#Keris Naga

[lianchuann]

ayaw q na talaga maging active sa fb kaso attention seeker kasi ako eh. HAHAHAHAHAHA char0t

[akonaman]

Mayon na magayon pero shy type 😪 lagi na lang talaga pag napunta ko di siya nagpapakita.

Nagpahinga muna kami near Mayon sa OnDue Hotel pero wala silang kuryente. Buti pagbalik bukas na yung generator.

Grabe yung pagod at sakripisyo ni blue sa byahe ang daming lubak na daan sa Naga

For only 1400 keri na for 12 hrs kaso nakakatakot sa hotel na to ewan ko kung bakit HAHA. Kung ano ano naririnig ko lol.

[losterthanlost]

April 30, 2024

Hello.

Ambot ambot ambot ambot.

Last day of april. Nilabay ra jud ang april. May na pud. Last month na sa sem. Askang hagoa ani na sem oy. Sakit akong likod. Maong need jud ko pagpagon murag habol nga nahulugan og mumho. Gusto nako og mas dako na kwarto. Gusto nako og allowance. Gusto ko lang ng better things.

May 1, 2024

Mag-start ko og social media break today. Dili sa ko mag twitter, facebook, instagram, or tumblr. Pero aron dili makuratan akong brain kada mag-surge akong thoughts, naa koy fake twitter app aron i-"post" nako didto akong thoughts na too bothersome. Yes. Ana na mudagan akong brain karon. Dati, before ko nag-twitter, naga-surge sad ako thoughts pero keri lang. Ambot gani kung mas better ba na nagtry ko og twitter. Basta need nako og pangpakalma so need nako ang fake twitter.

Actually, pati ata spotify ako sa i-uninstall. Wala gihapon ko naayo sa akong pag cge daydream. Pero mas better na ko karon kesa atong sa quarantine era. Grabe jud to kay mahurot jud akong oras mag-isip lang sa isa ka scene lang. Muabot 2 to 3 hours. Pero karon, especially since nag f2f classes na, dili na mulapas 30 minutes. Matulog na lang nuon ko. Wew grabe. I need help pero like basi need ko lang ng stable person in my life. Karang dili jud maapektuhan sa tanan akong iingon and i-vent maski unsa pa ka-dark or scary or gross. Kay kadaghanan ana na mga thoughts, dili man nako gusto i-embody. Muagi ra jud siya sa akong utok and need nila i-process and ipagawas. Pero ang mga tao sa akong palibot, even my closest friends since highschool na I'm in a gc with, naga-react. As in. Either mag bigay ng solution na di ko naman ginahingi or di ko pa ginahingi. Or magrespond na like, natakot sila for me, or mag lecture agad. Di rin makatulong ang mga naga-agree lang sa lahat ng ginasabi ko. Like, "go lang friend". HUY. What if ikamatay ko ning mga conclusions ko? Edi mamatay jud ko og dayon. Ambot. Dili stable enough ang mga tao sa akong palibot para mag totally vulnerable ko for at least 10 minutes. I'm not angry or dissappointed at them. Di naman yan fault although there would've been a better and safer reaction. Pero di na nila obligasyon maski bali-baliktaron pa ning universe.

One time, nag break down ko. Naisip nako na mao diay ginaingon sa bible and nagatuo pud ang mga religious people sa ingon sa bible na ihatag or i-surrender nimo imong mga burdens sa Diyos. Kay walay bagay na bug-at para sa iya. Pero for this to work, I should believe his existence and presence first, diba? Wala koy problema sa pag-believe sa iyang existence. Actually, I know he exists. This isn't faith this is knowledge jud. Kay based sa science and everything na na-learn nako sa school and sa mga sarili nako na pag basa2x and search, tanan jud naga-prove sa existence sa higher intelligent being na mag plastar ani tanan. But his motives? I've been having conflicts within myself regarding that topic.

So far, sa pagkagets ko so far. Immortal, no beginning no end type of being siya na bored lang. Since all knowing siya, kabalo siya sa tanan possible consequences sa rules na iyang giset. So nganong i-set man niya og paingato? Mao na ta ani karon. Trying to prove our loyalty to him para maging worthy of his salvation. Salvation from the system na gi-set niya mismo. I'm not angry. Dili jud ko angry. Murag pati kana wala koy right ma-feel na against sa iyaha. So ambot ra jud. Hehe. Pero I live my life in a way na ginatuohan jud nako na pag bad ko, mubalik ra na sa akoa. Pero pag good ko, or at least decent lang, dili ko niya i-punish the same way dapat i-punish ang mga kriminal. Ayorn lang.

Okay so balik sa social media break: Need nako gamiton og tarong akong every second. Need nako i-save akong life buong May. Actually, bago lang, nag-message na si Ma'am Dann sa akoa na basi ma DRP or 5 ko kung dili ko mag-pass og mga lab reports. So need nako masubmit na akong mga lab reports by next week. Okay so stop sa ko guro himo sa akong entry noh? Oki. Bago ra sad ko human ligo. Mag-ilis sa ko then kaon then pakaon sa iro then himo na sa need nako humanon today.

[paragonswords-blog]

NIEUW OP ONZE WEBSITE:

NEW ON OUR WEBSITE:

KLIK OP DE LINK OM ALLE KERISSEN TE BEKIJKEN:

KLIK ON THE LINK TO VIEW ALL THE KERISSES: https://www.paragonswords.com/shop

SCROLL DOWN FOR ENGLISH.

