções budistas de paz interior e cultivo pessoal.

3. Hisashi (廂) - Varanda ou Área Periférica

Simbolismo: O hisashi age como um limite entre os mundos interno e externo. É tanto um espaço físico quanto simbólico, que medeia a relação da casa com a natureza e o mundo exterior.

Significado Filosófico: Como um espaço de transição, o hisashi reflete o conceito budista de impermanência (無常, mujō), onde a vida é vista como uma constante mudança entre diferentes estados. A capacidade de se mover entre esses espaços simboliza a fluidez e adaptabilidade na vida.

4. Tai-no-ya (対屋) - Edifícios Subsidiários

Simbolismo: Esses edifícios, dispostos simetricamente, simbolizam equilíbrio, ordem e a hierarquia social da aristocracia Heian. A separação dos espaços para diferentes membros da família e servos reflete a estratificação social rígida da época.

Significado Filosófico: Os tai-no-ya refletem o ideal confuciano de relações adequadas e a importância do papel de cada indivíduo dentro de uma ordem social definida. A simetria também representa a ideia budista de harmonia e equilíbrio no universo.

5. Watadono (渡殿) - Corredores Cobertos

Simbolismo: Esses corredores simbolizam conexão e continuidade entre os diferentes elementos da vida. Refletem a necessidade de caminhos estruturados nas relações, na comunicação e no movimento entre os mundos social e natural.

Significado Filosófico: Os corredores representam a ideia budista de caminho do meio—uma abordagem equilibrada da vida, evitando extremos e mantendo a fluidez na jornada da vida.

6. Tō-no-ya (東の屋) & Nishi-no-ya (西の屋) - Salões Leste e Oeste

Simbolismo: A disposição dos salões leste e oeste representa o equilíbrio entre as forças do yin e yang, as energias masculina e feminina, e a natureza cíclica do dia e da noite. O leste (Tō) tradicionalmente simboliza começos e luz, enquanto o oeste (Nishi) representa finais e o pôr do sol.

Significado Filosófico: Esses salões refletem a ideia de dualidade e complementaridade encontrada na filosofia taoísta e budista. Eles servem como um lembrete de que forças opostas devem existir em harmonia para que haja equilíbrio na vida.

7. Kita-no-ya (北の屋) - Salão Norte

Simbolismo: A parte norte de uma residência era considerada uma área de status inferior, geralmente reservada para servos ou armazenamento. Simboliza humildade e a noção de papéis de suporte dentro de uma estrutura maior e mais importante.

Significado Filosófico: O posicionamento deste salão incorpora o conceito de humildade e abnegação, valores associados aos ensinamentos confucionistas, onde todos, independentemente do status, desempenham um papel vital no apoio ao todo.

8. Kichō (几帳) - Cortinas ou Biombos Decorativos

Simbolismo: Os kichō simbolizam separação e mistério. Eles demarcam espaços para diferentes funções sociais ou cerimoniais e refletem a natureza oculta e sutil da vida na corte, onde muito era deixado não dito ou não visto.

Significado Filosófico: Os biombos representam o conceito de ma (間), o espaço ou pausa entre as coisas. Na estética japonesa, a ideia de ma é central para apreciar o equilíbrio entre forma e vazio, atividade e quietude.

9. Shoji (障子) - Portas Deslizantes

Simbolismo: As portas deslizantes translúcidas shoji simbolizam a permeabilidade e a sutileza das fronteiras entre os espaços, refletindo um mundo onde nada é completamente oculto ou completamente exposto.

Significado Filosófico: Os shoji refletem a ideia de efemeridade e a interconexão dos espaços, enfatizando a natureza fluida da realidade, assim como a compreensão budista da impermanência de todas as coisas.

10. Engawa (縁側) - Varanda

Simbolismo: A engawa simboliza o limite da vida doméstica e o início do mundo natural, incorporando a ideia de liminalidade—um limiar entre dois reinos.

Significado Filosófico: Esta varanda reflete o ideal filosófico de wabi-sabi, a apreciação da beleza transitória encontrada na natureza e na imperfeição. Ela também representa o desejo de estar próximo à natureza, um elemento-chave tanto no xintoísmo quanto no budismo.

11. Jardim (庭園, Teien)

Simbolismo: O jardim é um microcosmo do mundo natural, simbolizando harmonia, equilíbrio e a natureza cíclica da vida. Lagos, ilhas e pedras ou árvores cuidadosamente dispostas frequentemente simbolizam ideias espirituais ou filosóficas, como pureza, renascimento e a jornada da alma.

Significado Filosófico: Inspirado pelos ensinamentos budistas e taoístas, o jardim reflete a ideia de ordem natural (秩序, chitsujo) e impermanência (無常, mujō). É um espaço de contemplação e conexão com os ciclos da vida e da morte.

12. Chūmonrō (中門廊) - Corredor do Portão Central

Simbolismo: O portão central representa a transição do mundo externo para o santuário interior da residência aristocrática, simbolizando a travessia de limiares na vida—do público ao privado, e do mundano ao sagrado.

Significado Filosófico: Ele representa a noção budista de upaya (meios hábeis), sugerindo que todos os caminhos podem levar à iluminação se abordados com a mentalidade correta. É um espaço de transição e potencial, simbolizando o crescimento pessoal e espiritual.

13. Kairō (回廊) - Passarelas Cobertas

Simbolismo: O kairō simboliza continuidade e proteção. Como o watadono, essas passarelas cobertas representam movimento estruturado e caminhos controlados dentro da propriedade, refletindo a importância de ordem e direção na vida.

Significado Filosófico: Em um sentido mais amplo, essas passarelas são uma metáfora para a jornada da vida—protegida, mas interconectada. Elas incorporam a ideia budista de origem dependente (縁起, engi), onde todas as coisas estão interconectadas e dependentes umas das outras para sua existência.

14. Shitsu (室) - Quartos Privados

Simbolismo: Os quartos privados representam introspecção, autorreflexão e descanso. São espaços íntimos e pessoais que simbolizam o santuário interior do eu, longe dos olhos do público.

Significado Filosófico: Esses espaços incorporam o conceito zen de zazen (meditação sentada), incentivando a reflexão silenciosa e a solidão, essenciais para a clareza mental e o crescimento pessoal.

15. Koya (庫屋) - Armazéns

**Simbolismo

**: Os armazéns representam a riqueza e estabilidade da casa, simbolizando acúmulo e preservação.

Significado Filosófico: A função de armazenar bens reflete o ensinamento budista da impermanência (無常, mujō), lembrando que, embora posses materiais possam ser mantidas temporariamente, elas são, em última análise, transitórias.

16. Shinsensha (神饌舎) - Estruturas Religiosas

Simbolismo: Esses pequenos santuários ou altares simbolizam a conexão entre o humano e o divino, refletindo os deveres espirituais da casa e a reverência pelos deuses e ancestrais.

Significado Filosófico: Eles refletem o conceito de kami (神, espíritos ou deuses) na crença xintoísta, bem como as ideias budistas de interconexão com o reino espiritual, reconhecendo as forças invisíveis que influenciam o mundo material.

Conclusão:

O estilo Shinden-zukuri é rico em significados simbólicos e filosóficos, com cada elemento cuidadosamente projetado para refletir os valores de harmonia, equilíbrio, ordem social e a profunda conexão entre os humanos, a natureza e o mundo espiritual. Este estilo arquitetônico não tratava apenas de criar espaços de vida funcionais, mas de construir um ambiente que incorporasse os ideais estéticos e filosóficos da aristocracia Heian, impregnado pelos princípios do budismo, xintoísmo, confucionismo e da estética tradicional japonesa.

Modern Use

Designing an open-plan, very small apartment using the symbolic and philosophical concepts of the Shinden-zukuri style requires careful thought to incorporate the harmony, fluidity, balance, and connection to nature that the traditional Japanese architecture embodies. In such a small space, the goal is to create areas that can be flexible and multifunctional, while still maintaining the aesthetic and symbolic depth inspired by Shinden-zukuri. Below is a detailed step-by-step plan to apply these concepts effectively.

Step 1: Layout and Zoning (Creating Harmony and Fluidity)

Objective: Even in an open-plan small apartment, zoning can be used to create distinct areas, much like how Shinden-zukuri separates various living spaces with interconnected corridors. Focus on ensuring that each zone has its own purpose but feels part of a cohesive whole.

Actions:

Central Space: Use the concept of the Shinden (main hall) to designate the most central and important part of the apartment as a multifunctional area. This could be the living space, where relaxation, hosting, and work can take place. Ideally, this space should be flexible and adaptable, using modular furniture that can shift to accommodate different activities.

