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orangepeelshortbreadcookies · 7 months ago

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@hopepaigeturner Forgive me for the late response, but since this is an excellent request, it warrants time for an appropriate answer. And you must know that by asking this, you have activated the Benophie obssessed academic part of my brain. You want references? Behold my pile.

(Side note: I am not a historian so if other East Asian Bton fans and Benophiles out there notice something I got wrong, please do correct me.)

The reason why I took so long to answer this is that, for a very long time, many East Asian countries were to varying degrees delegations or colonies of China, so there are many overlappings in our customs, as well as language, which for a modern Vietnamese who doesn't speak any Chinese languages is a bit tricky. And yet even with these overlappings, East Asia is in no way a monolith. As a matter of fact, @tilly-tilly-2827 and I had a lengthy discussion about the connotations of just the colour green in different countries very recently. If I am doing this, let's approach it the right way, for I am nothing but a dedicated Benophile.

Alright, here goes:

Hebao (荷包)

These are embroided, scented satchel, or aromatic pouch, an ancient, very popular accessory in Chinese culture. Its origin lies with The Dragon Boat Festival. Initially it was used to protect the wearer from insects and diseases. A bunch of nice-smelling herbs is put in there. Later it became more popular as a daily accesory, for both women and men. You see it worn a lot in Chinese dramas. Like this:

Its romantic meaning started with how the the Tujia people used it: as a love token from a woman to her lover. The maker of the pouch would put a lot of effort into the embroidery of it, as it represents the adoration and devotion to her lover, so they're usually very pretty. Now I would definitely enjoy Sophie making a hebao for Benedict, in the case she's Chinese. It would be cool if the embroidery turns out to be nice, but I think it would be way funnier if she ends up putting something silly on it instead, even when the needlework is still an excellent labour of love: like a chonky honey bee, for it seems like it's Benedict's signature, regardless of the morbidity of it. Or a cute puppy, for how he keeps following and panting after her.

2. Love-knot

More specifically the Pan-Chang knots (盤長結), or endless knot, although I also really like how Koreans call it the chrysanthemum knot (국화매듭). In Japanese it's mizuhiki (水引き), although the practice and the looks of the knots do look different there.

Another love token that you can dangle on your waist! Traditionally made from one single continuous cord, it symbolises eternity and unbreakable union. The legend is that Yue Lao, the God of Love, "unites with a silken cord all predestined couples, after which nothing can prevent their union." (E. Cobham Brewer, "Dictionary of Phrase and Fable", 1898). Fun fact: Yue Lao is also known as 'the old man under the moon'! And personally, I find moonlight to be such a Benophie thing. I love this one. It's so simple yet meaningful, transcending all classes as a declaration of your desires. I am also announcing that I am working on a one-shot where Sophie makes Benedict a love-knot.

3. Heavier jewelries:

This one requires some more distinctions. So this is the Vietnamese Xà tích:

Usually made of silver, and predominantly worn by women, around the body and over the waist sash. Not only gorgeous to look at, they're also functional. One can attach to the medallion their little knife, some keys, a tweezer, and your cute shiny trusty tobacco tube. It's like a fabulous utility belt. Batman could never. Definitely on the pricier side, as jewelries are concerned. In early 19th century, when Bridgerton takes place, this is considered a bridal item. As in:

"Cô dâu miền Bắc (thời Nguyễn) vào ngày cưới tóc vấn đuôi gà, đầu khăn gài con bướm bạc, cổ đeo kiềng bạc, chuỗi hạt vàng, lưng đeo xà tích, váy sồi đen, mặc áo mớ ba, bên ngoài mặc áo the đen, trong là áo hồng và áo xanh."

--Đoàn, Thị Tình, Trang phục Việt Nam (Vietnamese Costumes)--

My translation:

"On her wedding day, the Northern bride under Nguyễn dynasty wraps her hair in a coiffure with a side ponytail, her khăn vấn (turban) is adorned with a silver butterfly brooch, a silver torc and a chain of golden beads on her neck, down her back around the waist wears the xà tích. She puts on her black skirt and her best, most formal silks. Medium layer is a black linen jacket, inner layer is pink and green silk.

Example of a traditional Vietnamese wedding set before 1975:

Now, I can't (yet) find any conclusive visual evidence of flatland women in 19th century wearing the xà tích. War does funny things to documentation and archives, who knows? Luckily many more minor ethnicities in the lower Highlands still treasure and practice this custom, especially during festivals:

Now, the Chinese version, the Dingdang (玎珰) is somewhat more fancy and in my opinion, a lot less practical:

Did you know the East Asians loved jade? Because they LOVED it.

From: Weibo 撷芳主人, 04.04.2018

A chatelaine with strings of pendants attached to it. Also a waist accesory, for both men and women. Favoured by people of higher social standings. Originally used to weigh down the lighter material of tunics. Imagine you were hooking a windchime to your silk sash. Your job as a nobleperson is to make sure that when you walk, the sound made by the windchime is pleasant to listen to, and not ear-puncturing. Definitely used to enforce etiquette.

In Chinese dramas:

Maybe it's the bias in me speaking, but I am of the belief that the Vietnamese xà tích is superior. The Chinese ones are very pretty, but they're also impractical, constraining and a bit too over-the-top for Sophie's character.

Also xà tích, along with the rest of the bridal jewelries, are usually provided by the groom's family, so it's definitely something Benedict could (should) do.

Although I must say I prefer the more simplified form with either only the scented satchel or with a piece of jade along with it, like how this Korean drama did it:

4. Jade

Engraved jade was also used as love tokens among people of higher class. Couples had them in pairs, its meaning lie pretty close to wedding rings:

Do I want to see Benedict gve Sophie something like this as a wedding gift? Survey says probably? Idk, it is pretty and my precious Sophie only deserves the best, but the idea of a white man wearing jades with very deep, very strict Asian roots and iconography I'm having trouble digesting. Maybe this is somewhere Benophie could forge a beautiful middle ground. And seeing Sophie wearing jade jewelry would be nice. Although I do have doubts about how Bridgerton writers can execute this artfully.

5. Scenes

Some of my favourite jewelry gifting scenes come from books, which were not translated to English to my knowledge. But I do remember a particular piece of iconic jewelry from this Korean drama called The Moon Embracing the Sun, and it's a hairstick:

Context: this character is the Queen, the her hairstick portrays a Moon Phoenix (hence the pearl), which symbolises her status, holding the Sun (King) in its arm. It was given to her by the King, then Crown Prince, years ago, as a token of love, before their decade-long separation. It was a very sad, very romantic scene, which is wild to say when it was played by the children versions of these characters. Huge talents alert.

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And last but not least, one reference of romantic gesture that I love is this dance from Moonlight Drawn by Clouds, which is coincidently another love story between different classes. This scene never fails to make me swoon. First, the romanticism. The unspoken yearning. The EYE-acting. Second, I would love to see more asiatic instrumentals from Bridgerton, and I think Bridgerton could take notes from how this scene beautfully transitioned from a classical diegetic orchestra to the emotionality of the contemporary non-diegetic score.

youtube

Hope this helps!

Some of my lovely mutuals might know this, but I was born and raised in an East Asian culture, where there is a the strict code of respect and curtesy. Words, conversation can be high-text, and there is alot of reading between the lines.

Although the social codes and the indirectness can be suffocating at times, there is a beauty in the formality.

And I would love to introduce one example.

There is one very famous translation of the phrase, “I love you.” By the Japanese author, Nastume Soseki (1867-1916)

When a young student translated “I love you.” into 君のことを愛しています。(Direct translation of I love you in Japanese) Soseki rejected this translation.

Instead, Soseki translated “I love you,” to

“The moon is quite beautiful tonight,”

Even though this is a product of his time and the culture in the Meji period, it is an incredibly subtle, nuanced translation I can’t help loving.

So when the two couples confess their feeling towards one another, they don’t look at each other but they look up at the same night sky and say,

“The moon is quite beautiful tonight,”

And you are supposed to respond,

“I’ve never seen such a brighter moon than this,”

Which means, “I love you more.”

＊Although now in Japan, this phrase is soooo overused that is becoming a cliche. And really corny. So I definitely do not recommend using this when you are flirting with someone from Japan. Unless you want to impress him/her.

＊Also the rhetorics become increasingly difficult when in comes to rejection.

“Stars are more beautiful than the moon,” means “I’ve got someone else in my mind,”

“The moon is too bright tonight.” would be “Thank you, but you can aim much higher than me,”

“It’s beautiful because you see it from far away,” means “I really don’t have interest in your affections.”

“But the moon isn’t blue,” would be “yeah, you an me? Never going to happen between us.”

I’m rambling on too much.

Anyway, I just really want to see this kind of subtlety on the Benophie season. Benedict can’t straight up declare his love all and mighty back in London at No.5, so it would be lovely if there is a secret code of telling Sophie that he loves her.

A poem, or a certain phase, that makes Sophie blush and tell how ardently Benedict loves her without saying “I love you.”

Just my little thoughts for the season🥰

#benophie #shondaland take notes #sophie beckett #benedict bridgerton #you don't understand #the way i have wanted this for years #bridgerton #Youtube

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mia-japanese-korean · 4 years ago

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Flowers of the Four Seasons, Saitō Ippo, early 19th century, Minneapolis Institute of Art: Japanese and Korean Art

from right to left: spring depicted with red camellias and cherry blossoms in upper half, green gentle mounds with some flowers in bottom; two center panels mainly show summer flowers in bottom half--hydrangea, red and white flowers and one large white peony; fifth panel shows blue-violet morning glories at top and at bottom snow covered branches extending from last panel; top left of last screen has large orange and white blossoms and small brown and white blooms On this single six-panel screen, the flowers of the four seasons bloom in confused disarray. The rightmost panel starts with spring flowers: dandelions, violets, nanohana, white camellias, then plum. At about the center of the screen, irises, hydrangea, hollyhocks, peonies, hibiscus, and morning glories represent summer. The leftmost panel shows autumn and winter with chrysanthemums, bush clover, and arrowroot, thus including and gathering together representative flowers of each of the four seasons. Much is unclear about the life of Saito_ Ippo, but it is thought that he was the pupil of Sakai O_ho (1808-41), the adopted son of Sakai Ho_itsu, and was an official at the Asakusa Temple in Edo. Few works by Ippo survive and the others currently known are almost exclusively screens with mounted fan paintings. Nonetheless, the outlines of the flowers and plants in this work are very carefully executed and the technique of precisely layering colors and gold pigment shows that the artist had considerable talent and drew from the Edo Rinpa tradition, making this a valuable work by Ippo. Size: 36 3/4 × 94 1/8 in. (93.35 × 239.08 cm) (image) 37 7/8 × 95 1/2 × 9/16 in. (96.2 × 242.57 × 1.43 cm) Medium: Ink and color on gold leaf

https://collections.artsmia.org/art/117359/

#saitōippo #artsmia #museumarchive #minneapolisinstituteofart

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tempestuous-cosplay · 5 years ago

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Flower Asks

Alisons: Sexuality?