1. Zeldzame, majestueuze Naga Liman Kamarogan Tinatah keris, kris

2. Antieke, spiritueel krachtige Cirebon Sempana Panjul keris, kris - Segaluh tijdperk (Cirebon abad IV, 14e eeuw)

3. Antieke, gouden Bugis Lombok Sempana Panjul keris, kris - Bugis Lombok Abad XIX-era (19de eeuw) - Majestueuze, volledig vergulde sandangan (aankleding), versierd met complexe Karawang kunst - Vergulde Toli-toli bezet met 21 edelstenen

4. Antieke, zeldzame Tilam Upih, Walang Sinuduk keris, kris - Pajajaran abad XII (12de eeuw) – Wilah met het zeer zeldzame pamor Walang Sinuduk en Tilam Upih dapur

5. Krachtige en zeldzame, antieke Lombok Pedang kris keris - Lombok abad XX-era (begin 20e eeuw) - Beblatungan warangka en gandar van zeldzaam Timoho pelet hout - Prachtige, zilveren pendok met complexe en 3-dimensionale silang sampat kunst, bezet met 5 grote amethisten

6. Zeer zeldzame, antieke, Yuyu Rumpung, Damar Murup kris, keris - Pajajaran abad 15-era (15de eeuw) – Wilah met het zeer zeldzame Yuyu Rumpung, Damar Murup dapur (vorm) –

7. Majestueuze Bugis Lombok Lamba keris, kris - Lombok Bugis abad XX-era (20e eeuw) - Wilah met dapur Lamba luk 7 en twee pamors - Prachtig en gedetailleerd gesneden Pata Tiga greep - Pedangkok ragam - Indrukwekkende Jonga Jonga warangka en gandar van zeldzaam Birak Ketemu hout met zilveren beslag in Karawagan kunst, bezet met 8 robijnen en een oranje saffier.

1. Rare, majestic Naga Liman Kamarogan Tinatah keris, kris

2. Ancient, spiritually powerful Cirebon Sempana Panjul keris, kris - Segaluh era (Cirebon abad IV, 14th century)

3. Ancient, golden Bugis Lombok Sempana Panjul keris, kris - Bugis Lombok Abad XIX-era (19th century) - Majestic, fully gilded sandangan (dressing), decorated with intricate Karawang art - Gilded Toli-toli set with 21 precious stones

4. Ancient, rare Tilam Upih, Walang Sinuduk keris, kris - Pajajaran abad XII (12th century) – Wilah with the very rare pamor Walang Sinuduk and Tilam Upih dapur

5. Powerful and rare, antique Lombok Pedang kris keris - Lombok abad XX-era (early 20th century) - Beblatungan warangka and gandar of rare Timoho pelet wood - Beautiful, silver pendok with complex and 3-dimensional silang sampat art, set with 5 large amethysts

6. Very rare, antique, Yuyu Rumpung, Damar Murup kris, keris - Pajajaran abad 15-era (15th century) – Wilah with the very rare Yuyu Rumpung, Damar Murup dapur (shape) –

7. Majestic Bugis Lombok Lamba keris, kris - Lombok Bugis abad XX-era (20th century) - Wilah with dapur Lamba luk 7 and two pamors - Beautifully and detailed carved Pata Tiga handle - Pedangkok ragam - Impressive Jonga Jonga warangka and gandar of rare Birak Ketemu wood with silver fittings in Karawagan art, set with 8 rubies and an orange sapphire.

[nusatimesid]

GSTL 2024 Masuk Babak 8 Besar, Ini Daftar Klub Yang Lolos

nusatimes.id – Liga sepak takraw pertama di tanah air atau Gorontalo Sepak Takraw Liga (GSTL) 2024 yang berlangsung di lapangan Keris Sakti, Desa Luwoo, Kabupaten Gorontalo kini sudah memasuki babak 8 besar. Adapun tim-tim yang masuk ke babak 8 besar ini dari informasi yang diperoleh awak media ini yakni Tarantula, Gani Speedshoop, Coba Cobe, Naga Merah, Panser Biru, Garuda Emas, Garuda Muda, dan…

[makanmakananenak782]

Sakura Fortune 2

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[vevletaire]

Commission for Keri and an AU naga version of a character I drew for them a while back!

[kabarbanyuwangi]

Bedah Buku “Tombak Brata” karya empu Intan Anggun Pangestu , terinspirasi ajaran Hastabrata

Seminar Bedah Buku “Tombak Brata” karya Empu Intan Anggun Pangestu ,terinspirasi ajaran Hastabrata untuk terus berkolaborasi dan berinovasi mewarnai dunia tosan aji dengan spesifikasi tombak dalam dunia perkerisan . Empu Intan juga menjadi narasumber dalam seminar Tombak Brata pada 14 Juli 2024. Panitia Pameran Keris “Keagungan Pusaka Naga Siluman”, yang digelar di Pendopo Bupati Rangga Jumeno,…

[chanoyu-to-wa]

Nampō Roku, Book 7 (74b):  Ten Poems that Nambō Sōkei Found on Rikyū’s Wastepaper (Part 2).

〽 Large is large,           small is small.                [And with respect to] the five kane,      [irrespective of] whether [the object] is round or square,           [it should be handled] according to the attributes it possesses¹.

〽 The kane are nothing but            the Kogitsunemaru’s                 imaginary hammerman;      refrain from hitting the blade [squarely] on its [sharp] edge,           [but also] from missing the blade [entirely]².

_________________________

¹Dai ha dai shō ha shō naru itsutsu kane, maruki mo hō mo sonawari ni keri [大ハ大小ハ小ナル五ツカネ、圓キモ方モソナハリニケリ].

    Dai ha dai shō ha shō naru [大は大小は小成る] means the large are large, the small are small.