Peripheral Zones: Apply the idea of Tai-no-ya (subsidiary buildings) for more specific areas around the central living space, like a sleeping area, kitchenette, or workspace. These areas should be subtly demarcated without physical walls to maintain openness but can be distinguished through design elements like lighting, floor patterns, or low partitions.

Step 2: Flow and Movement (Incorporating Pathways)

Objective: Movement through the apartment should feel natural, flowing, and uninterrupted, akin to the way Watadono and Kairō corridors in Shinden-zukuri connect different spaces. This will enhance the experience of continuity and balance.

Actions:

Designate Movement Pathways: Instead of creating straight corridors, use furniture and decor to create implied pathways that guide the flow of movement. For example, the sofa could direct traffic toward the kitchen or bedroom area, creating natural circulation paths.

Sliding Elements: Incorporate shoji-style sliding doors or screens to section off spaces when needed. This could be used between the bedroom and the living area or to hide away storage. Sliding doors keep the space flexible and prevent visual clutter, while maintaining flow.

Step 3: Transitional Spaces (Symbolism of Liminality)

Objective: Just as the Hisashi (peripheral veranda) serves as a transitional space between the internal and external, include transition areas in the apartment to promote a connection between spaces and a gradual shift from public to private zones.

Actions:

Mini Veranda Concept: Create a symbolic engawa or small transitional space by placing a low platform, rug, or bench near a window. This spot can serve as a contemplative seating area, connecting the interior to the external environment through a view of the outside world. Even in a small apartment, such areas can be visually or psychologically meaningful.

Multi-use Entryway: Use the entry area of the apartment as a transition zone. Keep it minimalist and use it for storage or a small shoe area, reflecting the notion of crossing a threshold from the external world into the personal and spiritual interior.

Step 4: Privacy and Flexibility (Using Screens and Curtains)

Objective: Use Kichō (decorative curtains or screens) to allow for flexible privacy in the apartment, creating separations that are not permanent, allowing for openness when needed.

Actions:

Movable Partitions: Use lightweight, movable screens to separate spaces like the bedroom from the living area. When privacy is required, these screens can provide enclosure, but they can also be removed or folded to restore openness and light flow.

Textile Divisions: Install curtains or fabric dividers in soft, natural materials, inspired by the traditional kichō. These could be hung between areas such as the sleeping space and living area to create a sense of intimacy while maintaining the fluid design.

Step 5: Connection to Nature (Integration of Nature and Light)

Objective: Shinden-zukuri design emphasizes the harmony between architecture and the natural world, as seen in the gardens. In an open-plan apartment, this connection can be emulated by careful attention to natural light, views, and indoor plants.

Actions:

Maximize Natural Light: Ensure that windows are unobstructed to allow for maximum natural light. Consider light, translucent window coverings that evoke the feel of shoji doors, allowing the light to softly filter into the space.

Indoor Garden or Greenery: Create a small indoor garden area, echoing the symbolic importance of the teien (garden) in Shinden-zukuri. Use potted plants or even a small vertical garden to bring in elements of nature, symbolizing growth, harmony, and balance.

Natural Materials: Use wood, stone, and plants throughout the apartment to foster a deep connection to nature. Furniture, floors, and finishes should ideally incorporate organic, unpolished materials that reflect the wabi-sabi aesthetic of finding beauty in imperfection.

Step 6: Balance of Opposites (Applying Duality of Spaces)

Objective: Integrate the Tō-no-ya (eastern) and Nishi-no-ya (western) symbolic ideas of balance and duality into the design, creating spaces that reflect opposites, like light and dark, active and passive.

Actions:

Contrast in Design: Use contrasting materials or colors to signify the duality of spaces. For example, the sleeping area can have darker, more calming colors, while the active living or working space can be brighter and more energizing.

Multifunctional Areas: Designate areas that serve both relaxing and active purposes. For instance, a dining table can also function as a workspace, representing the balance between nourishment (physical) and creativity (mental).

Step 7: Sacred and Reflective Space (Incorporating a Focal Point for Contemplation)

Objective: Create a space that reflects the concept of shinsensha (religious structure) or a chūmonrō (sacred threshold). This area should be designed for meditation, mindfulness, or personal reflection.

Actions:

Create a Tokonoma: In one corner of the apartment, set aside a small tokonoma-inspired space where a piece of art, a plant, or a carefully chosen object is displayed. This serves as a focal point for mindfulness and reflection, much like the religious elements in a Shinden-zukuri complex.

Personal Altar or Reflection Spot: Dedicate a small corner or shelf for personal reflection. This area could include items that are meaningful or meditative, promoting inner calm and spiritual connection.

Step 8: Minimalism and Storage (Applying the Concept of Koya - Practicality in Storage)

Objective: In a small apartment, the philosophy of simplicity and order can be extended to practical matters such as storage. Use the symbolic concept of koya (storehouses) to hide away clutter and keep the space visually clean and harmonious.

Actions:

Hidden Storage Solutions: Incorporate hidden storage underneath raised platforms, beds, or seating. This allows you to store items out of sight while keeping the overall aesthetic minimalist and clean.

Multifunctional Furniture: Choose furniture that doubles as storage. For example, a coffee table with hidden compartments or a bed with drawers underneath will help maintain the flow of the space.

Final Thoughts

By integrating these symbolic and philosophical concepts into a small open-plan apartment, you create a space that is not only practical but deeply meaningful. Every element—from the layout to the materials—should promote a sense of balance, fluidity, and connection to nature, echoing the timeless principles of the Shinden-zukuri style.

Uso Moderno

Projetar um apartamento muito pequeno em plano aberto usando os conceitos simbólicos e filosóficos do estilo Shinden-zukuri exige um pensamento cuidadoso para incorporar a harmonia, fluidez, equilíbrio e conexão com a natureza que a arquitetura tradicional japonesa representa. Em um espaço tão pequeno, o objetivo é criar áreas flexíveis e multifuncionais, mantendo a profundidade estética e simbólica inspirada no Shinden-zukuri. A seguir está um plano passo a passo detalhado para aplicar esses conceitos de forma eficaz.

Passo 1: Layout e Zonas (Criando Harmonia e Fluidez)

Objetivo: Mesmo em um apartamento pequeno com planta aberta, o zoneamento pode ser usado para criar áreas distintas, assim como no Shinden-zukuri, onde diferentes espaços de convivência são conectados por corredores. O foco deve ser garantir que cada zona tenha seu próprio propósito, mas que pareça parte de um todo coeso.

Ações:

Espaço Central: Use o conceito do Shinden (salão principal) para designar a parte mais central e importante do apartamento como uma área multifuncional. Este pode ser o espaço de convivência, onde se pode relaxar, receber visitas e trabalhar. Este espaço deve ser flexível e adaptável, utilizando móveis modulares que possam se ajustar para diferentes atividades.

Zonas Periféricas: Aplique a ideia dos Tai-no-ya (edifícios subsidiários) para áreas mais específicas ao redor do espaço central, como uma área de dormir, cozinha ou espaço de trabalho. Essas áreas devem ser sutilmente delimitadas, sem divisórias físicas, para manter a abertura, mas podem ser distinguidas por elementos de design como iluminação, padrões de piso ou divisórias baixas.

Passo 2: Fluxo e Movimento (Incorporando Caminhos)

Objetivo: O movimento pelo apartamento deve parecer natural, fluido e ininterrupto, semelhante à forma como os corredores Watadono e Kairō no Shinden-zukuri conectam diferentes espaços. Isso vai melhorar a experiência de continuidade e equilíbrio.

Ações:

Designar Caminhos de Movimento: Em vez de criar corredores retos, use móveis e decoração para criar caminhos implícitos que guiem o fluxo de movimento. Por exemplo, o sofá pode direcionar o trânsito para a cozinha ou área de dormir, criando caminhos naturais de circulação.

Elementos Deslizantes: Incorpore portas deslizantes no estilo shoji ou painéis para dividir os espaços quando necessário. Isso pode ser usado entre o quarto e a sala de estar ou para ocultar áreas de armazenamento. As portas deslizantes mantêm a flexibilidade do espaço e evitam a desordem visual, mantendo o fluxo.

Passo 3: Espaços de Transição (Simbolismo da Liminaridade)

Objetivo: Assim como o Hisashi (varanda periférica) serve como um espaço de transição entre o interno e o externo, inclua áreas de transição no apartamento para promover uma conexão entre os espaços e uma mudança gradual das zonas públicas para privadas.

Ações:

Conceito de Mini Varanda: Crie uma engawa simbólica ou um pequeno espaço de transição colocando uma plataforma baixa, tapete ou banco perto de uma janela. Esse local pode servir como um espaço contemplativo, conectando o interior ao ambiente externo por meio de uma vista do mundo exterior. Mesmo em um apartamento pequeno, essas áreas podem ser visual ou psicologicamente significativas.