Demi-romantic poly-pansexual.

Amaranth: Pronouns/Gender?

They Them non-binary

Amaryllis: Birthday?

July 20!!!!! Gunna be 25

Anemone: Favorite flower?

Can’t choose. But its something blue, purple, or red. I really like Hydrangeas and Narcissus flowers.

Angelonia: Favorite t.v. show?

Brooklyn 99, Avatar the Last Airbender, MeatEater

Arum-Lily: What’s the farthest you’d go for a stranger?

Depends on whats needed.

Aster: What’s one of your favorite quotes?

ah, man, i don’t fuckin know. Probably the line “Change IS nature, dad, the part we can influence. And it all starts when we decide.” from ratatouille

Aubrieta: Favorite drink?

Water, milk, then sprite. Unless we talkin booze, tequilla.

Baby’s Breath: Would you kiss the last person you kissed again?

ABSOLUTELY

Balsam Fir: Have you ever been in love?

Yup. Would love to have that again one day, but not now.

Baneberries: Favorite song?

Under My Skin by Jukebox the Ghost at the moment, but consistantly its Pierre by Rynn Weaver.

Basket of Gold: Describe your family.

Better than some but has its issues.

Beebalm: Do you have a best friend? Who is it?

I have 5 closest friends whom i LOVE and talk to with any regularity.

Begonia: Favorite color?

PURPLE

Bellflower: Favorite animal?

DRAGON

Bergenia: Are you a morning or night person?

I like being awake in the morning bc then it feels like i have so much time to do stuff, but my sleep schedule always shifts to being a night owl.

Black-Eyed Susan: If you could be any animal for a day, what would it be?

a Kite or a hawk for all that fancy flying.

Bloodroots: When you were a kid, what did you want to be when you grew up?

A veterinarian, a puppeteer, or the next david attenborough.

Bluemink: What are your thoughts on children?

I eventually want ONE, just one, of my own when I’m living with a community who will help me raise them. But really, i think too many people are having children who just should not be parents.

Blazing Stars: What are you afraid of? Is there a reason why?

Being in love again bc the last times its happened I got traumatized.

Borage: Give a random fact about your childhood.

I always used to say i would never get tattoos and now i have one and plans for more. Ain’t gunna stop till im covered.

Bugleherb: How would you spend your last day on Earth?

I would travel up to my friend @b-oredzoi and spent the day with her. She ain’t got a choice.

Buttercup: Relationship Status?

Single but with some FWB situations goin on.

Camelia: If you could visit anywhere, where would you want to go?

anywhere outside continental US. Im not picky. Top choices Kyoto Japan, the french countryside, p much anywhere in africa.

Candytufts: When do you feel most loved?

when im tripping on acid or when my friends are hugging me real tight.

Canna: Do you have any tattoos?

YEAH, got one on my thigh.

Canterbury Bells: Do you have any piercings?

YUP, lobes and one cartilage

California Poppy: Height?

5′4 and hating every second of it. Wish i was taller.

Cardinal Flower: Do you believe in ghosts?

100%

Carnation: What are you currently wearing?

skill boxers stolen from an ex-friend and a shirt that im not 100% sure is mine??? but I’ve had it for a year and wear it all the time soooooooooooo. Mine now

Catnip: Have you ever slept with a nightlight?

I used to sleep with the closet light on until i was, like..... 14? 15?

Chives: Who was the last person you hugged?

myyyyy mom prolly.

Chrysanthemum: Who’s the last person you kissed?

my pal Eli

Cock’s Comb: Favorite font?

something swoopy and pretty. Or the one thats just emojis.

Columbine: Are you tired?

always

Common Boneset: What are you looking forward to?

getting top surgery and corona being over.

Coneflower: Dream job?

philanthropist actor/ director.

Crane’s-Bill: Introvert or extrovert?

ambivert.

Crocus: Have you ever been in love?

We did this with balsom fir. anyway, yes i have been!!

Crown Imperial: What’s the farthest you would go for someone you care about?

depending on who they are, as far as they needed me to. I don’t THINK i would kill anyone, but there are a few people i would willingly die for.

Cyclamen: Did you have a favorite stuffed animal as a child? What was it?

A green and purple dragon named Puff, who i still have. He’s always either in my bed or on a shelf in my room.

Daffodil: What’s your zodiac sign?

Cancer

Dahlia: Have you done anything worth remembering?

Didn’t die. Helped stop my grans house from burning down.

Daisy: What do you feel is your greatest accomplishment?

so far its getting my associates degree. Either that or dragging myself out of a horrible depressive, self destructive spiral in 2018-2019, getting the help i needed, and doing better for myself and those around me.

Daylily: What would you do if your parents didn’t like your partner(s)?

figure out why and wither resolve it or dump the partner.

Dendrobium: Who is the last person that you said “I love you” to?

my dad prolly.

False Goat’s Beard: What is something you are good at?

Crafty stuff. and animal trivia.

Foxgloves: What’s something you’re bad at?

organizing anything, remembering dates, statistics.

Freesia: What are three good things that have happened in the past month?

Got okayed for top surgery

got surprise money!

Got a sentimental piece of art from my grandparents (at long last.)

Garden Cosmos: How was your day today?

p solid. Helped my dad with some yard stuff, made a yummy dinner, saw most of the supplies i need for a new project shipped.

Gardenia: Are you happy with where you’re at in your life?

mmmmmmm not really, but im getting there.

Gladiolus: What is something you hope to do in the next year or two?

Graduate, move out, get a good, fulfilling job. Travel some more.

Glory-of-the-Snow: What are ten things that make you happy/you’re grateful to have in your life?

The friends who stuck around

my plushie collection

my tarot collection

my print collections from cons

finally having a queen sized bed

books

my pets (wow, almost forgot about them)

my fursuit making skills

my hair

my gently rising self esteem

Heliotropium: What helps you calm down when you feel stressed?

petting soft things, reading, watching Ghibli movies.

Hellebore: How do you show affection?

all them love languages bro. Every single one. I tailor my affection to the individual and what love language they receive most. Mostly, I cook for people.

Hoary Stock: What are you proudest of?

We’ve done this one too!

Hollyhock: Describe your ideal day.

Its a nice balmy 72 degrees with a nice breeze. The sun is shinning with some clouds here and there. I go to the zoo with some friends/ a friend and we just share random facts about our favorite animals. we get some cute plushies at the gift shop and then go to a wonderful meal, either greek or korean bbq or Pho and we go back to someones house to watch movies and vibe, sleepy, warm, and content.

Hyacinth: What do you like to do in your free time?

read, craft, organize my room, draw, garden, swim.

Hydrangea: How long have you known your best friend? How did you meet them?

I dont have a singular “Best friend”. I do have my Inner circle tho!

Laura- we met my freshman year of collage, first day and we click INSTANTLY. She’s my soulmate and I would go to hell and back for her (RIP to Orphius, but im different)

Bly- we met, like, back in 2014/2015 at house parties but didn’t really start getting SUPER close like we are now until, like, 2017/18/19 ish. Really the only person I actively talk to every single day, my mood twin. We share a braincell.

Syd- we met at, like, Momocon 2014? 2015?? something like that???? bc we roomed together. We started getting close in 2016 by bonding over fursuit stuff. My go to roadtrip partner. I kinda owe my current joy for life to her bc she helped me through my hell time in 2018 but kicking my ass and teaching me how to make fursuits.

Eli- we met at Dragon-Con through a mutual friend in 2014, but didn’t really get close until may of 2019. Now we’re p much partners in everything but title bc we just don’t have romantic feelings for eachother. We share a therapist and hang out at least 3 times a month.

Shane: We’ve been friends since, like, 2010 but started getting close in 2017 when they helped me get a job. Then we just,,, stuck around. They kick my ass to get out of the house and do stuff, or did before corona

Sammi : Friends since 2010 when we were in highschool together. Our friendship was super rocky until we were in different schools and smoothed out as we aged and matured. They are the reason i got into conventions and cosplay as a whole, so they have only themselves to blame for how I am now.

Irises: Who can you talk to about (almost) everything?

Eli and laura.

Laceleaf: How many friends do you have?

my inner circle is, like, 6 people, but friends as a whole like.... idk.... 20?

Lantanas: What’s the best compliment you’ve ever received?

“Your gender vibe, is, like, primordial. Its a perfect blend of masculine, feminin and things that are just indescribable.”

Larkspur: What do you think of yourself?

I hate myself, to be perfectly honest. But Im trying my best to be a good person and a good friend, so I don’t have to like me, as long as the people who matter do.

Lavender: What’s your favorite thing about yourself?

I love my hair. Also how much better at communication i’ve gotten.

Leather Flower: What’s your least favorite thing about yourself?

my adhd and the social symptoms of that.

Lilac: What’s something you liked to do as a child?

i liked swinging and listening to the sounds of shoes on carpet. Good stim time.

Lily: Who was your best friend when you were a kid?

I never really had a best friend for more than 2 years. They would always move away, So i don’t really have a solid “best friend as a kid.” Why yes, I do have abandonment issues.

Lily of the Incas: What is something you still feel guilty for?

How my last relationship ended. I pulled some STUUUUUUUPID shit and never got to own up to it or hold the other person accountable for the harm they did to me. It was just overall horrible and never got any type of closure. Likely never will. But it be that way sometimes.

Lily of the Nile: What is something you feel guilty for that you shouldn’t feel guilty about?

My grandfather died last week and i feel........ almost nothing bc I honestly really did not like the man. He was horrible to me growing up and horrible to my mother while my grandmother was sick and dying. But he did a number of good things too. But I feel guilty for not mourning him more.

Lupine: What does your name mean? Why is that your name?

I chose Sawyer bc when I was younger, I was very good at wriggling my way out of work and my mom and aunts would call me “Tom Sawyer”. I also just like Mark Twain and the name Sawyer in general. Feels good

Marigold: Where did you grow up? Tell us about it.

In the suberbs of atlanta in a nice house on the Chattahoochee river. I’m actually still living there while I finish school.

Morning Glory: What was your bedroom like growing up?

Rosey wall paper and gross maroon carpet until 7th grade, when we painted it all blue and put in blue carpet. It was, and is, very VERY blue. Im gunna be painting 2 walls different colors soon.

Mugworts: What was it like for you as a teenager? Did you enjoy your teenage years?

Miserable, tbh. A lot of shit happened when i was 16 that left me with a lot of trauma and issues that I didn’t really have the maturity or energy to deal with while in highschool on top of being queer and dealing with that. So it was a lot of fighting with parents, self loathing, and struggling in school. It had its beautiful wonderful moments that I love with all my heart, but for the most part it was just kinda rough.

Norwegian Angelica: Tell us about your mom.