    Marui mo hō mo [丸いも方も] means whether it is round or square (rectangular)....

    Sonawari ni keri [具わりにけり]:  sonawari ni [具わりに] means according to the attributes that (the object) possesses; keri [けり] means to be settled.

    In other words, the shape of the object is not important.  The way it is handled depends on its size, since this is the determining attribute in so far as kane-wari is concerned.

    If, for example, the object is small, so that it contacts only one kane, then it should be arranged on the daisu or other sort of tana, or directly on the mat, accordingly (taking care that it is oriented, relative to the kane with which it is supposed to be associated, appropriately); and if it is large (such as a kuguri-bon), so that it contacts multiple kane, then that (and the effect it produces on the kane-wari total) must be taken under consideration when placing it.

    The diction of this poem is better compared with the poetic conventions of the late seventeenth century than to those found in any of the poems known to have been composed by Rikyū (such as in his additions to the Chanoyu hyaku-shu [茶湯百首] -- Hundred Poems -- and those that were included in his various densho [傳書]).

==============================================

Shibayama explains that “this poem is intended to focus our attention on the kane value of yin or yang [based on how many kane the object crosses].”

——————————————–———-————————————————

Tanaka writes, “kane-wari is not something that is only applicable to the subdivision of the tenjō [天井]* or the ji-ita [地板] of the daisu.  [Rather,] the 1-ken toko, too, as well as the 2-ken toko, and also to the [shelves of] the 1-shaku 5- or 6-bu small tana†, the 9-sun or 1-shaku [wide] tsuri-dana, as well as to the round or rectangular trays that are placed on the daisu:  in all of these settings, the rules of kane-wari can be applied perfectly.

    “For this reason, when the 1-shaku 3-sun dai-maru-bon [大丸盆] is placed on the daisu, the tray naturally binds together the yin and yang of the five kane‡ [in such a way] that the tray becomes yang**; but when the 1-shaku 6-sun [shaku-naga]-bon [尺長盆] is placed [on the ten-ita of the daisu], because the yin[-kane] preponderate [among those over which the tray extends], the yin-yang plainly guide [the way things are done]††.  It is for this reason that, when handling the various kinds of utensils, the rule of tsuzuki-kane is applied [in other words, the principal utensils are associated with successive yang kane].

    “But on the other hand, when we display a suzuri and ken-byō, or fude-kake on a 1-ken [wide] tsukue-doko [机床]‡‡, the issue of continuance becomes more complicated***.  When a scroll is hung up in a wide toko, the function of the yin and yang is [also] called into being; and the problem of whether [the kane] are bound together or not becomes an insoluble problem†††.

    “Large is large, small is small -- and things are as they are.  And so the problems [of this sort that we encounter] with the five kane are inevitable.  In short, no matter where we are [in the shoin or the sō-an], or the size of the object, and irrespective of the wideness or narrowness [of the space where it will be displayed], there is no place that is exempt from the influence of the five kane -- this is what the poem says.

    “The reason why five kane are specified here is because the five kane [system] includes the idea of yin and yang, while the seven kane [system] does not.  As a result [in the latter setting] the problematic ideas engendered by the five-kane do not arise‡‡‡.” __________ *Tenjō [天井] (which means ceiling) or tenjō-ita [天井板], are other names for the ten-ita [天板] -- the upper shelf of the daisu.

†Tana of this sort, which were derived from the half of the fukuro-dana on which the mizusashi was displayed, are also referred to as mizusashi-dana [水指棚].

‡This use of “five-kane” to mean the eleven-kane is, of course, an attempt to fit Imai Sōkyū’s eleven kane into the terminology of the original five-kane system (where only the original five yang-kane -- which represented the folds and edges of the shiki-shi [敷き紙] -- were recognized and used as the basis for the arrangements).

**In other words, the tray is oriented in such a way that it covers more yang kane than yin, thereby (according to the logic employed by the author of this entry) making it yang.  (Of course, if only the yang-kane were recognized, as was originally the case, necessarily trays that were arranged on the daisu would have been yang as a matter of course.)

††Again, this assertion goes against the classical teachings, introducing complications that were a hallmark of Imai Sōkyū’s approach to chanoyu (this is the aspect to which the modern secrets-based way of teaching chanoyu traces its origins).

‡‡The tsukue-doko [机床] is the built-in writing desk in the shoin room.

***In other words, this is alluding to the case where something like the ken-byō [硯屛] or fude-kake [筆架] joins the interstitial yin-kane to the neighboring yang-kane, so that the yin becomes an extension of the yang.  (As explained in the previous post, this seemed logical because the separation between the yin and yang kane on the 1-ken wide tsukue-doko is the same as between the yang kane on the daisu -- in both settings the kane are approximately 5-sun apart.  And so, for this reason, placing some of the writing implements on the yin kane looked appropriate, since the separation was identical to the separation between the utensils on the daisu.)

†††The proportions of the scroll were naturally based on the size of the painting or writing that was being mounted.  The question of how many yin or yang kane the resulting scroll would cross was never a matter of consideration (indeed, because the principal hook from which the scroll is suspended is in the exact center of the wall, the scroll was naturally yang, regardless of how many yin or yang kane it ultimately crossed -- though, because of this line of theorizing that was articulated by Imai Sōkyū, the scroll could technically be rendered yin if it crosses more yin kane than yang, and this is the issue that is so perplexing to Tanaka Senshō).