Entrada Multiuso: Use a área de entrada do apartamento como uma zona de transição. Mantenha-a minimalista e use-a para armazenamento ou uma pequena área para sapatos, refletindo a noção de cruzar um limiar do mundo externo para o interior pessoal e espiritual.

Passo 4: Privacidade e Flexibilidade (Uso de Telas e Cortinas)

Objetivo: Use o conceito de Kichō (cortinas ou biombos decorativos) para permitir privacidade flexível no apartamento, criando separações que não sejam permanentes, permitindo abertura quando necessário.

Ações:

Divisórias Móveis: Use telas leves e móveis para separar espaços, como a área de dormir da sala de estar. Quando for necessária privacidade, essas telas podem fornecer um fechamento, mas também podem ser removidas ou dobradas para restaurar a abertura e o fluxo de luz.

Divisões de Tecido: Instale cortinas ou divisores de tecido em materiais naturais e suaves, inspirados nos tradicionais kichō. Essas divisórias podem ser colocadas entre áreas como o espaço de dormir e a área de estar, criando uma sensação de intimidade enquanto mantém o design fluido.

Passo 5: Conexão com a Natureza (Integração de Natureza e Luz)

Objetivo: O design Shinden-zukuri enfatiza a harmonia entre a arquitetura e o mundo natural, como visto nos jardins. Em um apartamento de plano aberto, essa conexão pode ser emulada com atenção à luz natural, vistas e plantas internas.

Ações:

Maximizar a Luz Natural: Certifique-se de que as janelas estejam desobstruídas para permitir a entrada máxima de luz natural. Considere coberturas leves e translúcidas para as janelas, evocando a sensação das portas shoji, permitindo que a luz se filtre suavemente no espaço.

Jardim Interno ou Plantas: Crie uma pequena área de jardim interno, ecoando a importância simbólica do teien (jardim) no Shinden-zukuri. Use plantas em vasos ou até um pequeno jardim vertical para trazer elementos da natureza, simbolizando crescimento, harmonia e equilíbrio.

Materiais Naturais: Use madeira, pedra e plantas em todo o apartamento para fomentar uma conexão profunda com a natureza. Móveis, pisos e acabamentos devem idealmente incorporar materiais orgânicos e não polidos que refletem a estética wabi-sabi de encontrar beleza na imperfeição.

Passo 6: Equilíbrio de Opostos (Aplicando a Dualidade dos Espaços)

Objetivo: Integre os conceitos dos Tō-no-ya (leste) e Nishi-no-ya (oeste) de equilíbrio e dualidade no design, criando espaços que refletem opostos, como claro e escuro, ativo e passivo.

Ações:

Contraste no Design: Use materiais ou cores contrastantes para simbolizar a dualidade dos espaços. Por exemplo, a área de dormir pode ter cores mais escuras e calmantes, enquanto o espaço de convivência ou trabalho pode ser mais claro e energizante.

Áreas Multifuncionais: Designe áreas que sirvam tanto para relaxamento quanto para atividades. Por exemplo, uma mesa de jantar pode servir também como espaço de trabalho, representando o equilíbrio entre nutrição (física) e criatividade (mental).

Passo 7: Espaço Sagrado e Reflexivo (Incorporando um Ponto Focal para Contemplação)

Objetivo: Crie um espaço que reflita o conceito de shinsensha (estrutura religiosa) ou um chūmonrō (limiar sagrado). Esta área deve ser projetada para meditação, mindfulness ou reflexão pessoal.

Ações:

Crie um Tokonoma: Em um canto do apartamento, reserve um pequeno espaço inspirado no tokonoma, onde uma obra de arte, uma planta ou um objeto cuidadosamente escolhido seja exibido. Isso serve como um ponto focal para a mindfulness e reflexão, assim como os elementos religiosos em um complexo Shinden-zukuri.

Altar ou Espaço de Reflexão Pessoal: Dedique um pequeno canto ou prateleira para reflexão pessoal. Essa área pode incluir itens que sejam significativos ou meditativos, promovendo a calma interior e a conexão espiritual.

Passo 8: Minimalismo e Armazenamento (Aplicando o Conceito de Koya - Praticidade no Armazenamento)

Objetivo: Em um apartamento pequeno, a filosofia de simplicidade e ordem pode ser estendida a questões práticas, como o armazenamento. Use o conceito simbólico de koya (armazéns) para esconder a bagunça e manter o espaço visualmente limpo e harmonioso.

Ações:

Soluções de Armazenamento Oculto: Incorpore soluções de armazenamento ocultas embaixo de plataformas elevadas, camas ou assentos. Isso permite armazenar itens fora de vista, mantendo o design minimalista e organizado.

Móveis Multifuncionais: Escolha móveis que também sirvam como armazenamento. Por exemplo, uma mesa de centro com compartimentos ocultos ou uma cama com gavetas embaixo ajudará a manter o fluxo do espaço.

Considerações Finais

Ao integrar esses conceitos simbólicos e filosóficos em um pequeno apartamento de planta aberta, você cria um espaço que não é apenas prático, mas profundamente significativo. Cada elemento — do layout aos materiais — deve promover um senso de equilíbrio, fluidez e conexão com a natureza, ecoando os princípios atemporais do estilo Shinden-zukuri.

#shinden-zukuri #japanese interior design

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imasallstars · 1 month ago

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PRIZE RERUN GACHA ST@RT!!!!!

Limited gachas will be returning to the platinum audition box for a limited time! The next set to return features three limited sets released in the month of OCTOBER for a total of 12 limited cards returning.

from 2021: SSR Kanade Hayami, SSR Yuuki Otokura, SSR Tomoe Murakami, SR Tokiko Zaizen

from 2022: SSR Frederica Miyamoto, SSR Mika Jougasaki, SSR Miyu Mifune, SR Sanae Katagiri

from 2023: SSR Momoka Sakurai, SSR Hajime Fujiwara, SSR Airi Totoki, SR Miho Kohinata

※ the aforementioned cards are not available in boxes other than their own but, shining will allow you to pick from any of the cards including the other permanent SSRs in the box

These cards will only be available until September 30th 14:59 JST, when the next Cinderella Festival Blanc is expected to follow suit. The Prize Coins obtained from this gacha will expire on October 6th 23:59 JST

#deresute gacha #rerun update

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ao3feed-danganronpa · 2 years ago

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TWO X MONOKUMA 😍😍😍😍😍😍

read it on the AO3 at https://ift.tt/AjS4Fx3

by K3LS1UM

terrible fic idea that came up to me when i was 12 and browsing wattpad like an idiot in march 2020 i read a now-deleted fic about murder mystery and thats how it all spiraled down.

Words: 1156, Chapters: 7/?, Language: English

Fandoms: Battle For Dream Island (Web Series), Dangan Ronpa Series, Cookie Run (Video Game), Among Us (Video Game), Sonic the Hedgehog - All Media Types, Touhou Project, Spooky Month (Short Films - Sr Pelo), Shin Megami Tensei Series, Persona 3, プロジェクトセカイカラフルステージ！| Project SEKAI COLORFUL STAGE! (Video Game), BanG Dream! Girl's Band Party! (Video Game), Bocchi the Rock! (Anime), ONE - Cheesy Hfj (Web Series)

Rating: Teen And Up Audiences

Warnings: Major Character Death

Categories: Other

Characters: Two (Battle For Dream Island), Monokuma (Dangan Ronpa), Enoshima Junko, Ikusaba Mukuro, Pastry Cookie (Cookie Run), Milk Cookie (Cookie Run), Fig Cookie (Cookie Run), Usami | Monomi, Sonic the Hedgehog, Butter Pretzel Cookie (Cookie Run), Cheesecake Cookie (Cookie Run), Carol Cookie (Cookie Run), Kiwi Cookie | Kiwi Biker Cookie, Herb Cookie (Cookie Run), Bellflower Cookie (Cookie Run), Sparkling Cookie (Cookie Run), D (Battle for Dream Island), Impostor (Among Us), Timekeeper Cookie (Cookie Run), Four (Battle For Dream Island), Komaeda Nagito, Hakurei Reimu, Fujiwara no Mokou, Streber (Spooky Month), Akiyama Mizuki, Yoisaki Kanade, Aoba Moca, Yamabuki Saaya (BanG Dream!), Radford (Spooky Month), Takeba Yukari, Yamagishi Fuuka, Gotou Hitori | Bocchi, Ijichi Nijika, Kamishirasawa Keine, Airy (ONE - Cheesy Hfj), Six (Battle For Dream Island)

Relationships: Two (Battle for Dream Island)/Monokuma (Dangan Ronpa)

Additional Tags: Crack, Crack Treated Seriously, Crack Crossover, Crossover, Cross-Posted on Wattpad, Crossover Pairings, This Is STUPID, Why Did I Write This?, inside joke, Stupidity, Brocken, Gay, Making Out, Breaking Up & Making Up, Alternate Universe - High School, i'll add more once the story goes on, this was a mistake, i wrote the first chapter at 12 in 2020, Minor Character Death, Minor Violence, junko is a big discomfort why did i even decide to continue this, i dont even like danganronpa bc it sucks baaaallssss, Suicide Attempt, most of these characters are just cameos tbh

read it on the AO3 at https://ift.tt/AjS4Fx3

#IFTTT #ao3feed #fanfic #dangan ronpa #danganronpa #dr

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tanukigishipromo · 3 years ago

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oi, mods! poderiam indicar fcs japonesas/japoneses acima de 27 anos? vi que boa parte das indicações estava abaixo dessa faixa etária. obrigado!!