Georgia born and raised. She tries her best and is a wonderful mother, but we clashed a lot growing up bc she’s fairly neurotic and likes everything to be precise and orderly and perfect and im... ADHD so sometimes close enough is all you’re going to get. Growing up, i couldn’t communicate what was going on with me or happening in my head very well at all, and it caused a lot of tension.

Onions: Tell about your dad.

Hes from Bogota colombia and im almost a carbon copy of him. That means our issues with ADHD have a happen of blowing up at eachother. He’s horrible and constructive communication, but overall is sweet and funny and very very clever. My relationships with both of them are p okay nowadays with a few spats here and there that I will deal with when I don’t live with them anymore.

Orchid: Tell about your grandparents.

I never met my paternal grandparents. My maternal grandfather died when I was 6 and i hardly remember him.

My maternal step grandfather was.... not a good man but he was interesting and incredibly smart and fairly liberal. So there was that at least. But, to be honest, I hated the guy.

My maternal grandmother was one of my favorite humans in the world. She spent her whole life a highschool science teacher. She was funny, witty, elegant, a fairly talented cook who always encouraged me in everything I tried. Im still dealing with some emotional stuff regarding her passing, but Im just always so glad i got to spend as much time with her as I did.

Pansy: What was your most memorable birthday? What made it be so memorable?

haha shit. Maybe my 21? A bunch of friends and i went and hung out at a park then got hammered at my house after.

Peony: What was your first job?

Working at the summer camp i went to as a kid. Debating going back if I ever can.

Petunia: If you’re in a relationship, how did you meet your partner(s)? If you’re not in a relationship, how did you meet your crush/how do you hope to meet your future partner(s), if you want any?

I want my future partner to be a friend where things just, grew and blossomed.

Pincushion: How do you deal with pain?

Emotional? I try to be constructive and communicative about who or what caused it and doing something productive to help deal with it.

Physical, i just ignore it until it goes away.

Pink: Where is home?

Wherever Im going to sleep that night.

Plantain Lilies: If you could go back in time, what is one thing you would stop/change?

When my ex broke up with me, I would have cut all ties all together instead of try the whole “we can stay friends” bullshit. I would have just “I don’t hate you, but If we aren’t going to be together, I can’t be friends with you until I’ve had some time to heal.”

Prairie Gentian: Who is someone you look up to? Describe them.

nope

Primrose: Describe your ideal life.

I’ve made my fortune and when I say things people listen, but I can also run away to my beautiful little homestead with my queer friends and wife and all our animals and children living together in a wonder queer commune. I get to travel twice a year and i never have to worry about money.

Rhodendron: What is something you used to believe in as a child?

hmmmm. No idea.

Ricinus: Who’s the most important in your life?

can’t pick one person.

Rose: What’s your favorite sound?

wind chimes probably.

Rosemallows: What’s your favorite memory?

oh man, too many to choose. I’ve lived a wonderful life so far.

Sage: What’s your least favorite memory?

Too many to choose. THe night I got dumped, my grandmothers funeral, my friends funeral, some others that I don’t wanna talk about due to triggers. bleah

Snapdragon: At this moment, what do you want?

I want..... soup dumplings.

St. John’s Wort: Is it easy or difficult for you to express how you feel about things?

Depends. really intense or personal feelings involving my depression or emotions is almost impossible to talk about. But my feeligns about films and stuff i have 0 issues talking about.

Sunflower: What is something you don’t want to imagine life without?

Laura

Sweet Pea: How much sleep did you get last night?

idk, like 7 hours?

Tickseed: What’s your main reason to get up every morning?

School

Touch-Me-Not: How do you feel about your current job?

im.... technically self employed/ unemployed. I want a job tho.

Transvaal Daisy: What’s your favorite item of clothing?

My killstar hoodie.

Tropical White Morning Glory: Describe your aesthetic.

Disaster gay.

Tulip: What would be the best present to get you?

A tarot deck

Vervain: What’s stressing you out most right now?

Corona virus. and money.

Wisteria: How many books have you read in the past few months? What were they called?

The entire Heros Of Olymus series The lightning thief and Sea of monsters The trials of Apollo The last unicorn.

Wolf’s Bane: Where do you want to be in life this time next year?

ideally living with friends and one year away from graduation.

Yarrow: Do you know what vore is?

*sweats* yea

Zinnia: Give a random fact about yourself.

im a witch

#Just felt like it #long post #all about me

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chanoyu-to-wa · 6 years ago

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Nampō Roku, Book 2 (49): (1587) Ninth Month, Second Day, Midday.

49) Ninth Month, Second Day; Midday¹.

◦ Two-mat room².

◦ [Guests:] Konishi Setsu [小西攝]³, Sōmu [宗無]⁴.

Sho [初]⁵.

﹆ Yoku-ryō-an [欲了庵]⁶.

◦ Kama arare [釜アラレ]⁷.

◦ On the tana: kōgō ・ habōki [香合・羽帚]⁸.

▵ Shiru ko-kabura [汁小カフラ]⁹.

▵ Kushi-awabi ・ kuro-me [串アハヒ・黒メ]¹⁰.

▵ Yu-miso [with] sanshō [柚ミソ山升]¹¹.

▵ Senbei ・ kawa-take [センヘイ・川茸]¹².

Go [後]¹³.

◦ The [scroll] remained hanging in the toko¹⁴; and in front of [it was displayed] the hanaire, a hoso-guchi [細口], [containing] a single chrysanthemum blossom¹⁵.

◦ Chaire kuro [茶入黒]¹⁶, hankiri [半切]¹⁷.

◦ Chawan Soto-no-hama [茶碗外濱]¹⁸.

◦ Mizusashi Shigaraki [水指シカラキ]¹⁹, mimi-guchi [耳口]²⁰.

_________________________

¹Ku-gatsu futsu-ka, hiru [九月二日、晝].

The Gregorian date was October 3, 1587.

It seems that, with this gathering, Rikyū opened the ro for the season -- though apparently without fanfare (nothing indicates that he performed the kuchi-kiri [口切], for example). Perhaps he decided to open it as early as possible because the beginning of the Tenth month would be extremely busy -- staging Hideyoshi's Kitano ō-cha-no-e [北野大茶の會] (which was originally planned to last at least 10 days*) -- making private chakai to observe the change of the season a near impossibility†.

It is important to note that, according to their commentaries, both Tanaka Senshō, and Shibayama Fugen, assume that Rikyū continued to use the furo until the end of Book Two of the Nampō Roku -- though from this date onward no mention of a furo is found in any of the remaining kaiki (as it had always been on every occasion when a furo was used previously)‡. Furthermore, the fact that Rikyū served yu-miso [柚味噌] during this chakai meant that the yuzu [柚子] had already begun to ripen -- and the ripening of the yuzu was held to be the harbinger of the changing of the season, the sign that it was time to open the ro, since the days of Jōō.

As was mentioned previously, this chakai was not included in Kumakura Isao's modern Japanese Nampō Roku wo Yomu [南方録を読む] -- and perhaps the reason might already be obvious**.

The manuscripts of this kaiki contain several formatting errors/misreadings that have caused confusion to scholars -- possibly these were the result of deterioration in the original document. __________ *The gathering was closed after just one day because of an uprising in Higo Province (Higo no kuni [肥後國] -- essentially the modern day Kumamoto Prefecture [熊本県], in western Kyūshū).

Some scholars also claim that Hideyoshi may have been jealous of the attention given to Rikyū on the first day of the Kitano ō-cha-no-e; but since Hideyoshi also seems to have used the occasion to coerce donations to his collection of famous tea utensils, it is just as possible that a number of the participants decided to leave early, rather than risk the loss of their treasures (or, potentially, if they refused to gift their utensils to Hideyoshi, their heads or livelihoods), and the exodus made news of the revolt a face-saving expedient.

†It seems that most, if not all, of the practitioners who took part in the Kitano ō-cha-no-e used the ro in their tea huts. Perhaps it was informally agreed among the tea communities of Sakai, Kyōto, and Nara, that the opening of the ro should be effected as early as possible that year, so that everyone would already be habituated to its use (there is often a period of time at the beginning of the ro season, when people with less experience confuse the ro-temae with that intended for use with the furo) when it came time to (potentially) perform in front of Hideyoshi.

‡This is another example of personal prejudices interfering with ones interpretation of documents dating from before the Edo period -- when the dates for ro-biraki [爐開き] and sho-buro [初風爐] were as fixed and inflexible as the official dates for changing from winter to summer dress, and back again. In Rikyū's day, the host opened or closed the ro based on his personal feelings, as well as in response to the changing seasons (rather than the calendar, as now). As Rikyū notes in his densho, while old people (who are inclined to feel the chill more easily than younger practitioners) might want to open the ro earlier, and then close it later, young people had better delay the opening until its warmth is really needed, and close it again as soon as the weather begins to warm in the spring.

**That it deviates in many ways from modern expectations (especially the teachings of the school with which Kumakura sensei is affiliated -- namely, Urasenke).

²Nijō shiki [二疊敷].

The two-mat room in Rikyū's official residence.

³Konishi Setsu [小西攝].

This was Konishi Yukinaga [小西行長; 1558 ~ 1600], the second son of Konishi Ryūsa [小西隆佐; ? ~ 1592]. He, like his father, was a baptized Christian (taking the name Agostinho [= アウグスティヌス]); his wife was also baptized.

Yukinaga was appointed Governor of Settsu (Settsu no kami [��津守]) in 1586, receiving at that time the junior grade of the Fifth Rank.

He lead the initial expeditionary force that invaded Korea in 1592, and he was also involved in the resolution of the conflict (whereby Hideyoshi was informed that the Ming army had surrendered to the Japanese; while, at the same time, the claim made to the Ming Court was that it was the Japanese who had surrendered). Hideyoshi only came to understand the deception when a Chinese envoy arrived to offer him the title of King of Japan. His anger precipitated the second invasion of Korea in 1597: yet, while he blamed Konishi Yukinaga for the deception, he still appointed Yukinaga co-commander of the expeditionary force for the second time, and during his time in Korea Yukinaga took a Korean Christian woman as his wife.

Following Hideyoshi's death, Yukinaga gave his allegiance to the faction lead by Mōri Terumoto [毛利輝元; 1553 ~ 1625], who supported Hideyori. He participated in the battle of Sekigahara on the side of the heir; and after the defeat of the Western Army he was eventually captured. As a Christian, Yukinaga refused to commit seppuku, and so was executed.

⁴Sōmu [宗無].

This was the machi-shū Sumiyoshi-ya Sōmu [住吉屋宗無; 1534 ~ 1603*], who is also known as Yamaoka Hisanaga [山岡久永]. He was a wealthy townsman from Sakai, and also a highly respected chajin†, and served as one of Hideyoshi’s “Eight Masters of Tea” (sadō hachi-nin-shū [茶頭八人衆]). At other gatherings described in Rikyu's several kaiki that were attended by Konishi Yukinaga, Sōmu is also present, suggesting that he may have been one of Yukinaga's retainers, or perhaps a tea friend.