‡‡‡If the yin were not added into the mix, then the difference would be not between whether the yin are considered or not, but between the nature of the setting:  the five-kane system was based on the shiki-shi, while the seven-kane system was created in the absence of the shiki-shi (which could not be used in the inakama room:  simply reducing the size of the shiki-shi would be meaningless, since the utensils would no longer retain the same sorts of relationships as in the original setting)

==============================================

²Kane ha tada Kogitsune-maru no mu-sō tsuchi, hoko ni na ate so hoko na ha zushi so　[カネハ只小狐丸ノ夢想槌、ホコニナ當テソホコナハヅシソ].

    Kogitsunemaru [小狐丸] was the name of a famous sword created by the semi-legendary late Heian period master swordsmith Sanjō Kokaji Munechika [三條小鍛冶宗近; dates unknown], the founder (shiso [始祖]) of the Sanjō-ha [三条派] (Sanjō School)* of swordsmithery.  The name refers to the creation legend that accompanied the sword (I have translated this account from the Sanjyokokajimunechika.com website):

    “One night, Emperor Ichijō [一條天皇; 980-1011] had a strange dream, and sent Michinari Tachibana as an imperial envoy to order Munechika, a renowned craftsman of the day working in Sanjō [south of the Imperial Palace compound], to strike a sword.

    “Although Munechika accepted the commission, he felt he was unable to strike the sword by himself.  But as he was troubled over the fact that none of his contemporaries were good at hammering [iron], he resolved to put his faith in the kami.  So he went to his guardian deity, Inari myōjin [稲荷明神]†, to pray for assistance.

    “In answer to his prayers, a magical boy appeared and, strangely enough, this child already knew about the imperial command.  The child reassured him with the words ‘as you have been blessed [by Inari myōjin], the sword will certainly come to be made [successfully].’

    “He then told [Munechika] stories about the great virtues of the famous [historical] swords, both domestic and foreign‡ -- and, in particular, he related the story of Yamato Takeru’s [日本武尊]** Kusanagi [草薙] sword in detail; and he said, ‘I will change the magical powers of my body into an ability, which I will pass over [to you],’ after which he disappeared into Mt. Inari.

    “Munechika returned to his compound, set up his anvil surrounded by a shime-nawa [標縄]††.  And, as he prepared to hammer the sword according to the [magical] child’s instructions, he prayed; and while he paused, a fox-messenger from Inari myōjin appeared.  And this divine messenger helped to strike the sword‡‡.

[The Kogitsunemaru sword (or possibly an Edo period copy), as it exists today.]

    “Presently the sword was completed.  It bore the inscription Kokaji Munechika [小鍛冶宗近] on the front side of the blade; and, on the back, Kogitsune [小狐]***.

    “When the sword was presented to the Imperial Envoy, the fox-messenger returned to Mt. Inari.”

    Musō-tsuchi [夢想槌] means imaginary hammer -- this is a reference to the fox-messenger who assisted Munechika to hammer the sword.

    Kane ha tada Kogitsunemaru no musō-tsuchi [カネは只小狐丸の夢想槌] means that the kane are nothing but the magical assistants that help us to arrange the utensils correctly.

    Hoko [鋒; also written 切っ先] means the edge of a blade (and can be understood as being equivalent to the kane in this poem).

    Waka poems have two halves -- the kami-no-ku [上の句] (which consists of three lines of 5, 7, and 5 syllables), and the shimo-no-ku [下の句] (consisting of two lines of 7 syllables each).  In this poem, the shimo-no-ku presents us with the two possible situations that demand our attention:

◦ hoko ni na ate so [鋒にな當てそ]††† means do not hit squarely on the edge of the blade -- this should be interpreted to mean “do not place the utensil so that its exact center aligns with the exact center of the kane” (this is the situation depicted in the upper sketch);

◦ hoko na hazushi so [鋒な外しそ] means do not miss the blade‡‡‡ -- again, this should be interpreted to mean that “the utensil should not be displaced fully from the kane with which it is supposed to be associated” (lower sketch).

    In other words, this poem is discussing the way in which each utensil (not just the chaire) should be aligned with its kane when displayed on the daisu (or in some other place)**** -- placing it so that it is exactly centered on the kane, as well as obviously disassociating it from the kane, are both to be avoided.

    Once again, this poem, which draws on the poetic conventions of the late seventeenth century (such as citing obscure historical references, and employing Edo period idiomatic usages), would have been highly aberrant for someone like Rikyū. ___________ *The forge he established continues to this day at a site in Nara.

†Inari myōjin [稲荷明神], also referred to as Inari-no-kami [稲荷神] (the name is also read Inari-jin) is a grain spirit and agricultural god, who symbolizes rice (this god is also considered synonymous with the god Uka-no-mitama [御食津神]; and, indeed, Uka-no-mitama is the deity who is usually enshrined in the Inari shrines, including in the Fushimi Inari taisha [伏見稲荷大社], which is generally regarded to be the principal Inari shrine in Japan).  He is usually depicted as a humanoid fox-spirit, or an anthropomorphised god riding on the back of a magical fox.

    Originally the god of grains and agriculture, he was later considered to be the god of all types of production, and so including commerce and industry within his purview.  As a result, he is one of the most widely worshiped gods in Japan.

    Inari-kami has also been conflated with the Buddhist goddess Dakini-ten [荼枳尼天] (Ḍākiṇī [डाकिनी], a type of female spirit, goddess, or demon in Hinduism and Buddhism, who often functions as a sort of sky-mother) in Shintō-Buddhist syncretism, so this entity is sometimes enshrined in Buddhist temples as well.  As a result of the conflation with Inari-kami, representations of this deity usually partake of Inari’s fox imagery to a greater or lesser extent.