Bom dia, anon! Você me pegou, eu foquei mesmo em FCs mais novos por já conhecer como a demanda funciona. Aqui vai uma seleção (incluindo alguns da lista anterior) de fcs japoneses com 27 anos ou mais. Vamos lá!

Femininos

Yua (Honey Popcorn), Maria (Garnidelia), Yuki Kashiwagi (ex-AKB48), Miya (GWSN), Yuka Mannami (modelo), Rui (H.U.B.), Miyabi Natsuyaki (Berryz Kobo), Yukika Teramoto (solista), Miko (Honey Popcorn), Kurumi Nakata (modelo), Sayaka Yamamoto (ex-AKB48), Kiko Mizuhara (atriz), Airi Suzuki (ex-C-UTE), Lea (Secret Number), Yui Aragaki (atriz), Lisa Oribe (solista), Reina Tanaka (ex-Morning Musume), Haruna Kojima (ex-AKB48), Mika Nakashima (atriz), Ai Otsuka (solista), Kusumi Koharu (ex-Morning Musume), Ayumi Hamasaki (solista), Tomu Muto (ex-AKB48), Utada Hikaru (solista), Iwasa Misaki (ex-AKB48), Honami Sato (atriz), Namie Amuro (solista), Koda Kumi (solista), Minami Minegishi (ex-AKB48), Aya Asahina (atriz), Miho Miyazaki (ex-AKB48), Anna Tsuchiya (solista).

Masculinos

Atsushi Sakurai (BUCK-TICK), Terada Takuya (CrossGene), Toru (ONE OK ROCK), Alan Shirahama (ator), Takeru (sleepyhead, ex-SuG), Kenta (JBJ), Yuta (NCT), Horii Arata (D-DATE), Taka (ONE OK ROCK), Erick Fukusaki (solista), Aoi (the GazettE), Louis Kurihara (ator), Jun Matsumoto (Arashi), Gackt (solista), Goto Yutaro (ator), Hakuei (PENICILLIN), Masaki Suda (ator), Mao (Sid), Hyde (solista/L'arc en Ciel), Nijiro Murakami (ator), Kenshi Yonezu (solista), Takumi Saitoh (ator), Dori Sakurada (ator), Sota Fukushi (ator), Chisato (PENICILLIN), Taichi Saotome (ator), Ryo Yoshizawa (ator), Ruki (the GazettE), Miyavi (solista), Masataka Kubota (ator), Kazunari Ninomiya (ator), Kanata Hongo (ator), Hiro Mizushima (ator), Kento Yamazaki (ator), Ryo Nishikido (ator), Tatsuya Fujiwara (ator).

E aí, gostou da lista? Ou faltou mais alguém? Aceito as famosas asks corrigindo ou sugerindo mais, viu?

#respondidas.#mod!kanon #mwm #mwf

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mielmoto · 2 years ago

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for comparison, some of my biggest contenders / influences for honey’s voice:

Erin Fitzgerald as Polka in Eternal Sonata Cherami Leigh as Airi Katagiri in Erased Konomi Kohara and Jad Saxton as Chika Fujiwara in Kaguya-sama: Love is War Tia Ballard as Chiho Sasaki in The Devil is a Part-Timer

#isms.#ooc.#|| voices! voices! voices!#|| airi's is my favorite because it captures that High Femininity but not quite as pitchy or intense #|| but the ENERGY from chiho and chika are important #|| me approaching cherami leigh with yet another high-energy; stupid blonde character: hear me out

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higuchimon · 3 years ago

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[fanfic] Pledges: Chapter 2

Series: In The Shadows of the Fae||Story: Pledges Characters: Yuusuke, Juudi, Yubel, Ryou, Airi (OC), Hotaka (OC), Aleron (Curse of Vampire) ||Ship: Ryou x Yuusuke Chapters: 2-??||Words: 3,210||Total: 6,469 Genre: Romance, Fantasy||Rated: G Prompt: GX Month 2021, day #10, Free Day; GX Rare Pairs Week day #4, Spirits Notes: *dusts off this series* Ok, not what I'd originally thought to do but the idea presented itself, so here we are. For those who have never read Enchantment, Trust, or Morning Routine, this begins three (mortal) years before all of those. Go read them; I'll wait. But you don't really need to in order to understand the basic concept here: an AU where fae and magic exist. Also, this is one of my favorite rareships. They should have fully interacted in canon instead of just one exchanged glance! Summary: He defended the village with all that he had. With his life's blood if need be. Ryou never expected that to be needed. When it is, there is only one way to both have these wounds healed and keep his home safe: he must leave all that he knows behind, forever, and enter a brand new world.

Yuusuke flitted through the shadows, keeping an eye out for the rogue vampire. He didn't expect the creature to strike at him but it wouldn't at all be the first time that Aleron had struck out at someone when he'd been interrupted in his prey.

But he wasn't going to have this prey. Yuusuke would see to it personally. He might need some assistance, but that was why he wanted to return to the palace and have a chat with the Prince. It shouldn't be that difficult to get matters sorted. At least he hoped so. The Prince could be capricious at times.

I hope he listens to me. It was risky to leave the human like this, given not only Aleron's presence but the fact of the human's wounds. They needed magical assistance to heal properly - and he'd never get that in the human realm, not enough to truly recover from the attack.

But this human was stubborn, more so than any Yuusuke had seen in all of his centuries of watching humans from the shadows. He might push himself too hard, or presume that he could take on Aleron with a simple wooden stake, even after what had happened today. Better to get what assistance he could from the prince before that happened.

Stepping into shadows was a skill that few spirits possessed. Aside from the spirits of shadows, the only one he knew who could do this was the Prince himself. Of courses, Yuusuke was a spirit of shadow himself. Shadows were what made him up, even if he wore a vague human look. Spirits looked like whatever they wanted to look like and he'd always found humans interesting.

Perhaps one human in particular...

But now he flitted into the shadow and stepped out on the other side, right into the Prince's palace. The guards noticed him, of course. Here in the Prince's palace, no one could go unseen. Even those who were naturally invisible could be seen here. They didn't visit without his permission.

Yuusuke greeted the guards with a nod of his head, then headed for the throne room. The Prince didn't spend much time there, but it was the best place to look for him.

"Spirit of shadows, Fujiwara Yuusuke!" The herald announced as Yuusuke stepped to the door. That meant the Prince was there, and Yuusuke bowed respectfully as he approached the throne. He tried hard not to be enthralled by the decor, but it wasn't easy. Shimmering dark gray marble extended under his feet, covered in well-woven carpets, with tapestries of a similar fine making hanging over the pale gray marble walls. There were chasings of gold and silver worked into the walls as well, with niches bearing fine stonework or graceful vases set along the throne room. Wide windows were set there as well, but the clear sunlight of the fae lands did not affect a shadow spirit, save to cast the shadows they traveled through.

The Fae Prince wiggled one hand casually in greeting, lounging back on the throne, legs draped over the arms, his consort standing to one side, watching in amusement as the Prince tossed a ball of shadows up and down. He glanced to Yuusuke as the spirit entered.

"Did you need something or are you here for a visit?"

A fair question. Yuusuke didn't come to the palace often, let along ask for requests. But he shook his head. "I came for a reason. I have a - request, Your Highness."

Prince Juudai rolled so he sat properly in his throne now, golden eyes gleaming in fascination. "Oh? Really?" His teeth seemed a little sharp - Yuusuke knew that meant he was interested. It wasn't as if Yuusuke asked for a lot. He'd never felt a need.

"You know the human village of Dustborn? It's very close to one of the passageways between our worlds."

Slowly Juudai nodded, eyes glinting even more. "I'm aware of it. It suffered a vampire attack recently."

Oh, good. He wouldn't have to do a lot of explaining. "Their defender was gravely wounded in that attack, and Aleron wishes to do more. He wants this human to be either his consort, his servant, or to turn him - or possibly all of those. With Aleron it's hard to tell."

Juudai's lips twitched. "You're right. And I assume the human isn't interested?"