Sōmu was present at Hideyoshi’s large tea gathering at the Hakozaki Shrine near Hakata (in modern-day Fukuoka City) earlier that year‡, and (along with Tsuda Sōkyū [津田宗及]) also took part in the fusube-no-chanoyu [フスベ茶ノ湯] held in the pine barrens at Hakozaki, also during the Kyūshū campaign**. ___________ *Certain accounts suggest that Sōmu may have died in 1595, at the time when Sakai was razed on Hideyoshi’s orders (as a punishment for the city-state’s opposition to his invasion of Korea).

†Sōmu is said to have first studied chanoyu under Jōō, and then later with Rikyū (though, given his high standing with both Nobunaga and Hideyoshi, this latter assertion might be a revisionist opinion popularized by the Sen family during the Edo period; more likely, he was simply a member of the faction that eventually coalesced around Rikyū some years after Jōō's death).

Sumiyoshi-ya Hisanaga studied Zen under Shunoku Sōen [春屋宗園; ? ~ 1611], from whom he received the name Sōmu [宗無] -- which he used as his professional name later in life.

‡This gathering seems to have been the inspiration for the upcoming Kitano ō-cha-no-e.

**Fusube-no-chanoyu [燻べの茶の湯] means a “smoky” chanoyu. As the gathering was held in the pine barrens between the Hakozaki-gu [筥崎宮] (Hakozaki Shrine) and the shore, Rikyū and the others used the abundance of pine-needles that had carpeted the ground for centuries to heat their kama, rather than charcoal. The effect was charming -- and fragrant (the resin in the dried needles making incense unnecessary) -- but also rather smokey, hence the name. The black pines near the coast were ancient, growing in wonderful and contorted shapes (many having horizontal trunks that made suspending a kama from them both easy and seemingly natural -- portions of the pine barren are still preserved intact to this day), and the fusube-no-chanoyu was a celebration of the setting.

⁵Sho [初].

The shoza.

With reference to the kane-wari:

- the toko held the kakemono, and so was han [半];

- the room had the kama in the ro, and so was also han [半];

- and the tana supported the kōgō and habōki, arranged side by side (with each contacting a different kane), and so was chō [調].

Han + han + chō is chō, which is correct for a chakai held during the daytime.

⁶Yoku-ryō-an [欲了庵].

Yoku-ryō-an [欲了庵] is the name by which Rikyū referred to this scroll -- which was perhaps one of Rikyū’s most prized possessions*. It was written by the Yuan period Chán monk Liǎo-ān Qīng-yù [了庵清欲; 1288 ~ 1363].

This entry is marked with a red spot, indicating that the bokuseki was the featured utensil at this chakai. (Its continuing to occupy the toko during the goza confirming its importance.)

⁷Kama arare [釜アラレ].

This was the ko-arare uba-guchi kama [小霰姥口釜] often referred to as the “Hyakkai-kama” [百會釜] -- since its association with Rikyū was known, in the Edo period, from that source.

⁸Tana ni kōgō ・ habōki [棚ニ香合・羽帚].

These would have been Rikyū's ruri-suzume kōgō [瑠璃雀香合] and a go-sun-hane [五寸羽] made of left feathers* -- since this chakai was being conducted with the ro.

__________ *Feathers widest on the left side of the rachis.

These feathers, which were 5-sun long, were obtained from the left wing of a bird.

⁹Shiru ko-kabura [汁小カフラ].

This was miso-shiru, containing chopped young kabura [蕪] (turnip) -- including the leaves, petioles, and washed root. The turnips would have been planted just after the end of the rainy season, thus they were still immature and tender.

¹⁰Kushi-awabi ・ kuro-me [串アハヒ・黒メ].

These two foods were served to accompany sake -- rather as the hassun [八寸] is today*.

Kushi-awabi [串鮑] is abalone that has been dried on a pair of skewers (to preserve it), and then rehydrated by boiling in broth. The awabi was sliced into bite-sized pieces before serving.

Kurome [黒布] is a kind of edible seaweed (which was available both dried and fresh): dried kurome would have been reconstituted by soaking it in water. After thoroughly removing the water, the seaweed was cut into bite-sized pieces and dressed with a mixture of rice vinegar, sesame oil, soy sauce, sugar, salt, and ginger juice. ___________ *Though both of the foods originated in the ocean -- which contradicts modern practices.

Rather than a “sea food” and a “mountain food,” Rikyū has chosen to serve a shellfish and a vegetable (seaweed), to give the desired contrast.

¹¹Yu-miso sanshō [柚ミソ山升].

Yu-miso [柚味噌] is actually the name of a dipping sauce, that seems to have been one of Rikyū’s personal favorites -- especially during the early winter when the yuzu had just ripened*.

A small yuzu† is taken and the top end (where the stem was attached) is cut off like a cap. Then the flesh is carefully removed, leaving the skin intact like a bowl. This is filled with miso, and then placed beside or below a charcoal fire (the heat should come from the side, or above, rather than from below) until the outside of the yuzu begins to char lightly. The heat causes the flavor and aroma of the yuzu to permeate the miso.

This miso, then, was served with various raw vegetables (usually “crunchy things” like cucumbers and carrots, and other vegetables that could be cut into small “spears”). The guest selected his vegetable and dipped the end into the miso before eating it‡.

Rikyū either flavored the miso with sanshō [山椒] (“Japanese pepper”) -- perhaps after it had already been heated in the yuzu -- or else offered each guest a small dish of crushed sanshō so that they could spice the miso as they liked. ___________ *Even today, flavored miso is a popular dipping sauce for raw vegetable spears in Korea -- though usually the miso contains crushed garlic, sesame oil, and crushed Korean red pepper paste today, since something like yu-miso is too troublesome to prepare (because it can only be made in small quantities).

†The size is probably not too important, so long as it is not overly large (a large yuzu will begin to char on the outside before the middle of the miso is even hot; and the farther away from the skin the miso is, the less yuzu taste and smell will be imparted).

In Edo period Japan, the preference was to give each guest his own little yuzu filled with miso, into which he dipped his vegetables. But there is nothing to indicate that Rikyū served it this way: the yu-miso could just as easily have been scooped out onto several small dishes from one larger yuzu, with one dish offered to each guest, since it was the flavored miso that was important.

‡It is also possible that a selection of vegetable spears was arranged on a small plate, and the yu-miso was drizzled over them. A separate dish of crushed sanshō (”Japanese pepper”) would then have been offered together with the vegetables, so that each guest could spice the food to his taste.

¹²Senbei ・ kawa-take [センヘイ・川茸].

These were the kashi.

Senbei [煎餅] are rice crackers. Since they were usually procured from a professional confectioner, these may have been given to Rikyū as a gift of thanks from the guests (Sōmu, as a trained chajin, would have been very sensitive to the correct observation of the proprieties), and he decided to share them with the guests.

Kawa-take [川茸] is a kind of freshwater seaweed that grows in flowing water. It can be eaten raw (sometimes with vinegar), or it can be cooked. It seems Rikyū preferred to serve it raw, since he only served kawa-take during those times of the year when the rivers would be flowing with clean water (during the rainy season; and after the weather had turned cold) -- so as to avoid the danger of enteric diseases that might result from using kawa-take collected from contaminated water.

¹³Go [後].

The goza.

With respect to the kane-wari:

- the bokuseki remained hanging in the toko, but with the chabana arranged on the floor of the toko in front of it, and so was chō [調];

- the room had the kama in the ro, the mizusashi (with the chaire and chawan arranged in front of it, and so counted together with it), and the futaoki* (associated with the central kane, as shown in the sketch, above), making the room han [半].

- the tana was apparently empty, and so would be counted as chō [調].

Chō + han + chō is han, which is appropriate for the goza of a chakai that is held during the daytime. __________ *Perhaps it was arranged with the hishaku resting on it, as shown below.

¹⁴Toko kake-nagara [床カケナカラ].

This means that the kakemono remained hanging in the toko during the goza. The scroll was the featured utensil -- perhaps the shōkyaku, Konishi Ryūsa, had asked Rikyu to allow him to inspect it (this scroll was one of Rikyū's personal treasures), and so Rikyū left it hanging for the duration of the chakai.

¹⁵Mae ni hanaire, hoso-guchi ni kiku ichi-rin [前ニ花入、細口ニ菊一輪].

The chabana was arranged in a narrow-mouthed bronze hanaire, displayed on an usu-ita, in the middle of the floor of the tokonoma.

The hanaire was most likely the one known originally as Tsuru-no-hashi [鶴ノ波子], shown above*.

Kiku ichi-rin [菊一輪] means that the flower consisted of a single chrysanthemum -- one flower (and its leaves) at the end of a single stem. Indeed, the hoso-guchi hanaire would not be able to hold anything larger.

The type or color of the flower is not known, but since this chakai took place during the daytime, and at the beginning of the ro season, a white chrysanthemum blushed pink by the cold nights would have been both pleasing and appropriate†. ___________ *It was later renamed as Tsuru-no-hito-koe [鶴ノ一聲] -- in commemoration of the circumstances of a night gathering on one occasion when Rikyū used it: Rikyū arranged a white giboshi [擬宝珠] (a white, night-blooming species of hosta lily, Hosta plantaginea) in this hanaire, and as the guests approached the toko, one of the buds suddenly open with a faint pop; and just at that moment, a crane, flying overhead, let out a cry (as if answering the call of its chick). When Rikyū entered to begin his temae, the guests reported this auspicious happenstance to him, and the revision of the name was suggested.

Tsuru-no-hashi [鶴ノ波子] is a literal description of the hanaire -- the vase is shaped like the body and neck of a crane, with a pattern of waves decorating the foot (suggesting the ripples flowing around the crane’s feet as it wades in the shallows); Tsuru-no-hito-koe [鶴ノ一聲] means “one cry of the crane,” in reference to the episode narrated above.

†Chajin of Rikyu’s day appear to have favored light pink flowers above all others. And the white chrysanthemum turned pink by the frosts, like the yellowing of the yuzu, was another indicator that the time had come for the ro to be opened.

¹⁶Chaire kuro [茶入黒].

This was probably the hiki-dashi-kuro chaire [引き出し黒茶入] that Furuta Sōshitsu had made for Rikyū, and which Rikyū has used before at several chakai (occasionally together with the same chawan that he used here).

That said, Shibayama Fugen takes this entry together with the next to read chaire kuro hankiri [茶入　黒　半切], which he says refers to a specific type of classical chaire*. While there is a meibutsu han-kiri chaire [ 半切茶入], it is a light orange-brown color, and so could never be described as being “black.” Fugen avoids this trap by arguing that this referred to a copy of the karamono chaire that was fired at the Seto kiln, with a black glaze. The problem here, however, is that these copies seem to all date from the Edo period (as does the “kuro Seto” [黒瀬戸] glaze -- which should not be confused with Oribe's hiki-dashi-kuro pieces, though the two usually are).