‡The expression used in the story is wa-kan [和漢].  Though generally interpreted in a narrow sense by the nationalist scholars of the early 20th century to mean Japan and China, historically this compound means (things) from Japan and (things) from the continent.  Most “Chinese” things were imported (and interpreted) through Korea.

**Yamato Takeru no mikoto [倭建命; his dates of birth and death are unknown -- in later documents, usually those with a more nationalist bent, his name is often written 日本武尊命], was a son of the legendary twelfth Emperor of Japan.  Takeru is said to have disguised himself as a maidservant so he was able to approach their chieftain (in order to stab him to death) in a successful plot to eliminate the leaders of the Kumaso [熊襲] tribe in Kumamoto [熊本] (in west-central Kyūshū, across the Ariake Sea from the island of Nagasaki -- though the Kumaso’s territory probably extended all the way to the southern tip of the island), in his efforts to bring the island of Kyūshū under his father’s sway.

    The sword Kusanagi [草薙] was originally known as Ame-no-Murakumo-no-Tsurugi [天叢雲剣], which means “Heavenly Sword of the Gathering Clouds.”  This is the sword that is part of the Imperial Regalia (and, according to the accounts of Western-trained Japanese scholars who examined this sword early in the previous century, it, like the mirror and the jewel, were all of Korean origin -- which is why it has been forbidden for the regalia to be exhibited since the early 20th century, rather than on account of its rather dubious “divinity”).  This sword was originally preserved in the Ise shrine, and was given to Takeru by his aunt (who was serving as the high priestess of that shrine) so that he might use it to subdue a rebellion against the Imperial Court in the “eastern land” (which was not yet incorporated into the Japanese state).

††The Shintō rope made of rice-straw, from which white paper streamers depend, that defines or demarcates an area of ritual purity.

‡‡The act of hammering the iron into a blade, called ai-zuchi [相鎚], requires two smiths, who alternate their strikes.  This was why Munechika had been so perplexed after receiving the commission from the Emperor Ichijō -- because, while Munechika was renowned for his skill, there was no one else skilled enough to handle the second hammer.  Yet since there was no one else, he had to do it by himself by altering his rhythm -- imagining that each second stroke was coming from an imaginary, mystical hammerman.

***Kogitsune [小狐], which means Little Fox, was apparently an abbreviated form of the name of the divine fox-messenger (which would, in full, have been Kogitsunemaru [小狐丸] -- the kanji -maru [-丸] was commonly suffixed to child’s names).

†††The construction na...so [な...そ], where these two particles bracket a verb -- hoko ni na ate so [鋒にな當てそ] hoko na hazushi so [鋒な外しそ] -- means “don’t do (whatever the verb says).”  Therefore, na ate so [な當てそ] means do not hit (the exact center of the kane), and na hazushi so [な外しそ] means do not displace (from the the kane).

‡‡‡The image is that of the second swordsmith, who alternates his strokes with the first.  If he hits squarely on the sharpened edge of the blade, he will destroy it, while if his stroke hits the anvil, rather than the blade, it will all be in vain.

****There are several other possible interpretations of what this poem is suggesting that have been advanced by Nampō Roku scholars:

◦ Some commentators discuss this poem specifically as it relates to the concept of mine-zuri [峯摺り] (where the utensil is centered on its kane) versus san-bun-ichi kakari [三分一掛り] (where it overlaps its kane by one-third).

◦ Others, however, focus on the idea that even when the object should be fully aligned with its kane, to align it perfectly (so that the center of the object matches the exact center of the kane) is presumptuous.  Therefore, these scholars assert, it is always better to be reticent -- the exact center of the object should be ever-so-slightly displaced from the true center of the kane.

    To understand the origin of these ideas, we must remember that the three central kane on which objects are displayed on the daisu (and which derived from the folds of the shiki-shi) were originally 3-bu wide (the outer two were simple lines, corresponding to the edges of the shiki-shi).  Thus, for the center of the object to be located anywhere within that strip would still mean it was fully aligned with its kane, while placing the edge of the object’s foot to the left or right of that strip would constitute san-bun-ichi kakari (overlapping the kane by one-third).

    In the above sketches, the upper shows the chaire as it should be aligned with its kane (this is what is usually called mine-zuri in the Nampō Roku, meaning that the exact center of the utensil is displaced slightly from the center of the kane); while in the lower one it overlaps its kane by one-third (the foot touches the right edge of the kane without entering onto it).

    Of course, once the kane were uniformly reduced to simple lines (when the edges of the temae-za were pulled inward, so that the temae-za would end at the inner edges of the heri, rather than in the middle of the heri), the question of ma-boko versus mine-zuri became much more subtle (aligning the center of the utensil so that it is immediately to the side of a Euclidean line would be virtually the same as placing it squarely on the line -- so this would be more of an idea or intention than a matter of brute fact, since it will not be obvious to the guests).

==============================================

Shibayama writes, “with respect to mine-zuri [峯摺り]*, one should avoid [hitting] the [cutting] edge of the blade [since doing so will dull it†].  Sensitivity is the secret when tempering a sword, so this is intended to teach us [the importance of] evocation.” ___________ *Mine-zuri [峯摺り] literally means to rub against the peak.  Thus, it is not on the peak, but slightly to one side, as if rubbing against it.  Arranging a utensil in this way will evoke its being centered on its kane, while also subtly deprecating it.

†Shibayama’s brief comment involves several complicated word-plays based on the vocabulary of the swordsmith.

——————————————–———-————————————————

Tanaka, meanwhile, begins by narrating what is essentially the same story as was recounted above, regarding the way that the Kogitsunemaru sword came into being -- as it was told to him by a famous swordsmith of his village, named Inoue Sadakane [井上貞包*].