"I don't believe so. He refused to give Aleron his name even under duress." It hadn't been as rough as Aleron could have made it but the human did his best, only beginning to cave when a loved one was threatened. Yuusuke liked that sort of strength. He always had. "But Aleron is also threatening other people in the village if he doesn't get what he wants.

Juudai leaned forward, resting his chin on one hand, focusing all of his terrifying attention on Yuusuke. If Yuusuke hadn't wanted this so much, he would have made his excuses and left. But he stayed firm. "And you don't want this particular human turned, do you?"

Normally those of the fae persuasion didn't concern themselves with humans, vampires, or anything in the mortal world, except as mild amusement at times. They had their own world to live in, and it touched on the human world only in certain points and at certain times.

Perhaps it wasn't surprising that one of those times drew nearer and nearer.

"He's interesting to me," Yuusuke admitted. "It isn't often that we see someone stand up to a vampire, especially one of Aleron's strength."

Slowly Juudai nodded. "So what exactly is it that you want from me?"

"He needs healing, of a kind that can't be found in the human world. Heather could save him, I'm certain." Without her healing gifts, it wasn't likely that the human would even see the coming equinox. "But I know the price."

"Does he?" Thai came from Yubel, Juudai's beloved consort. They didn't often interject into such moments, but he presumed they saw fit now.

"Not yet. I told him that I would let him know once I knew." He knew part of the price but the whole thing could be something else altogether. That would be for Heather and for Juudai to decide.

Juudai cocked his head. "And you think that he would agree to this once he knows?"

Yuusuke fidgeted just the tiniest bit. "I don't know. But I think - he should have the option."

Juudai and Yubel exchanged the briefest of glances. Not that they needed to; Yuusuke knew very well that they could communicate in ways that didn't involve words or looks. They were one soul, it had been said. Exactly what that meant, Yuusuke had never been certain. No one was, as far as he knew. But he did envy them that closeness.

"If he accepts our healing and our help, then he will have to stay here. Forever," Juudai said at last. "He can serve me or he can be with you, whichever is more to his preference. Aleron won't be allowed to harm him here."

But Aleron could come there. Vampires walked the line between day and dark, between life and death, human and fae. They could and did exist in both worlds. It wouldn't defeat him but it could restrain him. For now. And vampires could be very persuasive

This wouldn't be the end. Getting the human here would only be the beginning.

"I will inform him and let him make his decision," Yuusuke declared. "If he chooses to come here, I'll bring him as soon as I can."

"Make certain he doesn't tell anyone where he's going. And if he wants to bargain on his own behalf, call me." Juudai waved one hand in dismissal and Yuusuke bowed again before he stepped back, aiming for the shadows once more. This time when he exited from them, he stood in his own little citadel. It wasn't much, not nearly as large as Juudai's castle, but he was fond of it.

There were no servants here. He wondered if he might have to hire some, if the human came to live here.

He won't. Yuusuke refused to let himself think that. He'll want to stay with Juudai and remain a warrior. He guarded the darkest regions of the fae realm, where fierce monsters roamed freely. Yuusuke kept them in check with his magic. Not that he couldn't have used a strong warrior here. It was something to consider, however, for the future.

Slowly he made his way to his own personal quarters, where a flawless black mirror awaited him. He touched it with the clawed tips of his fingers, and from that touch ripples spread outward. As the ripples cleared, he could see the human reflected in the mirror.

Will you give me your name? Yuusuke wondered. He could only observe here; he couldn't hear what was going on. This was how he'd known what the vampire was up to. He'd seen the combat, seen the aftermath, and seen the other corner the human in the darkness of the forest. He could go anywhere there were shadows in the blink of an eye, if need be.

But for now, he only watched quietly, ensuring that the human rested as peacefully as he could and that Aleron wasn't anywhere around. So far, all was well.

Ryou knew that his parents worried about him. There wasn't much that he could do about it. He'd done what he could to hide the extent of his injuries and their lack of healing, but even they eventually noticed that he wasn't as quick or as strong as he had been, and that he made regular visits to the healer that he hadn't before.

Fingers tapped on his door and he held back a long-suffering sigh. He'd hoped for the chance to rest. He'd not really been that hungry once he returned home and decided to skip dinner in favor of a larger breakfast come morning. But clearly his parents didn't feel the same.

The door swung open and his mother peered in. "Ryou? Are you all right?"

"I'm fine," Ryou lied. They couldn't do anything to help him. So they didn't need to know his problems. Even more so, they didn't need to know about the vampire that seemed so eager for him.

Marufuji Airi crossed her arms over her chest and glared down at him. "And you expect me to believe that? You're not as clever as you think you are, my dear son." She took two strides towards him, grabbed hold of his head, and bent his neck to one side. "I saw what attacked the other night. And what attacked you."

Ryou jerked away. This wasn't what he'd had in mind. "I told you. I'm fine."

"You've been bitten by a vampire. You haven't turned yet, though." Airi continued to stare down at him as she would have if he disobeyed her as a child. He'd done that very few times, but remembered her stern regard no matter what.

"I'm not going to. It wasn't that bad." Ryou shook his head. "I just need to recover from the blood loss." That, perhaps, would be a plausible enough excuse.

Airi made a noise that more or less conveyed she didn't believe a word he'd said. She nudged at him. "I've made you some tea. But you should get out of bed."

Ryou debated getting out of bed versus having some of his mother's tea. She had always made the best teas, and he thought at times that they were far more magical than she would have let on. Practicing magic wasn't exactly illegal in Dustborn, but it was very looked down upon as well. If one needed magic, then one packed one's bags and headed to one of the larger towns or cities and had whatever was necessary done discreetly there.

Airi regarded him for a few more heartbeats. "You can go back to bed after you've had the tea. I made it to help you rest and get better."

Ryou breathed a long sigh and pushed himself to his feet. He would have far rather stayed where he was, but the tease of that tea and the fact he knew his mother wouldn't leave him alone until he did get up got him moving. He could get the tea down and then go right back to getting a proper rest.

He carefully moved himself into the parlor of the family mansion, where his father and Shou waited, each of them with a hot cup of tea in front of them. Airi settled down in her own chair as he got into his and nodded towards them.

"I told you I could get him in here," she declared firmly. "And I was right, Hotaka. He was bitten by a vampire."

Shou yelped, eyes widening as he stared. "You really were? Are you - are you -"

Ryou snorted softly as he picked up his cup. "I was. But I am not turning." He never would do anything that would hurt his family. He would power his way through this, no matter what. As he always had, no matter what.

Hotaka nodded slightly, taking a sip of his own tea. "Vampire bites are at their most dangerous when they're untreated. But you've taken care of it, haven't you?"

Ryou nodded. "I cleaned it, disinfected it, and have been changing the dressing on it." He wasn't lying.

Airi leaned over to take a good long look at his neck. Ryou bent his head so she could see it better, though he didn't think there was anything else for her to see. Then, without warning, her hand dropped down to touch onto his wrist, tugging his sleeve back to expose the bruised circle there.

"What happened there?" Hotaka set his cup down firmly and glowered at his eldest. "Those bruises are fingers." He tensed, and Ryou was fully aware that his father had done duty before him defending the village. He hadn't let his training slip since passing the position to Ryou, either.

"It's nothing." Ryou shook his head. "Nothing that you need to worry about."

He wanted to insist farther, but both of them ignored him, Airi tracing his wrist with one finger. Her eyes narrowed. "Someone nearly broke your wrist. Who? Why?"

Ryou's first instinct was to wave it off; tell them that it was nothing, a mere accident, and nothing that he couldn't handle himself. His second was to admit to the existence of the vampire and that it still desired him, for whatever reasons.

But a third thought intruded itself - That dark spirit. He told me not to say anything. But he might be able to help me. Ryou had a sudden strong conviction that if he did mention the being, then he wouldn't get that help. So for now, he shook his head.

"I can't tell you." In its own way, that was indeed the truth. He'd rather not give up the one slim hope - if it even was a hope -that he could be healed. "I would if I could but - I can't." He considered carefully, then continued. "But I am safe." As much as he could be.

Airi and Hotaka both stared at him. They didn't believe him; he could see that in their eyes. But he quietly drank his tea and refused to answer any further. Shou stared in shock, his eyes going from Ryou's wrist to his neck and back again, incapable of saying anything else. When Ryou finished his tea, he found himself feeling at least a little better. He nodded his thanks to his mother, then rose up and headed back to his quiet room, thinking perhaps that he would get some rest now.

Aleron's castle stirred up foreboding feelings in anyone unlucky enough to gaze upon it. Set halfway up a mountain peak, with towers hidden in the shadows cast by the mountain, surrounded on three sides by a cascading waterfall, there was a certain haunting beauty to the place, increased by the elegant decadence inside. Thick black carpets and tapestries, when they weren't blood-red, were scattered all over, along with paintings crafted by artists long since dead and buried - or ashed in some cases.