Furthermore, if the word “han-kiri” describes the chaire, then the kane-wari is thrown totally out of balance -- as Tanaka Senshō laments (after exploring a number of different possibilities, he throws up his hands in exasperation since, if this is all taken to refer to the chaire, there is no way to make the arrangement han [半], as it should be for the goza of a gathering held in the daytime). __________ *This han-kiri chaire is shaped like a katatsuki, but is half as tall. A sketch is shown below.

¹⁷Han-kiri [半切].

While the Enkaku-ji manuscript seems to associate this word with the chaire, the others have it clearly separated from the words chaire kuro [茶入黒]: it seems that the word should be hikkiri [引切], and so would refer to the futaoki being displayed on the utensil mat together with the other things. The confused reading may have been a result of deterioration of the original manuscript before it came into Tachibana Jitsuzan’s hands, and “han-kiri” may have been his best guess at its meaning.

As explained above, the futaoki would have been displayed on the central kane -- perhaps deeply, with the hishaku resting on it. The idea would seem to be to suggest something like a daisu temae, albeit in the small room setting with a mukō-ro, in deference to the shōkyaku’s nobility (as Governor of Settsu Province, Konishi Yukinaga held the junior grade of the Fifth Rank).

¹⁸Chawan Soto-no-hama [茶碗外濱].

This was Rikyū's personal ido-chawan; and the bowl is usually referred to as Soto-ga-hama [外ヵ濱] -- the name of the place (at the northern tip of Honshū) where the chawan was recovered from the site of an old shipwreck -- today.

Though nothing is said, Rikyū would also have used an ori-tame [折撓] of his own making as the chashaku.

¹⁹Mizusashi Shigaraki [水指シカラキ].

This was Rikyū's Shigaraki mizusashi.

²⁰Mimi-guchi [耳口].

While the formatting of the Enkaku-ji version of the manuscript once again seems to suggest that this word is connected with the entry describing the mizusashi, mimi-guchi [耳口] is separated from it in the other manuscript copies, and actually seems to refer to a type of mizu-koboshi*.

Mimi-guchi refers to a vessel where the upper attachment of the “ears” (handles or kan-tsuki), rather than being attached to the sides of the body or neck, is attached to the side of the mouth. The shape was used for drinking cups of various sizes, incense burners, and larger bowls (some of which could have been used as koboshi -- or even mizusashi). Objects of this type were traditionally made of jade, ceramic, and bronze. It is primarily an ancient Chinese shape, though pieces of this sort were also made in Edo period Japan.

A Chinese bronze example of this type of container is shown below†.

One of the earliest known examples of a mimi-guchi mizu-koboshi is said to have belonged to the great dōbō Nōami [能阿彌; 1397 ~ 1471].

In the case of the present gathering, Rikyū seems to have been intent on treating Konishi Ryūsa with a sort of formal deference (even though the chakai was hosted in the small room), so the use of a koboshi of a sort more commonly seen displayed on the daisu would have fit into this concept nicely‡.

The problems with the manuscript may have obscured the notation indicating that the koboshi was brought out from the katte later, at the beginning of the koicha-temae. Displaying this piece on the utensil mat along with everything else when the guests returned from the naka-dachi would have seemed grossly overdone. __________ *The parallel issues -- chaire kuro han-kiri [茶入黒半切] and mizusashi Shigaraki mimi-guchi [水指シカラキ耳口] -- suggests that the paper was damaged in a line across this part of the entry, causing Tachibana Jitsuzan to misread both of the lines. The word su [ス], indicating that the koboshi was brought out later, may have also been lost to the ravages of time.

†No mimi-guchi mizu-koboshi known to have been associated with Rikyū has ever been discovered.

‡Since the ears might have interfered with the hishaku being rested on the koboshi, this could account for Rikyū displaying these things on the utensil mat -- and in association with the central kane (as they would have been on the daisu).

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irvinenewshq · 2 years ago

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South Korea vows probe into lethal Halloween stampede

South Korean Prime Minister Han Duck-soo on Monday promised a thorough investigation into the Halloween crush over the weekend that killed greater than 150 largely younger individuals within the capital and plunged the nation into mourning, Pattern stories citing Al Arabiya. Officers mentioned the loss of life toll had risen in a single day to 154 with 149 injured, 33 of them in critical situation. Tens of 1000’s of party-goers had crowded into slender streets and alleyways of Seoul’s standard Itaewon district on Saturday for the primary just about unrestricted Halloween festivities in three years. Most of the revelers have been of their teenagers and wearing costume. However chaos erupted when individuals poured into one significantly slender and sloping alley, even after it was already packed, witnesses mentioned. On Monday morning, individuals laid white chrysanthemums, drinks and candles at a small makeshift altar off an exit of the Itaewon subway station, a couple of steps away from the positioning of the crush. “It doesn’t matter how they died, or why they died. These poor individuals, all at related ages to my grandchildren, they died anyway,” mentioned Jung Si-hoon, a retiree and a church elder, who positioned an previous picket cross on the makeshift altar. “What extra ought to we are saying? We must always pray for them and need they relaxation in peace.” Outlets and cafes close by have been closed and police cordoned off the website of the incident, which was strewn with trash. Faculties, kindergartens and corporations across the nation scrapped deliberate Halloween occasions. Okay-pop live shows and authorities briefings have been additionally canceled. “The federal government will undertake a radical investigation into what prompted this accident and do its finest to make mandatory institutional modifications in order that such an accident will not be repeated,” Prime Minister Han mentioned as authorities officers met on the catastrophe. “Identification has been accomplished for all the 154 deceased besides one, and I imagine it’s time for follow-up measures corresponding to funeral procedures to be carried out in earnest,” Han mentioned. “We will do our greatest to offer mandatory help by reflecting the opinions of the bereaved households as a lot as doable.” President Yoon Suk-yeol, who has declared a interval of nationwide mourning and designated Itaewon a catastrophe zone, visited a memorial altar close to the Seoul metropolis corridor and paid his respects to victims on Monday, his workplace mentioned. The crush of partygoers got here as Itaewon, a logo of freewheeling nightlife within the South Korean capital for many years, was beginning to thrive after greater than two years of COVID-19 restrictions, with stylish eating places and outlets changing seedy institutions. The catastrophe is the nation’s deadliest since a 2014 ferry sinking that killed 304 individuals, primarily highschool college students. The sinking of the Sewol, and criticism of the official response, despatched shockwaves throughout South Korea, prompting widespread soul-searching over security measures within the nation which might be doubtless to be renewed within the wake of Saturday’s crush. Originally published at Irvine News HQ

#Irvine News HQ

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writinggeisha · 6 years ago

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AH阿 m & f Chinese From the Chinese character 阿 (ā) which has no distinct meaning. It is not normally given as a name, but it can be prefixed to another name to make it a diminutive.

AI (2)爱, 蔼f Chinese From Chinese 爱 (ài) meaning "love, affection", 蔼 (ǎi) meaning "friendly, lush", or other characters which are pronounced similarly.

AN (1)安 m & f Chinese, Vietnamese From Chinese 安 (ān) meaning "peace, quiet" or other characters with a similar pronunciation. As a Vietnamese name, it is derived from Sino-Vietnamese 安 meaning "safe, secure".

BAI白, 百, 柏 m & f Chinese From Chinese 白 (bái) meaning "white, pure", 百 (bǎi) meaning "one hundred, many" or 柏 (bǎi) meaning "cypress tree, cedar" (which is usually only masculine). Other Chinese characters can form this name as well. This name was borne in the 8th century by the Tang dynasty poet Li Bai, whose given was 白.

BAO宝, 褒, 苞 f & m Chinese From Chinese 宝 (bǎo) meaning "treasure, jewel, precious, rare", 褒 (bāo) meaning "praise, honour" or 苞 (bāo) meaning "bud" (which is usually only feminine). Other Chinese characters are possible as well.

BO (2)波 m & f Chinese From Chinese 波 (bō) meaning "wave", as well as other characters with a similar pronunciation.

CHANG昌, 畅, 长 m & f Chinese From Chinese 昌 (chāng) meaning "flourish, prosper, good, sunlight" (which is usually only masculine), 畅 (chàng) meaning "smooth, free, unrestrained" or 长 (cháng) meaning "long". Other Chinese characters are also possible.

CHAO超, 潮 m & f Chinese From Chinese 超 (chāo) meaning "surpass, leap over" (which is usually only masculine), 潮 (cháo) meaning "tide, flow, damp", or other characters which are pronounced similarly.

CHEN (1)晨, 辰 m & f Chinese From Chinese 晨 (chén) or 辰 (chén) which both mean "morning". The character 辰 also refers to the fifth Earthly Branch (7 AM to 9 AM) which is itsel f associated with the dragon o f the Chinese zodiac. This name can be formed from other characters as well.

CHENG成, 诚 m & f Chinese From Chinese 成 (chéng) meaning "completed, finished, succeeded" or 诚 (chéng) meaning "sincere, honest, true", as well as other characters which are pronounced similarly.

CHIN金, 锦, 津 m & f Chinese

Variant o f JIN (using Wade-Giles transcription).

CHUN春 f & m Chinese From Chinese 春 (chūn) meaning "spring (the season)" or other characters with a similar pronunciation.

DA达, 大 m & f Chinese From Chinese 达 (dá) meaning "achieve, arrive at, intelligent" (which is usually only masculine), 大 (dà) meaning "big, great, vast, high", or other characters with a similar pronunciation.

DONG东, 栋m Chinese From Chinese 东 (dōng) meaning "east", 栋 (dòng) meaning "pillar, beam", or other characters which are pronounced similarly.

FANG芳, 方 f & m Chinese From Chinese 芳 (fāng) meaning "fragrant, virtuous, beautiful" or other characters with a similar pronunciation.

FEN (1)芬, 奋 f & m Chinese From Chinese 芬 (fēn) meaning "fragrance, aroma, perfume" (which is usually only feminine) or 奋 (fèn) meaning "strive, exert" (usually only masculine). Other Chinese characters are also possible.

FU富, 芙, 甫 m & f Chinese From Chinese 富 (fù) meaning "abundant, rich, wealthy", 芙 (fú) meaning "hibiscus, lotus" or 甫 (fǔ) meaning "begin, man, father", in addition to other characters with a similar pronunciation. A famous bearer was the 8th-century Tang dynasty poet Du Fu, whose given was 甫.

GANG刚, 冈m Chinese From Chinese 刚 (gāng) meaning "hard, rigid, strong", as well as other characters with a similar pronunciation.

GUANTING冠廷 m & f Chinese From Chinese 冠 (guān) meaning "cap, crown, headgear" combined with 廷 (tíng) meaning "court". This name can also be formed from other character combinations.

GUANYU冠宇 m & f Chinese From Chinese 冠 (guān) meaning "cap, crown, headgear" combined with 宇 (yǔ) meaning "house, eaves, universe". Other character combinations are possible.

GUIYING桂英 m & f Chinese From Chinese 桂 (guì) meaning "laurel, cassia, cinnamon" combined with 英 (yīng) meaning "flower, petal, brave, hero". This name can be formed from other character combinations as well.