    He then concludes his remarks with “hoko [鋒]† refers to the line of the kane.  Orienting a utensil so that it is exactly aligned with the very center of that line is called “ma-boko” [眞鋒]; but this is unpleasant‡.  [The utensil] should be moved very slightly to the right or left.

    “This is what is called mine-zuri no kane [鋒摺りの曲尺].   If we [avoid] ‘hitting’ the edge of the blade, but then [go further by] displacing [the utensil] from the edge, it becomes the way that ordinary utensils are arranged by overlapping [their kane] by one-third**.

    “With respect to this [mine-zuri] displacement, it should not be obvious to the eye††.  The right way to do this is to barely [displace it] -- it is like Kogitsunemaru’s imaginary hammer, Inari myōjin’s magic hammerman [who aimed his strokes with divine care].  This is the example suggested by the story of Sanjō Kokaji Munechika and Kogitsunemaru.  Mine-zuri no kane is explained in this way‡‡.” ___________ *Inoue Sadakane’s dates do not seem to have been recorded, though his blades are renowned and treasured even today.

†Hoko [鋒] means the sharp edge of a blade.

‡It is disliked because arranging a utensil in this way implies that the host treasures his utensil too much.  A certain reticence, especially regarding one’s own possessions, is always preferred.

**This interpretation of hoko na hazushi so [ホコナハヅシソ] as being a reference to san-bun-ichi kakari is not subscribed to by any of the other commentators -- and, in the original poem, the implication seems to be that this matter of being (perhaps inadvertently) displaced from its kane is something that should be avoided just as strenuously as orienting the utensil squarely on its kane.  Tanaka also seems to be ignoring the construction na...so (that was discussed in sub-note “†††” above), which gives this statement a negative implication.  (That said, it is possible that he is arguing that, if the focus of the poem is on the idea of mine-zuri, then displacing the utensil so that it overlaps its kane by one-third is, in itself, an error.)

††At a glance, the utensil will appear (to the guests) to be centered on its kane.  It is only the host who will truly know the intention behind the way he has arranged his utensils -- and, in this case, his purpose is to evince humility (even when using a greatly treasured utensil).

‡‡Tanaka’s meaning seems to be that displaying a utensil so that it is exactly centered on the kane is tantamount to a swordsmith’s striking the sword he is creating squarely on the edge of the blade (which, of course, will damage it).  The way to preserve the sharpness of the edge is to strike the blade a slight distance away.  This idea is then applied to the orientation of a treasured utensil vis-à-vis its kane.

==============================================

◎ If these translations are valuable to you, please consider donating to support this work.  Donations from the readers are the only source of income for the translator.  Please use the following link:

https://PayPal.Me/chanoyutowa

[pusakadunia]

Keris Pusaka Naga Temanten Kinatah Kamarogan

Keris Pusaka Naga Temanten Kinatah Kamarogan

Keris Pusaka Naga Temanten Kinatah Kamarogan Keris Pusaka Naga Temanten Kinatah Kamarogan merupakan keris pusaka yang sangat gagah. Keris pusaka ini memiliki bentuk dhapur Naga Temanten yaitu salah satu dhapur yang gagah dan elegan. Keris naga temanten ini memiliki tangguh kamardikan dengan lapisan kinatah yang membuatnya semakin kharismatik dan menawan. Keris pusaka ini memiliki energi yang…

[blancws]

Original Character, Yi’Laho, inspired from my personal mythology

[thegodthief]

Hi, my name is Kerian, but folks call me Keri, and I am a lucid dreamer. Pre-2015, my tumblog was pretty much an active dream diary to the point where I had folks trying to call me out as a fake because the detail, length, and continuity of my dreams was more than they could handle.

My degree of posting changed when my employment status did because I just didn't have time to write three thousand word posts on the regular about sentient forest floor mud or ravens that inhabited the boneyards where the souls of the dead burnt away the burdens of their life or fucking around with various gods (shout-out to the god of boxing, I didn't forget bro) or the city created from the intersection of all human dreamers (envoy kiss my ass bitch) or the desert that still remembers when it was a forest (keep howling brethren) or that jungle with the naga temple (and the denizen I still can't see) or the tribes of angels that you're better off not knowing (still trying to learn balance, old friend) or...

There was a time when those stories were written down for myself and others because there was a lot going on at the time, and writing them out for others helped me deal not only with the subjects of the stories themselves, but the waking world issues that I was not writing about.

That time has passed and I'm a lot more selective about what dreams I write for the public eye and how much to reveal in them.

But I still dream.

Team Lucid

[losterthanlost]

May 24, 2024

Hello.

I consider myself friendless now. Naa pa man akong two close friends na long distance haha. Pero, busy na sila sa kaniya2x nila na lives. Ang isa kay naga communicate pa mi gihapon weekly. Pero ang isa wala na. Murag hapit na mag one month. Ambot sad. Apil naman to siya og org and murag may mga close friends naman pud siya. Dow naka-adjust naman to siya didto og tarong. Bagay man pud sa iya og better female friend group pud. I'm honestly relieved. At least dili niya need mastuck sa angst angst namo ni isa ka friend. hahaha. Kari sad na other friend, tung weekly nako makaistorya, kay mas klaro jud na naay friend group na sad and may hapit na sad mauyab hahahaha. So okay na pud to siya.