In the tallest tower of them all, Aleron stalked back and forth. Fae! Shadow spirits! Aleron all but bit the words even though he didn't speak them. Speaking of the fae would be likely to draw their attention and he already had too much of that world's attention, if the shadow spirit was any evidence.

He raged over and over, his fury impotent and fierce all at the same time, snarling under his unnecessary breath. How dare that shadow spirit deprive him of what was his? He wanted that human, wanted in ways that he did not have words for, and would not halt until he had him, his blood drained, his body bent to Aleron's will, his will broken and shattered and Aleron's to remake as he pleased. It had been a long time since he'd done that to anyone and once he'd chosen a target, he didn't stop until said target belonged to him.

Never before had he been thwarted. It wasn't going to happen now. From the first moment that he'd tasted that human's blood, he'd known that this young man was descended from his most hated enemy.

His wing fluttered as he stalked. He would have that human - no matter what. He'd waited too long for his revenge.

If only he hadn't needed to heal from his first strike on this village. The seventy years had been little more than an eye-blink to him but so much had happened for the humans. He didn't think anyone was left there who still remembered him and the fact he'd once ruled over the village - not just that one but several in that area. Twelve entire villages, four towns, and two of the largest cities had been his.

They still would have been if Shinoda Masuyo hadn't come within a hair's breadth of striking him down forever. She probably thought - or had thought - that she actually had. She came far closer than Aleron wanted to admit even to himself. But his sleep had revived him, then plenty of blood to get him back in fighting condition. He'd chosen to strike at this village, Shinoda's home, to rebuild his old realm. He would take the others in due course but here he would establish himself first.

He paced back and forth, fists clenching and unclenching, wing flapping. Once he'd had two wings. But because of Shinoda...

Aleron stopped. He frowned thoughtfully. His resources against the human he wanted were limited now that the shadow spirit and the fae were involved. But they weren't gone completely. Not yet.

He whirled and stalked towards his library. It had been quite some time since he'd tried anything in there. He would have to start small and work his way up to what he wanted. But he would succeed.

And perhaps in his library, he could find a way to dispose of a spirit of shadow as well.

Notes: I am having oodles of fun with this! I don’t know when I’ll update next, though. We’ll see!

Note 2: October 26, 2022: on hiatus until I finish the story.

#fanfic #higuchimon writes #ygo gx #gxmonth2021 #GXRarePairsWeek #fujiwara yuusuke #marufuji ryou #ryou x yuusuke #yuusuke x ryou #beforeshipping

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owletstarlet · 4 years ago

Note

For a prompt, maybe a Tanunatsu college AU? I'm sort of picturing something where Natsume is visiting the shrine for a weekend and Tanuma is trying not to focus on the fact that his boyfriend now has earrings

(*insert profuse apology for how long this took here* I had initially wanted to get this posted in time for @natsumeweek as one of the prompts was “future” but I guess this is more an early happy-September-birthday-to-Tanuma fic...

ao3 link in the comments.

When the doorbell rings, it’s a near thing for Kaname to not spill his tea all over the keyboard. He has to remind himself several times on his way to answer it not to look as ludicrously eager as he feels, as though his heart might float right on up and out through the top of his head, in case it’s a mail carrier or a maintenance worker at the door.

It isn’t.

It takes all of a second and a half before Kaname’s got his arms full of him, face buried in his hair.

“Hi,” he mutters, voice muffled against the top of Natsume’s head.

“Hi,” Natsume says back, and Kaname can hear the grin in his voice, feel the arms coming to rest around his waist.

They stand like that for several seconds, in the genkan with the door wide open, and Kaname can feel all the tension he’s been holding for six weeks bleed out of him. Eventually, he asks, “How was your flight?”

“I liked it.” His voice is just as muffled against Kaname’s shoulder. “Sensei didn’t.”

“Really?” Kaname finally pulls back enough to see his face. He looks well, relaxed and smiling, the barest dusting of freckles across his nose from time spent outdoors, and it’s almost enough to push a month and a half’s worth of swirling images and morbid what ifs out of his mind. “You’d think Ponta would enjoy flying.”

Natsume rolls his eyes a little, but there’s something fond in the set of his mouth. “He complained the whole time, about being stuck in human form, and kept saying it was unnatural or something to be up so high where he couldn’t even see the treetops past all the clouds.”

Kaname grins at the thought. “Where’s he off to right now?” He pulls Natsume into the genkan, finally lets him go so he can get his shoes off.

“Probably off getting drunk. Or begging snacks off Touko-san. She was pretty happy to see him.”

Natsume’s been up in Aomori for a little over a month, on a few jobs with the Matsuokas. Field training, as Natori had cheerfully put it to Kaname over the phone. And Kaname hadn’t been thrilled about that, but had felt marginally better to hear that Natori would accompany him for most of the trip.

The Matsuoka clan wasn’t particularly prominent or large, but they were well-funded and well-connected. It was Natori who’d reached out to them over a year ago, once Natsume had given his slightly grudging consent to it. Since then Natsume’s been living two and a half hours away in a spacious apartment and attending a university to which the Matsuokas happened to be generous donors. In exchange for this, and their tutelage, Natsume accompanies and assists them with exorcisms. They’re apparently pleased enough to have him, and Natsume’s told Kaname that they haven’t asked him to do anything he’s opposed to; it’s often either binding a harmful entity or else simply sitting down to listen to whatever it is the troublesome youkai-of-the-day is after. But despite Natori being on good terms with the head of the clan, he’d had to make it perfectly clear that Natsume had no interest in longterm recruitment. Or, at the very least, that potential adoption into the clan was to be a decision that Natsume would be entirely free to turn down.

Kaname himself, meanwhile, hasn’t gone anywhere since graduation. Natori had floated the idea of Kaname joining Natsume, that the Matsuokas be perfectly willing to take him on. And, admittedly, the prospect of learning how to defend himself, and others, with the basics of exorcism under his belt had its appeal. Especially since a big factor in Natsume’s own decision had been an ugly encounter with some cave-dwelling youkai that had landed him in the hospital for weeks, an incident which had ultimately led to the truth--or parts of it, at least-- spilling out to the Fujiwaras. Kaname still has nightmares about it.

It was ultimately the prospect of being able to go with Natsume while he was out on a job instead of having to sit around and fret about it that had had Kaname prepared to agree to the offer. But then Dad had needed knee surgery, and a complicated one at that. And Kaname learned very quickly just how much work it takes to run a temple essentially on one’s own. Theirs was part of a larger organization of temples in the prefecture, who had arranged for Dad to be sent here in the first place. To be fair, they’d been as helpful as they were able, and are still paying Dad a salary. Another priest would come two or three days a week to fulfill necessary duties and rites and enabling them to stay at least partially open to visitors while Dad recuperated, and a maintenance worker would show up once a week to help Kaname care for the actual grounds. But Kaname still typically spends the better part of his week at the desk of Dad’s cramped office poring over order forms and spreadsheets he doesn’t always understand, attempting to balance the books of a little temple that barely takes in enough revenue to stay afloat even with the organization’s support. He’s gotten better at it, and Dad’s helped a lot, but even though he’s recovered enough to receive visitors and resume some of his religious duties, Kaname still tries to keep him out of the office most days so he can get some rest.

Still, Dad worries, not only that Kaname is overworking himself but about how his friends have all gone off to school, how he rarely leaves the temple grounds unless he’s running errands. He knows about Natori’s offer regarding the Matsuokas, Kaname’s discussed it with him. And though he’s made it clear that it’s ultimately Kaname’s decision he’s made it equally clear that he likes the idea—both for the sake of Kaname’s mental health and for the prospect of him learning how to better protect himself. On occasions when Dad’s pushed himself too hard and worn himself out, Kaname has threatened to accept the offer but go on to major in accounting just to get hired on by the temple organization and then end up right back home. But he has to admit, he’s been dreaming of it—of the airy kitchen that always smells just a bit like the tea Natsume drinks in the mornings, of the sun-dappled corner where Sensei likes to curl up and nap, of the balcony overlooking a cityscape both unfamiliar and beautiful in its own way, the mountains that look blue in the distance. Of waking up to Natsume’s cheek squashed against the pillow beside him, safe and whole and wonderfully there. He’ll probably have to wait until the next academic year begins, but he thinks it wouldn’t be so bad at all.

“I have something for you,” he tells Natsume now, scooping up the backpack Natsume had set down while taking off his shoes. Natsume smiles, tilts his head just a bit in question. But when he does, Kaname sees something, a glinting just beneath his hair on one side. He blinks, steps forward to brush Natsume’s hair back. “What’s—”

And when he sees what it is, he thinks his face must do something odd, because Natsume’s smile has faltered a bit, turned sheepish. “I actually thought you’d have noticed them already,” he says.