GUO国 m & f Chinese From Chinese 国 (guó) meaning "country" or other Chinese characters pronounced in a similar way.

HAI海 m & f Chinese From Chinese 海 (hǎi) meaning "sea, ocean" or other characters which are pronounced similarly.

HE河, 和, 荷 f & m Chinese From Chinese 河 (hé) meaning "river, stream", 和 (hé) meaning "harmony, peace", or 荷 (hé) meaning "lotus, water lily" (which is usually only feminine). Other characters can form this name as well. A famous bearer was the 15th-century explorer Zheng He.

HENG恒 m & f Chinese From Chinese 恒 (héng) meaning "constant, persistent", as well as other characters with a similar pronunciation.

HONG虹, 红, 弘, 鸿, 宏 m & f Chinese From Chinese 虹 (hóng) meaning "rainbow", 弘 (hóng) meaning "enlarge, expand, great" (which is usually only masculine) or 鸿 (hóng) meaning "wild swan, great, vast" (also usually only masculine). Other characters can also form this name.

HUA华, 花 f & m Chinese From Chinese 华 (huá) meaning "splendid, illustrious, Chinese" or 花 (huā) meaning "flower, blossom" (which is usually only feminine). Other Chinese characters can form this name as well.

HUAN欢 f & m Chinese From Chinese 欢 (huān) meaning "happy, pleased", as well as other characters pronounced in a similar way.

HUANG煌, 凰 m & f Chinese From Chinese 煌 (huáng) meaning "bright, shining, luminous" (which is usually only masculine) or 凰 (huáng) meaning "phoenix" (usually only feminine). Other Chinese characters are also possible.

HUI慧, 辉 f & m Chinese From Chinese 慧 (huì) meaning "intelligent, wise" (which is usually only feminine), 辉 (huī) meaning "brightness", besides other characters which are pronounced similarly.

JIA佳, 家 m & f Chinese From Chinese 佳 (jiā) meaning "good, auspicious, beautiful", 家 (jiā) meaning "home, family", or other characters which are pronounced similarly.

JIAHAO家豪m Chinese From Chinese 家 (jiā) meaning "home, family" combined with 豪 (háo) meaning "brave, heroic, chivalrous". This name can be formed from other character combinations as well.

JIAN建, 健 m & f Chinese From Chinese 建 (jiàn) meaning "build, establish", 健 (jiàn) meaning "strong, healthy", or other characters which are pronounced in a similar fashion.

JIANG江 m & f Chinese From Chinese 江 (jiāng) meaning "river, Yangtze", as well as other characters with a similar pronunciation.

JIANHONG健宏m Chinese From Chinese 健 (jiàn) meaning "build, establish" combined with 宏 (hóng) meaning "wide, spacious, great, vast". This name can also be formed from other character combinations.

JIE杰 m & f Chinese From Chinese 杰 (jié) meaning "heroic, outstanding" or other characters which are pronounced similarly.

JIN金, 锦, 津 m & f Chinese From Chinese 金 (jīn) meaning "gold, metal, money", 锦 (jǐn) meaning "tapestry, brocade, embroidered" or 津 (jīn) meaning "ferry". Other Chinese characters can form this name as well.

JING静, 精, 晶, 京 m & f Chinese From Chinese 静 (jìng) meaning "quiet, still, gentle", 精 (jīng) meaning "essence, spirit", 晶 (jīng) meaning "clear, crystal" or 京 (jīng) meaning "capital city". Other characters can also form this name.

JINGYI静怡 m & f Chinese From Chinese 静 (jìng) meaning "quiet, still, gentle" combined with 怡 (yí) meaning "joy, harmony". Other character combinations are possible as well.

JU菊, 巨 f & m Chinese From Chinese 菊 (jú) meaning "chrysanthemum" (which is usually only feminine) or 巨 (jù) meaning "big, enormous" (usually only masculine), besides other characters which are pronounced similarly.

JUAN (2)娟f Chinese From Chinese 娟 (juān) meaning "beautiful, graceful" or other characters which are pronounced similarly.

JUN (1)君, 俊, 军 m & f Chinese, Korean From Chinese 君 (jūn) meaning "king, ruler", 俊 (jùn) meaning "talented, handsome" (which is usually only masculine) or 军 (jūn) meaning "army" (also usually only masculine). This is also a single-character Korean name, often from the hanja 俊 meaning "talented, handsome". This name can be formed by other characters besides those shown here.

KAI (4)凯m Chinese From Chinese 凯 (kǎi) meaning "triumph, victory, music o f triumph", as well as other characters pronounced in a similar way.

KUN坤 f & m Chinese From Chinese 坤 (kūn) meaning "earth, female", as well as other characters with a similar pronunciation.

LAN兰, 岚 f & m Chinese, Vietnamese From Chinese 兰 (lán) meaning "orchid, elegant" (which is usually only feminine) or 岚 (lán) meaning "mountain mist". Other Chinese characters can form this name as well. As a Vietnamese name, it is derived from Sino-Vietnamese 蘭 meaning "orchid".

LEI (2)磊, 蕾 m & f Chinese From Chinese 磊 (lěi) meaning "pile o f stones" (which is typically masculine) or 蕾 (lěi) meaning "bud" (typically feminine). Other characters can also form this name.

LI (1)理, 立, 黎, 力, 丽 f & m Chinese From Chinese 理 (lǐ) meaning "reason, logic", 立 (lì) meaning "stand, establish", 黎 (lí) meaning "black, dawn", 力 (lì) meaning "power, capability, influence" (which is usually only masculine) or 丽 (lì) meaning "beautiful" (usually only feminine). Other Chinese characters are also possible.

LIM林, 琳 m & f Chinese

Hokkien Chinese form o f LIN.

LIN林, 琳 m & f Chinese From Chinese 林 (lín) meaning "forest" or 琳 (lín) meaning "fine jade, gem". Other characters can also form this name.

LING灵, 铃 f & m Chinese From Chinese 灵 (líng) meaning "spirit, soul", 铃 (líng) meaning "bell, chime", or other Chinese characters which are pronounced similarly.

MEI (1)美, 梅f Chinese From Chinese 美 (měi) meaning "beautiful" or 梅 (méi) meaning "Chinese plum" (species Prunus mume), as well as other characters which are pronounced similarly.

MIN敏, 民 m & f Chinese, Korean From 敏 (mǐn) meaning "quick, clever, sharp", 民 (mín) meaning "people, citizens", or other Chinese/Sino-Korean characters which are pronounced similarly.

MING明, 铭 m & f Chinese From Chinese 明 (míng) meaning "bright, light, clear" or 铭 (míng) meaning "inscribe, engrave", as well as other characters which are pronounced similarly.

MU慕, 木 m & f Chinese From Chinese 慕 (mù) meaning "admire, desire", 木 (mù) meaning "tree, wood", or other characters with similar pronunciations.

NA娜f Chinese From Chinese 娜 (nà) meaning "elegant, graceful, delicate" or other characters pronounced similarly.

NING宁 f & m Chinese From Chinese 宁 (níng) meaning "peaceful, calm, serene", as well as other characters pronounced in a similar way.

NUAN暖f Chinese From Chinese 暖 (nuǎn) meaning "warm, genial" or other characters with a similar pronunciation.

PING平 m & f Chinese From Chinese 平 (píng) meaning "level, even, peaceful". Other characters can also form this name.

QIANG强m Chinese From Chinese 强 (qiáng) meaning "strong, powerful, energetic", as well as other characters pronounced in a similar way.

QING青, 清 f & m Chinese From Chinese 青 (qīng) meaning "blue, green, young", as well as other characters pronounced in a similar way.

QIU秋, 丘 m & f Chinese From Chinese 秋 (qiū) meaning "autumn", 丘 (qiū) meaning "hill, mound", or other characters with a similar pronunciation. The given name o f the philosopher Confucius was 丘.

RONG荣, 融, 容 f & m Chinese From Chinese 荣 (róng) meaning "glory, honour, flourish, prosper", 融 (róng) meaning "fuse, harmonize" or 容 (róng) meaning "appearance, form" (which is usually only feminine). Other Chinese characters can form this name as well.

RU儒, 如 m & f Chinese From Chinese 儒 (rú) meaning "scholar", 如 (rú) meaning "like, as, if", or other characters with similar pronunciations.

SHI时, 实, 史, 石 m & f Chinese From Chinese 时 (shí) meaning "time, era, season", 实 (shí) meaning "real, honest", 史 (shǐ) meaning "history" or 石 (shí) meaning "stone". Other characters can form this name as well.

SHU淑f Chinese From Chinese 淑 (shū) meaning "good, pure, virtuous, charming", besides other characters which are pronounced similarly.

SHUFEN淑芬f Chinese From Chinese 淑 (shū) meaning "good, pure, virtuous, charming" combined with 芬 (fēn) meaning "fragrance, aroma, perfume". Other character combinations are possible as well.

SHUI水 m & f Chinese From Chinese 水 (shuǐ) meaning "water", as well as other characters pronounced in a similar way.

SHUN (1)顺 f & m Chinese From Chinese 顺 (shùn) meaning "obey, submit" or other characters which are pronounced similarly.

SU (2)素, 肃 f & m Chinese From Chinese 素 (sù) meaning "plain, simple" or 肃 (sù) meaning "respectful", besides other characters pronounced in a similar way.

TAI太 m & f Chinese From Chinese 太 (tài) meaning "very, extreme" or other characters pronounced in a similar way.

TAO涛m Chinese From Chinese 涛 (tāo) meaning "large waves", as well as other characters with a similar pronunciation.

TU图 m & f Chinese From Chinese 图 (tú) meaning "chart, map" or other characters with similar pronunciations.

WEI威, 巍, 伟, 微, 薇 m & f Chinese From Chinese 威 (wēi) meaning "power, pomp", 巍 (wēi) meaning "high, lofty, towering" or 伟 (wěi) meaning "great, robust, extraordinary". As a feminine name it can come from 微 (wēi) meaning "small" or 薇 (wēi) meaning "fern". This name can be formed by other Chinese characters besides those shown here.

WEN文 m & f Chinese From Chinese 文 (wén) meaning "literature, culture, writing", as well as other characters with a similar pronunciation.

WU武, 务 m & f Chinese From Chinese 武 (wǔ) meaning "military, martial" (which is generally only masculine) or 务 (wù) meaning "affairs, business", as well as other characters which are pronounced similarly. This was the name o f several Chinese rulers, including the 2nd-century BC emperor Wu o f Han (name spelled 武) who expanded the empire and made Confucianism the state philosophy.

XIA夏, 霞 m & f Chinese From Chinese 夏 (xià) meaning "summer, great, grand", 霞 (xiá) meaning "rosy clouds", or other characters which are pronounced similarly.