Basi phase ra ni. Pero kapoy na ko oy. Dili na ko magtry maintain. Dow dili na gani nako gusto mangamusta atong naa sa layo tung naay org. Siya na pud mangumusta oy. Lab2x gihapon nako to siya. Naa gani siyay kapareha og name na classmate nako karon, although different spelling, kada tawagon nako ang name ato na classmate mu-flash jud ang face ato na friend sa akong face. :<

Naa man pud koy perminte kauban karon, si Kristine. Kami ang pinaka-similar og status like irreg mi both haha. Pero galisod ko kaayo sa akong mga requirements naga-worry na sad ko na basi og maburden nako siya maong wala kaayo ko ga-share sa akong worries sa iyaha. Siya ra pud akong pinakamaistorya na tao pero mao gani dili gihapon ingato ka open. Ang uban dili na uy. So basically, wala na koy maistoryahan jud. Necessarry phase man pud jud ni guro oy. Oki ra sad. Makaginhawa pa man ko. Makakaon. Makaistorya. Makaisip. Oki ra ni. Ga-function pa pud normally akoang lawas. Oki ra ni.

So mao ra to. Hehe. Since August 10 or 11 last year, nag-start ko aning mga down phases na ga-declare ko sa akong self na dili na ko magsamok sa akong friends sa gc. Pero before mag 2 weeks naa na sad ko makita or maisip na something nice tapos i-send na sad nako sa gc. Hahays. Kaya ra man ni oy. Bahala na. Basta ako dili man gihapon ko ma-awkward once magkita mi ulit someday. Kung sila ang ma-awkward ana na time, Aw, wala koy mahimo.

Maisip gud nako. Ako ba ang pinaka-insecure or ang only insecure sa amoa? or dili man jud ko insecure, dili lang ko palaayos? Basehan ba ng insecurity or security ang ability sa isa ka tao mag-ayos? Pero, naisip-isip nako na ang isa sa reasons na dili ko ka push through mag-improve sa akong ayos2x skills kay insecurity pud jud. Pero isa ra to siya. Ang major reason jud kay dili ko safe. :< Weirdo man gud diay ning mga adults in my life oy both the men and women. Even my own mother. Samok lang. Ambot Ambot. Hahays... So yeah mao to ang isa sa akong gina ginakabalak-an. Kay basi ang fact na dili pa ko comfy sa ayos ayos, especially make up, but my two friends already are, like feel nako isa sad na sa possible burden nako sa ilaha. Maong as much as possible kay dili nako i-mention akong feelings about ani too much before. Labaw na karon. Wala na jud koy mention mention. Dili sad ko ka-open ani sa akong mama. Wars man mi or not.

I'm on my own na jud. Keri ra ni. Keri ra. Dapat lang.

I am happy when people are happy about harmless things and preferences. Cge lang. Go lang people. Pero ang medyo pangit lang na fact is that dili nako ma-apply na sa akoang sarili. Ambot basi kay kulang ra ko sa support sa family nako mismo? Karang feeling na they don't have my back if ever mag-fail ko someday or ma put in danger? I know how they talk about the type of girls I honestly want to be like so I know na dili ko nila back-upan or supportahan if ever maging ingato ko na girl. :<

Hahays.

Study sa ko oy. Dow crazy.

----

Nahuman ra jud ang exam oy. Ambot. Murag mabagsak na ko.

----

Daghan ko gusto iingon. Ambot. Crazy.

[paragonswords-blog]

For sale on our website: Magnificent Naga Raja kris, keris – Stunning wilah with Naga Raja (13 luk) in Kinatah (gold) with Kamarogan decorations in Kinatah (gold) – Amazing and rare pamor Tambangan – Nunggak semi hilt – Silver bunton pendok.

Characteristics:

Dapur: Naga Raja – 13 luk

Pamor: Tambangan

Tangguh: Mataram abad XX (20th century)

Warangka: Solo Gayaman

Kayu: Cendana Wangi

Te koop op onze website: Magnifieke Naga Raja kris, keris – Indrukwekkende wilah met Naga Raja (13 luk) in Kinatah (goud) met Kamarogan kunst in Kinatah (goud) – Opvallende en zeldzame pamor Tambangan – Nunggak semi greep – Zilveren bunton pendok.

Kenmerken:

Dapur: Naga Raja – 13 luk

Pamor: Tambangan

Tangguh: Mataram abad XX (20e eeuw)

Warangka: Solo Gayaman

Kayu: Cendana Wangi

[kimhortons]

hay, umalis na naman si J. balik Naga na ulit siya. bitin talaga isang araw na magkasama kami. weekly naman na kami magkasama pero feeling ko LDR parin kami kahit 2-3hrs lang naman byahe mula Naga hanggang Legazpi. or baka bored na naman ako rn. wala kasing work, kaya wala ibang mapag lilibangan.

naisip ko rin—di ko sure kung nakwento ko na dito pero, siguro kapag regular na ako at may incease na sa sahod, baka mag rent nalang ako ng room malapit sa site, sa Legazpi mismo para malapit lang din sa pinaka sentro at mga bilihan. makakagala pa ko every weekend, dito kasi feeling ko nakakulong ako e haha. medyo malayo sa sentro, di ko keri lakarin. kaya pag nagpapa legazpi ako hinahatid pa ako sa sakayan. diba medyo hassle yung nang aabala pa ako kapag lalabas ako. hehe.

tsaka hirap din talaga mag budget kasi hindi lang para sa sarili ko or namin ni J, syempre kasama yung family niya though mostly hati hati naman kami. medyo lumalabas lang talaga yung mga ayaw ko, or hindi lang talaga ako sanay mag share, kasi sa bahay, kanya kanya talaga kami ng gamit at pagkain dun, walang pakelamanan. medyo naasar kasi ako last time, yung binili kong ube loaf, binuksan, with consent ko naman, kaso kinabukasan pag tingin ko dalawang slice nalang may punit pa haha nag tira pa diba, nahiya pa. nakakaumay. hindi ako pwedeng ganito forever, kasi baka pati sa family niya magkaron ako ng problema. haha. ako pala talaga yung toxic haha. pero reasonable ba ako? haha.