“I left my glasses by the computer,” he murmurs, and he thinks he’s staring. He should probably stop staring. “And your hair’s gotten longer anyways.”

Natsume shrugs, looking a touch pinker than before. “It’s just on the one side.” A pause. “It doesn’t look weird, does it? I don’t really trust Natori’s opinion.”

“It’s not weird.” The answer is immediate, almost embarrassingly so. He realizes they haven’t moved from the genkan, and that he hasn’t quite managed to quit staring, so he takes Natsume’s hand and tugs him towards the kitchen. He hopes his palms aren’t as clammy as he thinks they are.

There are two hoops in his left earlobe, side by side, one silver and one gold, catching the light from behind strands of pale hair. They’re subtle enough—Kaname doesn’t think the tip of his little finger could fit through either—but the sight of them makes the air stick strangely in Kaname��s throat.

“Did they hurt?” he asks, a moment later.

“Not really.” Natsume takes a seat at the worn kitchen table, hand hovering up near his ear in a way that’s half considering, half self-conscious. “Right when they do it, yes, but not so much after.”

Kaname goes to get Natsume a drink, but pauses with his hand on the refrigerator door, considering. “Any particular reason you got it done?” he starts, tone as light as possible. If Natsume’s already shy about it, Kaname doesn’t want to make it worse, but he can’t pretend he isn’t curious. “Just because you wanted to, or…”

“No, I—I mean. I don’t hate it, but there was a reason.” The shade of Natsume’s cheeks is on just this side of salmon when Kaname glances back, and it’s so frankly adorable that Kaname has to turn his back again, not trusting himself to keep a straight face. “Do you remember the farm in Aomori I told you about?” Natsume continues. “The owners had called the Matsuokas for an exorcism because their livestock kept getting sick so we stayed for a few days.”

“I remember.” He also remembers all the grim visuals his own imagination had served up over the course of those three long days, until he’d gotten the text that all was resolved and that Natsume was safe and whole and on a train away from that place.

“The family had a connection to a lesser exorcist clan that sort of fizzled out a few generations ago. And Sayaka-san—ah, the wife—was really her aunt and uncle’s only heir because they didn’t have children. They were both exorcists, and she’d inherited a few things from them.”

“Did the angry ayakashi have something to do with that clan?” Kaname asks, setting two cups of lemonade on the table and sliding into the seat across from Natsume. And god if it doesn’t do something to him, to see Natsume right there, right across from him, pale fingers wrapping easily around the lumpy clay cup Kaname made in middle school, afternoon light through the window settling in his hair and glinting starlike off those new tiny hoops in his ear and every day, Kaname wants this every day. Just this. He swallows, hard, forces himself to pay attention because Natsume’s talking again.

“It actually had nothing to do with them. The farm had been owned by her husband’s family anyhow, but. The land the farm sat on was at the center of some dispute between two ayakashi, some territory thing they bicker about every hundred years. All Sensei and I really did was get them both to agree to meet each other, and they mostly sorted it out themselves from there.”

Kaname blinks. “The Matsuokas didn’t do anything?”

Natsume shrugs. “They didn’t really need to. Sensei worked out what was going on pretty quickly, and didn’t really wait up for their help. He thought the exorcists barging in would just make things worse.” He pauses to take a sip of lemonade. As soon as he does, his eyes light up. “Ah—your lavender! You got to harvest it?”

Kaname feels a grin touch his lips as he watches Natsume take a second, larger gulp of the lemonade, in his face all the bliss of an elementary schooler who’s gotten his hands on an ice cream pop at the park. He’s a bit surprised Natsume didn’t notice the smell straightaway when Kaname had poured it, but to be fair the entire kitchen smells a bit like lavender most days. “I did. I’ll tell you about it later. Finish your story first.”

He does, after yet another hearty gulp. “When it was all resolved and we went to tell the family, Sayaka-san wanted to give me a gift. I told her not to, because it was more Sensei than me, and Hiiragi helped too—Natori sent her with me because Sensei didn’t want him there either—they made sure neither of the ayakashi could get away until they settled the dispute. I asked a couple of questions, mostly because I wasn’t sure what was going on—it was something about a sacred pine grove—but it wasn’t like I resolved things for them.”

Kaname doesn’t need to hear the specifics to be soundly convinced that Natsume’s not giving himself near enough credit. He takes his own sip of lemonade, the tartness of it tempered by the softer herbal taste that lingers on his tongue. “What was the gift?”

Natsume smiles, a bit rueful. “Earrings.”

Kaname points. “Those?”

“No, these were just to get the piercings done, but I can show you later. They’re talismans, and pretty effective ones from what Sensei could tell. It’s a set of six, they’re little round polished stones in all different colors. I’ve got the types of stone written down somewhere and what each of them is useful for but I don’t really remember. Sayaka-san had inherited them from her aunt and uncle.”

“Did she know what they were for?”

“Vaguely. Enough to think she didn’t have as much use for them as I might. They’d just been sitting in a box in the house, and she was really glad the problem was fixed, so. She insisted. But Natori also insisted on paying her for them.” His mouth twists. “She didn’t love that, but I think he had a sense of how valuable they were, and didn’t want anyone trying to step in and claim I’d gotten them illegitimately. I like Yasuda-san and Tanaka-san—they were the clan members that went with us—and I really don’t think they’d do something like that, but I guess it’s better to be cautious.”

Kaname’s not sure how to feel about that. “That’d technically make them Natori’s then, right?”

Natsume huffs a short sigh. “I did try to make him take at least some of them, but he said they’d do me more good than him, that he’d feel better if I wore them at least some of the time. Also that his agent would kill him anyways if he showed up with holes in his ears. So he took me to get mine done, instead.” His hand’s inching upwards again, like he can’t decide if he wants to touch his ear or hide it from sight.

Kaname reaches across the table and intercepts his hand midair, lacing their fingers together in a move that’s objectively more awkward than suave, but it makes Natsume’s lips twitch nonetheless, and that feels like an achievement. “What’d the Fujiwaras say?” he asks.

“Well when I explained why I got it done, they were all for it, but.” Lips pursed, he looks equal parts embarrassed and affectionately exasperated. “I think it sort of amused them. Touko-san said it looked ‘very handsome’ and had me promise to clean them really well, and Shigeru-san cracked a few jokes about rock stars.”

“I mean—”

Natsume shoots him a withering look. “Don’t you start.”

Kaname agrees with Touko; can picture the barest hint of mischief touching the corners of her wide, delighted smile. “Will you get the other side done?” he asks. “If you’ve got six.”

He shrugs. “Natori said two at a time would be fine. And both sides seemed a bit…”

There’s a dozen different adjectives Kaname could fill in at the end of that sentence, none of them remotely close to what Natsume looks to be thinking. If he had showed up with both sides done, Kaname’s quite sure that his own reaction would’ve embarrassed them both.

“I did think—” Natsume starts, then seems to need a moment to rally himself before continuing. “If you wanted,” he begins again, looking rather more at some spot on Kaname’s cheek than at his eyes. “You could take some of them.”

“Oh.” It’s safe to say that’s not an offer Kaname had anticipated. “I’m not…I’m not an exorcist, though.”

“Neither am I,” Natsume counters, his fingernail tracing idly across the back of Kaname’s hand where their hands are still twined together across the tabletop. “Not really. And you are good at cleansings and banishings, anyways.”

“That’s…it’s kind of just a matter of showing up and remembering the words, but thank you.” He’d been practicing a bit of that at Dad’s suggestion and with his help, and had genuinely found the memorizing to be the most arduous part of it all; he’d taken to muttering the trickier, more unwieldy bits of sutra under his breath to practice while watering the plants or doing housework, most days.

“You’re good at it,” Natsume repeats. “I don’t want to make you feel like you’ve got to go and put holes in your ears if you don’t want to but I thought…” he trails off, looking uncertain.

“Thought what?”

He lets out a tight breath, then says, the words jumbling together a bit as though he’s afraid he’ll lose his nerve if he doesn’t get it out quickly, “I thought you could use them if you still wanted to come apprentice with the Matsuokas too.”

“I do.” He surprises himself with the immediate answer, but it crystallizes inside him even as he says it. “I will.”

Natsume’s eyes go round. “Really?”

“Really.”