XIANG翔, 祥, 湘, 香 m & f Chinese From Chinese 翔 (xiáng) meaning "soar, glide", 祥 (xiáng) meaning "good luck, good omen", 香 (xiāng) meaning "fragrant" (which is usually only feminine) or 湘 (xiāng), which refers to the Xiang River in southern China. This name can also be formed from other characters.

XINYI欣怡, 心怡 m & f Chinese From Chinese 欣 (xīn) meaning "happy, joyous, delighted" or 心 (xīn) meaning "heart, mind, soul" combined with 怡 (yí) meaning "joy, harmony". This name can also be formed from other character combinations.

XIU秀f Chinese From Chinese 秀 (xiù) meaning "luxuriant, beautiful, elegant, outstanding" or other characters which are pronounced similarly.

XIULAN秀兰f Chinese From Chinese 秀 (xiù) meaning "luxuriant, beautiful, elegant, outstanding" combined with 兰 (lán) meaning "orchid, elegant". This name can be formed o f other character combinations as well.

XIUYING秀英f Chinese From Chinese 秀 (xiù) meaning "luxuriant, beautiful, elegant, outstanding" combined with 英 (yīng) meaning "flower, petal, brave, hero". Other character combinations are possible.

XUE雪, 学 f & m Chinese From Chinese 雪 (xuě) meaning "snow" or 学 (xué) meaning "study, learning, school", besides other characters pronounced similarly.

XUN勋, 迅 m & f Chinese From Chinese 勋 (xūn) meaning "meritorious deed, rank" or 迅 (xùn) meaning "snow", as well as other characters with a similar pronunciation.

YA雅f Chinese From Chinese 雅 (yǎ) meaning "elegant, graceful, refined" or other characters with a similar pronunciation.

YAHUI雅惠 f & m Chinese From Chinese 雅 (yǎ) meaning "elegant, graceful, refined" combined with 惠 (huì) meaning "favour, benefit". This name can also be formed from other character combinations.

YALING雅玲f Chinese From Chinese 雅 (yǎ) meaning "elegant, graceful, refined" combined with 玲 (líng) meaning "tinkling o f jade". This name can be formed o f other character combinations as well.

YAN (2)艳, 岩 f & m Chinese From Chinese 艳 (yàn) meaning "beautiful, gorgeous" (which is usually only feminine) or 岩 (yán) meaning "cliff, rocks", as well as other Chinese characters pronounced in a similar fashion.

YANG洋, 阳 m & f Chinese From Chinese 洋 (yáng) meaning "ocean" or 阳 (yáng) meaning "light, sun, male" (which is typically only masculine), as well as other Chinese characters pronounced similarly.

YATING雅婷 f & m Chinese From Chinese 雅 (yǎ) meaning "elegant, graceful, refined" combined with 婷 (tíng) meaning "pretty, graceful". Other character combinations are possible.

YAWEN雅雯f Chinese From Chinese 雅 (yǎ) meaning "elegant, graceful, refined" combined with 雯 (wén) meaning "cloud patterns". This name can be formed o f other character combinations as well.

YAZHU雅筑 f & m Chinese From Chinese 雅 (yǎ) meaning "elegant, graceful, refined" combined with 筑 (zhù) meaning "lute, zither, build". Other character combinations are also possible.

YI宜, 毅, 义, 益, 艺, 怡, 仪 f & m Chinese From Chinese 宜 (yí) meaning "suitable, proper", 毅 (yì) meaning "resolute, decisive, firm", 义 (yì) meaning "justice, righteousness", 益 (yì) meaning "profit, benefit", 怡 (yí) meaning "joy, harmony" (which is usually only feminine) or 仪 (yí) meaning "ceremony, rites" (also usually feminine). Other characters can also form this name.

YIJUN怡君 m & f Chinese From Chinese 怡 (yí) meaning "joy, harmony" combined with 君 (jūn) meaning "king, ruler". This name can also be formed from other character combinations.

YIN银, 音, 荫 f & m Chinese From Chinese 银 (yín) meaning "silver, money", 音 (yīn) meaning "sound, tone" or 荫 (yīn) meaning "shade, shelter, protect", as well as other Chinese characters pronounced similarly.

YONG勇, 永 m & f Chinese, Korean From Chinese 勇 (yǒng) meaning "brave" or 永 (yǒng) meaning "perpetual, eternal". This can also be a single-character Korean name, for example from the hanja 勇 meaning "brave". This name can be formed by other characters besides those listed here.

YU玉, 愉, 雨, 宇, 裕 f & m Chinese From Chinese 玉 (yù) meaning "jade, precious stone, gem", 愉 (yú) meaning "pleasant, delightful" or 雨 (yǔ) meaning "rain". Other characters can form this name as well.

YUN云, 允 f & m Chinese From Chinese 云 (yún) meaning "cloud" or 允 (yǔn) meaning "allow, consent", as well as other Chinese characters which are pronounced in a similar way.

ZAN赞 f & m Chinese From Chinese 赞 (zàn) meaning "help, support", as well as other characters with a similar pronunciation.

ZEDONG泽东 m & f Chinese From Chinese 泽 (zé) meaning "moist, grace, brilliance" combined with 东 (dōng) meaning "east", as well as other character combinations. A notable bearer was the founder o f the People's Republic o f China, Mao Zedong (1893-1976).

ZHEN珍, 真, 贞, 震 f & m Chinese From Chinese 珍 (zhēn) meaning "precious, rare", 真 (zhēn) meaning "real, genuine", 贞 (zhēn) meaning "virtuous, chaste, loyal", or other Chinese characters which are pronounced similarly.

ZHENG正, 政 m & f Chinese From Chinese 正 (zhèng) meaning "right, proper, correct" or 政 (zhèng) meaning "government", as well as other hanja characters with a similar pronunciation.

ZHI志, 智 m & f Chinese From Chinese 志 (zhì) meaning "will, purpose, ambition" or 智 (zhì) meaning "wisdom, intellect", as well as other characters which are pronounced similarly.

ZHIHAO志豪, 智豪 m & f Chinese From Chinese 志 (zhì) meaning "will, purpose, ambition" or 智 (zhì) meaning "wisdom, intellect" combined with 豪 (háo) meaning "brave, heroic, chivalrous". Many other character combinations are possible.

ZHONG中, 忠 m & f Chinese From Chinese 中 (zhōng) meaning "middle" or 忠 (zhōng) meaning "loyalty, devotion". Other characters can form this name as well.

ZHOU舟 m & f Chinese From Chinese 舟 (zhōu) meaning "boat, ship", in addition to other characters which are pronounced similarly.

#Chinese names #names #links #tools #word lists #lists

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whitecrownsblackthrones-archived · 3 years ago

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MEET THE MUSE!

LEGAL NAME: Lucrezia Annafreya Timothea zos Hathawaye DATE OF BIRTH: Unknown NICKNAMES: Lulu, Crown Princess of Chrysanthemums GENDER: Cis Female AGE: Unknown(17/18 physically) SPECIES: Age Immortal PLACE OF BIRTH: Somewhere in the Kingdom of Chrysan CURRENT LIVING CONDITIONS: Resident of Chrysanthemum Castle LANGUAGES: Latin, English, Korean, Japanese, & Swedish OCCUPATION: Aristocrat CRIMINAL RECORD: None DRINK I SMOKE | DRUGS LIKE[S]: Flower arranging, gardening, teas, horseback riding & dancing DISLIKE[S]: Feeling useless, letting others down, crying people, war & violence

(PHYSICAL INFORMATION)

FEARS: Never being able to live up to the expectations of her expected role PERSONALITY TRAITS: Submissive, obedient, puts others before herself, secretly very passionate, protective, giving HAIR COLOR: Pale blonde EYE COLOR: Parkeet green HEIGHT: 5′0

(FAMILY INFORMATION)

SIBLINGS: None PARENT[S]: Father - Former King of Chrysan, Mother - Former Queen of Chrysan, Unofficial Adopted Parents - ‘King’ Regent Preston Alnwick Sanders zos Hathawaye(uncle) & ‘Queen’ Regent Bianca Allencourt Jullet zos Hathawaye(aunt) CHILDREN: None PET[S]: Many currently unnamed horses

(RELATIONSHIP INFORMATION)

SEXUAL PREFERENCE: Pansexual RELATIONSHIP STATUS: Single

#[Lore; Aesthetic; and Ideas] Musings #『A Royal Degree』Headcanons #{Denied Crown} Lucrezia Annafreya Timothea zos Hathawaye

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thesweetblossoms · 6 years ago

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A Ship Called Repose

Thoughts on Space

The differences in between living in a big or a small space, impacts the quality of life, the ability to generate ideas, to encumber happiness, to design imaginary or real worlds, and is the three dimensional stage to play out the rapidly flickering scenes in ones life.

It is in our bespoke covens, nests, tree scraping lofts, Connecticut colonials or gargantuan cloud kissing condos, where we find replenishment, sanctuary and respite between the daily hustles, or where we bind ourselves to our sun bleached and white cotton sheeted beds to heal, or where we wander carelessly into the garden to pick roses, dahlias and sunflowers.

Our home is also the location of our most frequently visited chair, in which we lounge to read, or watch film, or to sip tea, to write poetry, or to carelessly surrender to intense reveries. It is our private corner of the world, a well deserved, personal, protected cavern, that we are given fleeting, yet certain time to create; to draw, write, design, research, dance, paint, craft or more.

Perhaps, it is with this knowledge, that I often notice, that the brightest, shimmeringly awakened and unrepentantly positive people, are the ones that are unequivocal determined, focused and hellbent on creating happiness in whatever space that may find themselves dwelling within. They are unopposed to tiny quarters in a hive of a city, with spatial possibilities limited to a single pair of shoes or a lone pot, or they may be unalterably content with a suburban semi detached Spanish colonial townhouse with many rooms and a southwestern sunset facing balcony, or, they may be well aware of their fortune to live in a minuscule Parisian flat with a dainty crystal and tapered candle lit chandelier, black and white marble tiled floors, large silver decanters filled with old garden roses by a plum pink velvet settee and French windows left open to receive bare breezes perfumed with magnolias, or even, they may call a Cadogan Lane London attic room with piles of robin eggs blue linen and gilt edged books, a scraped cherry wood writing desk by the window, a canopy bed, a English tea and Italian coffee station, their home. For as long as we are surrounded by space, often, with a few entities that enhance it, for myself, a blue apothecary vase with a single christening gown white cosmos blossom, a cornflower blue and white striped wool blanket, a Japanese misty blue ceramic cup with Earl Gray tea, a smattering of flickering votive candles, the company of candid palos verdes, date palms, and saguaro, with their slumbering frames, struck by decanting silver, from the mid November waxing gibbous moon that falls like a prayer over the desert. It is a sanctuary.