pati sa mga gawaing bahay, though hindi naman big deal sa mama niya. ako yung nauumay talaga. syempre pinag uusapan namin ni J, ayun pati siya parang nauumay narin. kawawa naman kasi talaga yung mama nila, pano nalang kung wala ako dito. walang tumutulong kay tita. kinukunsinti rin kasi, pero di naman ako nagsasabi sakanila kay J lang talaga kaya siya nalang yung nagpapa hapyaw. ayun, napansin ko nitong mga nakaraang araw medyo kumikilos naman na sila haha.

tulad nga ng sabi ko sa pinsan ko, kahit anong galing mo makisama, mahihirapan ka talaga makisama. tiis lang talaga muna ngayon.

[wildwolf8096-blog]

10 Game Luar yang Mengandung Unsur Indonesia, Bikin Bangga!

Wildwolf8096 - Tanggal 8 Agustus diperingati sebagai Hari Game Indonesia. Karena itu terhadap peluang kali ini penulis inginkan membicarakan daftar game berunsur Indonesia, contohnya game yang berlatar di tempat-tempat populer seperti Yogyakarta dan Bali. Penasaran? Langsung saja cek daftarnya di bawah ini!

1. Mobile Legends Bang Bang

MLBB jadi game MOBA yang sementara ini sering dimainkan oleh beraneka umur. Ada dua hero yang terinspirasi dari Indonesia, yakni Gatotkaca dan Kadita. Kadita terinspirasi dari Ratu Pantai Selatan, Nyi Roro Kidul. Budaya Indonesia yang dilirik Tencent berikut tentu saja membawa dampak kami bangga.

2. Arena of Valor

Selain MLBB, Arena of Valor atau AOV termasuk memiliki hero yang terinspirasi dari Indonesia, yakni Wiro Sableng. Pendekar Kapak Naga Geni 212 itu dulu datang di TV Indonesia di tahun 2000-an. Sebagai hero Tank, Wiro Sableng memadai keras dan sulit untuk bisa dikalahkan. Sejak awal rilis, Wiro sudah jadi meta dan sering digunakan di dalam beraneka Rank Match.

3. Far Cry 3

Pada seri yang ketiga, Far Cry bertempat di sebuah pulau tropis. Walaupun tak disebutkan apa pun tentang Indonesia, terhadap pulau berikut terkandung hewan khas Indonesia, yakni komodo. Kemungkinan besar tempat itu merupakan Pulau Komodo. Tak hanya itu, ada termasuk karakter sampingan yang memakai bhs Indonesia, yakni Citra.

4. Tom Clancy’s Splinter Cell: Pandora Tomorrow

Pada seri yang berjudul Pandora Tomorrow ini, Indonesia jadi keliru satu negara yang dapat kamu kunjungi untuk menggerakkan misi. Sam Fisher dapat mengunjungi ibukota Jakarta untuk mencari seorang teroris yang jadi dalang bom bunuh diri di Dili, Timor Timur bernama Suhadi.

5. Just Cause 2

Rico Rodriguez merupakan agen mata-mata yang memiliki beraneka alat unik untuk menggerakkan misinya. Just Cause 2 menyita latar di lebih dari satu negara seperti Singapura, Malaysia, dan Indonesia. Pada pulau fiktif bernama Panau, kamu bisa terjun ke lokasi bernama unik seperti Kampung Anjing Gila dan Kampung Pantai Berangin.

6. Civilization 5

Game siasat yang bertema histori ini memadai populer di kalangan fans game RTS. Pada sekuel kelima yang berjudul Brave New World, Kerajaan Majapahit jadi keliru satu faksi yang bisa kamu pilih. Kamu termasuk bisa memainkan karakter seperti Gajah Mada serta senjata keris yang digunakan prajuritnya.

7. V-Rally

V-Rally jadi keliru satu game balapan yang sempat populer di era Playstation. Indonesia jadi keliru satu latar sirkuit yang dihadirkan terhadap game ini. Sang pengembang, Atari sukses membawa nuansa pedesaan serta rumah-rumah tradisional di sirkuit tersebut.

8. Chess Rush

Saat game auto-battler sempat populer di 2019, Tencent merilis game Chess Rush. Saat ini sudah ada keliru satu hero dari Indonesia di game ini, yakni Gundala. Gundala Putra Petir termasuk jadi maskot karakter yang bisa kamu miliki.

9. Ragnarok Online

Mungkin kamu belum jelas kalau di game jadul populer Ragnarok Online ada tempat yang terinspirasi dari Indonesia. Di game ini kamu bisa mendapatkan Pulau Komodo dan Pulau Dewata. Sayangnya, sang pengembang sempat keliru menggarapnya lantaran Pulau Komodo jadi destinasi untuk berjudi, tetapi Pulau Dewata dihuni hewan sejenis kadal sama komodo.

10. Tekken Tag Tournament 2

Tekken Tag Tournament 2 jadi keliru satu game yang terinspirasi dari negara Indonesia. Pada keliru satu stage, terkandung wayang kulit sebagai latar belakang sementara bertanding. Wayang kulit digelar di lebih dari satu tempat Jawa, seperti Yogyakarta. Saking populernya, bahkan banyak turis berdatangan untuk menonton keliru satu budaya Indonesia ini.