Natsume smushes his lips together for a moment before speaking again, the taut look on his face suggesting there’s something before him now that he’s not sure he ought to hope for. “But…your dad—“

“I think Dad’s close to packing my bags himself if I don’t get out of here soon and go do something that doesn’t involve spreadsheets and invoices.” He feels himself smile. “I’d need to wait for the new school term, and don’t think I can do much to help out an exorcist clan, but…”

“You’ll do fine,” Natsume interjects, in a murmur. “I told you that.” And he had; as nerve-wracking as it is for Kaname to consider that he’d be literally blind to so many of the youkai the clan would be taking on, Natsume had said that he’d already met a handful of respected exorcists who worked for or alongside the Matsuokas whose sight for the supernatural was even less than Kaname’s. Some, even, with no sight whatsoever—who, like Dad, could compensate for that fact with knowledge and technique and become formidable in their own right. It’d been a comfort to know, but Kaname can’t say he’s not nervous about getting someone hurt because he couldn’t keep up, or excusing himself to go be sick behind a tree in the middle of some crucial binding or ritual because his body wouldn’t tolerate it.

Still.

“I want to go with you.” It’s out of his mouth before he can even find it in himself to be embarrassed about it. He’s staring at their hands, his own wrapped tightly around Natsume’s cool fingertips like he’ll find himself alone in the kitchen if he lets go.

Some of the creases in Natsume’s forehead soften. “That apartment’s too big for just me,” he says, with a tiny smile, looking down into his cup. “As long as you don’t get yourself eaten.” He pulls a slight grimace. “Or recruited.”

The first option’s more likely than the second, Kaname thinks but doesn’t say. “I won’t if you don’t,” he says instead.

“No chance of that.” Natsume taps the side of his cup with two fingers. “I think Sensei would rather eat me himself than consent to working for an exorcist. It puts him in a bad enough mood to be mistaken for a shiki as it is.”

Natsume had been very clear from the beginning, that his only reason for working with the Matsuokas was to learn to protect people, though Kaname also knows that means doing so without having to harm any ayakashi that ought to be left well enough alone. Kaname’s not sure why any of that has to be mutually exclusive from pursuing exorcism as a career path, but he’s certainly spent less time with exorcists and clan politics than Natsume has. And he can’t say he wouldn’t appreciate Natsume choosing a less dangerous day job.

“You’re sure?” Natsume’s asking him, now. His expression hasn’t changed much, but behind his eyes Kaname can see the years stacked upon years of learning to brace himself for rejection.

“I am."

***

They’re on the veranda now, legs hanging over the edge, the tips of Natsume’s socked toes not quite brushing the mossy carpet below. Heaped on the floorboards between them is what Kaname now realizes is probably an excessive amount of lavender: dried blooms in a glass jar, loose stems fastened with twine into bunches, yet more blooms rather poorly sewn into cotton sachets with simple blessings Dad had helped him write tucked inside. And finally, currently perched atop Natsume’s head where Kaname had placed it on a whim a moment ago, a carefully twisted wreath of pale purple and silvery green.

“You don’t have to use it all,” he tells Natsume, tapping lid of the jar. “Or take it all. It’s a lot.”

Natsume gives him a small sidelong grin, and with those slitted eyes catching and holding the afternoon sun as if it belongs to them, Kaname has to remind himself to breathe.

“Did you leave any for yourself?” Natsume asks wryly.

A soft snort. “Plenty. I had no idea they’d bloom so much this year, after how pitiful it was last year. I harvested most of them twice.”

Kaname’s got a literal dozen plants, the seeds a gift from one of Dad’s associates who’d gotten them on one of his frequent trips to a network of temples in Hokkaido. Kaname had sprouted them in egg cartons and had done his best with them, knowing that plants more suited to a milder climate far to the north would be finicky to say the least. It had taken two years to coax a decent harvest from them, and that had taken digging up a long strip of garden space to fill in with the sand and gravel they needed, and then painstakingly potting and repotting them all to move them between the flowerbed and a sunny storeroom he’d cleared out at the rear of the house when the weather grew too wet. Dad had joked that they’d bloomed so well this year because Kaname had spent so much time mumbling sutra while tending to them, but whatever the case it had been deeply satisfying to cut and hang the bunches of long fragrant stems up to dry when they’d been so scraggly the year before.

Natsume takes a sachet into his hands, holding it gently between his fingers up to his eye level. It turns a faint purple where the afternoon sun lights it from behind.

“I’m not sure it’ll do any actual good in protecting you,” Kaname says, watching him lightly touch his fingertip to the outline of the card where the blessing is inked. “Taki would be better for that. But it’ll make your pillowcases smell nice, at least.”

Natsume brings it up to his face, letting his eyes shutter as it covers his nose and mouth. “It smells like your room,” he says softly. He reaches up to where the wreath is settled in his hair. “This too.”

“Well I’ve got the one on the wall near my bed,” he says, certain he’s failing to sound casual when there’s that rare, unveiled softness in Natsume’s eyes. His tongue feels heavy and strange, and there’s a sensation like so many soda bubbles fizzing and popping in his chest, but he somehow manages to say, “The smell’s relaxing, so I like it there, but. You can put it anywhere you want. Sorry for not tying it so neatly.”

Natsume takes his hand off the wreath, sets it over Kaname’s, fingertips chilled from the refilled cup he’d carried with him. “It’s a good thing the apartment has a big veranda.”

Kaname chuckles, shakes his head. “Not big enough for a dozen large pots. Where would we hang the laundry?”

“We’ll fit them.” Natsume shrugs, tips his head back, looking utterly serene. “Won’t you want them for your tea?”

And that’s about when Kaname can’t take it anymore. He turns, cups Natsume’s face in both hands, and kisses his parted lips.

For the space of a breath, Natsume’s motionless against his mouth, but Kaname barely has the time to start to wonder if he’s done the wrong thing before he can feel the cool grip above his elbows, practically taste the featherlight sigh between lips that have opened wider to move with his own.

When they part, a long lightheaded moment later, Natsume’s reaching up towards his own hair, brows scrunching together, cheeks marvelously flushed under Kaname’s fingers. “Isn’t this poking you in the face?” He taps his makeshift crown.

“Yes,” Kaname says simply, leaning in to peck the very tip of Natsume’s nose.

Natsume bites down on a smile, not quite managing to look disapproving, and not moving to take it off, either. “All the flowers will fall off.”

I’ll make a better one, is what he means to say. What comes out of his mouth instead, entirely unbidden, is, “I missed you.” His voice snags oddly on the last word, and he swallows hard. A month and some change does not warrant falling to pieces on him, Kaname tells himself sternly, a handful of colorful nightmares notwithstanding. He’d made enough of a scene when he’d nearly tackled him at the door, hadn’t he. Still, he doesn’t trust himself to speak until Natsume does, his throat feeling suspiciously thick.

Natsume, for his part, looks a bit stricken, at first. And Kaname has the sudden thought that he’s grappling with the idea of being missed to such a degree in the first place. But the expression shifts soon enough into one of concern, and warmth.

“You won’t have to, for long,” he murmurs, after pulling Kaname back in for a gentle brush of lips across his cheekbone. “I won’t, either.” A lingering pause. Then, “…ah, sorry. That’s got to be stabbing you in the eye, right?”

Kaname blinks when Natsume abruptly pulls away, feeling muzzy and untethered and wanting very much for Natsume to be kissing him again until he realizes that Natsume’s gingerly lifting the wreath off his head. It catches on his hair despite his best efforts, enough to tug a few blossoms loose, and enough to knock aside those strands that have grown out just long enough to fall past his earlobes.

And Kaname couldn’t have pretended not to stare if his life depended on it.

His hand’s up, fingers outstretched before he even realizes. “Can I, um. It’s not going to hurt you or anything if I—”

“No. Go ahead.”

But Kaname’s only just touched the tip of his finger to the outermost hoop—the barest amount of pressure enough to make it lie flat against the bottom of Natsume’s earlobe—when Natsume sucks in a sharp breath through his teeth, ducking his head out of Kaname’s reach.

Kaname snaps his hand back, distressed. “I’m sor—”

“No, it tickles.” Natsume straightens back up, rubbing at his ear with more vigor than he probably ought to whether it’s fully healed or not, leaving the metal gleaming against reddened skin.

Kaname raises an eyebrow. “Really?”

The glare Natsume shoots him is truly remarkable, though the effect is somewhat dampened by his mussed hair, the crumbly bits of lavender that have fallen onto his shoulders. Kaname throws his hands up, a picture of innocence, tucking this particular scrap of information away for a later date.

“For what it’s worth, though…” he starts, once he is well and truly sure that Natsume won’t try to scoot himself several meters down the porch and out of his reach; his arms are wrapped loosely around himself and he’s smiling again, though warily. But at that moment Kaname finds himself so thoroughly arrested with love that he couldn’t have launched the anticipated attack if he tried. “For what it’s worth. The earrings look good.”

#I didn't mention it in the fic but I need you all to know #Nishimura is absolutely thrilled by this development #'let me touch them' 'no'#natsume yuujinchou #natsume's book of friends #natsuyuu #tanunatsu #tanuma kaname #natsume takashi #owlet's fanfic #lizzyeleven #prompt fic #ask meme

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