A Ship Called Repose

I recently learned of an U.S hospital ship named Repose, it is where, the elderly mothers of one my co-workers served as a nurse during the Korean War. The practice of naming ships, is an emotional, elegant and imaginative art. It consists of infusing planks of wood, steel, cotton sails, twine, and netting, with a personality, a thought, a memory, a vision, a dream or an idea. There is a mysterious transmission of energy when one names an inanimate object, imprinting a particular charm, through the names meaning, symbolism or poetic nuances. The way something is addressed, influences its adventures, demeanor and personality, as it sails through treacherous mists, mischievous icebergs, and restless plates under the sea.

Saving A Life

Isn’t it amazing how a friend could save a life? For example, a friend could call up at a random time in the afternoon and ask to meet up to hang out and drink coffee, cajoling one into accepting the invitation at the cost of changing an original plan, only to find out later, that the spontaneous meeting, caused one to be be away at the time of a monstrous and horrific attack at a public venue, thus actually, unknowingly and blessedly, rescuing their friend from a fatality. Of course, friends save one another in less dramatic scenarios; easing and tempering the stings of the everyday, like a balm of aloe upon a burn, they do it perhaps over long years of friendship, from surprise sweet 16 birthday parties at midnight, and continuing the birthday wishes, onto their second marriages, or even through newly introduced sparks of companionship, by sharing novel perspectives, cultures and worlds, or sometimes the level of nurture, is so entrenched it is barely discernible, when the friend contacts you without fail, every few months, to catch up, or to share a happy story, or it could be from a level of safety and confidence, that is the mark of friendships that are taken for granted, like the ones you know exist even if you haven’t seen them in a long time. Friends are our lifelong security blankets, encouraging ones hobbies and artistic pursuits, applauding or supporting ones life’s choices, attempting to provide sound advice on a decision, yet respecting ones actual choices. On a dull Tuesday, a friend could exonerate you from mild depression or blanketing numbness, by inviting your to their wedding, even many years after law school is over, or they could be the graceful omen enroute, coming to meet you at the airport for an afternoon, in Hong Kong during a stopover, to catch up, eat delicious Chinese food, before you fly to Vancouver, or they could saturate your scene with the rich fragments of their own, by inviting you to travel to Cambodia to visit them while they are working at the UN War Crimes tribunal, or it could be a sudden, hurriedly planned meeting at the plaza bar at the Scottsdale Princess, when you find out that they see visiting, from Bangladesh, for a three day, international cotton conference, and you are lucky enough to meet them by a blazing fire, with French 75 cocktails, phenomenal sunset over the desert backdrop, savoring varied conversations, of snippets that color the past, or updates regarding the current happinesses, goals and distractions, or dreams and ideas for the future. I realize that, like much else in reality, friendship manifests in a chain, so that when you save one friends life, you also save another.

Upon A Rocket

I believe that comparison with others steals from our own light. Noticing and tallying others accomplishments is a futile and unnecessary waste of time, acting as a distraction from our successes, fortunes, or individual circumstances. For we seldom understand the true picture of another persons struggles, motivations or habits. We often only see the casual, brilliant and lauded results, as the long effort, the heart ache, the doubts, the resilience or the ability to carry forth despite setbacks are obscured. For very few share the stories of their previous projects that barely made an impact, or the initial forays that left one disheartened, or the lack of traction even after immense numbers of hours and intense energy expanded on an activity. Without these insights, any iteration we observe or are privileged to see from the individuals highly curated, strategically placed and positive tinted news is less meaningful. Unfortunately it is a disturbing facet of human nature to try to inspire envy or jealously in others, as we often feel better about ourselves in context to other people. Yet, when we undertake any activity with an audience in mind, we are negating various rich, complex and nuanced aspects of the scene that is difficult to enjoy as well as show off at the same time. For hardly any picture, conveys the magical, hypnotic and charming qualities of an early morning sunrise, or the dark relief from the first sips of milky coffee, or the way the Sunday afternoon light transfixes and ignites the garden chrysanthemum, cosmos, tuberose, tomatillo and basil blossoms. We never know the denial of extra hours of luscious slumber, the eschewing of dark chocolate and pistachio cake, and the many sets of push ups that a dedicated person may do consistently and regularly to enhance their body image in a pair of designer skinny jeans. The will to persist, to chip away at a goal, to come up with new ways of thinking, to continue at a seemingly thankless task, or pick up again on a project, even though growth seems eons away, is not apparent, for we only see the celebrations, the accolades, the start up venture capital infusions or the news of an highly valued exit. While it is true that some aspects of competition are unfairly stacked, such as the access to capital, or a network of influential people, or the fortuitous luck of being placed upon a rocket that is about to launch off, yet, often the truest successes come from more intricate details, such as ones relentlessness, positivity, endurance, work ethic, clear sighted and undeterred vision. Therefore, rather than stew in any misgivings, or suffer the jaded tinges of envy, we should focus on the moment we have in hand, this precious, often fraught, ridiculously scant, and unfathomably poignant window of time, we realize that we are masters of our reality, that what we see or experience might be just as crazy, brilliant, mystical or awe inspiring if only we would look at it, patiently, clearly, with wonder, in a new way, with every new breath, rather than squandering our thoughts and energies on others.

Immeasurable Songs

There is a calming ritual of sitting with someone and lingering in the tonic of silence, of hearing the soft inhales and the unhurried exhales, secured in a mutual understanding and respect for a respite from conversation, a common affinity to merely sit together, yet in solitude. This level of comfort may arise over many years acquaintance, or sometimes, immediately, when one encounters a similar fan of muted worlds, a kind of understanding of the desire to seek the healing powers of the inaudible realms, or a desire to learn more from the universe sans sound.

Quotation Marks

Words take a special meaning when surrounded with quotation marks. Even the simplest words such as “magic” or “healing” or “love”, for when, these words are heralded and chaperoned by symbolic punctuation marks, these take on a new character, as if they are inexplicably more potent, as they are being used as a reference, that another mind or energy spoke, wrote or thought of them, that they are relevant, mulled, contemplated and considered. Sometimes, the most beautiful thoughts and ideas have already been thought, and repeated again, they take on different nuances, shades of meanings and emotional responses.

Hummingbird Winged

It is the Sunday before thanksgiving, I am sitting in my petite balcony garden after yoga, the approaching midnight sky is the color of spilled indigo ink with distant, snowy clouds streaked like a seven layer chai. The chorus line of palms are at rest after a tender, hummingbird winged, gold nectar and emerald leaf flecked autumn day. Higher among the fading lines of mist, the moon reveals tipsy constellations, it is the aftermath of contented leisure hours, twining with the mysterious, faint visions of the future. Below me, in the quad the floating lunar emanations, remain steadfast, upon the frothing, atmospheric sea, while its cache of silver, traces poems, charms and shadows across the grass, lantana and oak trees rooted beneath. My votive candle’s, fragile, gale tempered filaments, scintillates the dreaming marigolds, sweet alyssum and jasmine plants, engulfing me in a minty, sand edged, bittersweet, hopeful and potent perfume, yet, I feel the sinister edge of darkness, the unwelcoming palos verdes, eucalyptus and mesquite trees, and I pull my thick blanket higher over me.

Walk Through Walls

Darling reader, anything that you find challenging or difficult, instead of lingering on the seemingly impenetrable impediments, tell yourself you see only possibility and accomplishment, turn the obstacles into a heady challenge, savor the strenuous activity, or the long winding, uphill, and peril ridden road, as acknowledging the barriers let’s us see them clearly, while extinguishing them increases our confidence and skill.

Scattering Petals

Why would the universe follow any other rulebook for life? For living entities follow certain, inherent, irrevocable and immutable rules. It is like a flower, after it is planted, it becomes a seedling, it buds, it produces nectar, it makes new seeds, then in dies. But what stage are we at the current moment, within the universe as well as in own animation?

Mermaid Totem

My love for seashells began when my I was a serious, curious and extroverted little girl. The bewitchment carries itself past the invisible channels of palm swept, seaweed sprayed and dune grass steeped memories; of the lavender, peach and marigold painted sea at Coz Bazaar beach on the Bay of Bengal, opening to the Indian Ocean, to the mists and mountains soaring above Hong Kong bay and to the many picnics to the azure, eucalyptus crowned Sydney beaches near our Darling Point home during my childhood years in Australia. But, the obsession cantors past early reminisces, streaming closer to the present moment, from experiencing the sand, flotsam and stone gilted shore at many of the edges, curves, points, coves and angles, where the earth conspires with the sea. These precipices into watery realms, include, Costa Rica, Montauk, Martha’s Vineyard, Bali, Jamaica, Dominican Republic, Marbella, Cassis, Malibu and many more. Yet, currently living in the Arizona desert, the distinct energy of the sea is richly palpable, perhaps as being situated in a land that was once the ocean bed, itself, embedded with copper, quartz, aquamarine, chollas and prickly pear cacti, adds context as well as offers faint hints to the secret, hidden possibilities, undulating unknowns and shaded mysteries of the seemingly bottomless seas. Or perhaps, because, here, between low mountain crested valleys, beneath sea level, I am ruthlessly separated from the waves, denied, even, murmuring laps, from Toronto’s Lake Ontario, Vancouvers Burrard inlet, or Manhattans East River. Therefore, the organic, tender, emotion ridden shells, seem like fragments of my soul, drifting into reality, like a slowly gliding seagull, as a tangible, barely pink, amber, lilac, spotted, striped or shaded objects. These fragile conches, pearl grazed scallops, sand dollars, cockles and junus volute shells leave no sense unturned. They transfix me upon their sight, causing me to pause, breath and notice their indelible energy, or I lift one up like I did as a little girl to my ear, to hear the wondrous rush of my blood, or the sea, for they could be the same, or I’ll stroke a piece, my preferred totem to awaken, for my emblem is unquestionably a rose and a shell, or I’ll lift one to my nose to imbibe the lingering perfume of the obscured, inimitable, hypnotic, salty, mineral and brackish composition, but on moon drunk nights meant for alchemy, enchantment and romance, I may nibble upon a fresh oyster and submerge recklessly, softly and irreversibly into Neptune’s star drowned kingdom.

Palm Fronds

While sipping down my tea hurriedly, eager to rinse, wipe and store my nebulous pink striped Paris cup in the cupboard, in order to move onto the next activity, a chamomile infused realization wanders into my mind, and I recognize how guilty, I am of moving too quickly, risking the passing of chance, predestined, or dream like elements of experience, without grasping its beauty, solace or grace. Yet, sometimes in the rush to seal deals, to create products, to appease the economy, in providing childcare, in nourishing our own homes and bodies, we unknowingly numb ourselves to those charms that linger in a space devoid of velocity. So when we are at leisure, with no motive to create, to work, to think, scheme or organize we might let our consciousness slip into different layered realms that comprise reality; our eyes might see drifts of jeweled pollen falling in a denuded, musical shower, in waves, swirls and pirouettes, laced with the future, infused with wild herb nectar and faraway gypsy songs, while backlit by copper, amber and dewy flecks of the sun, or we might notice the poetic energy, tension and unheard music, surrounding the extinguishing of a candle flame, by a moon swathed November breeze, or we might be reminded that taking a walk and cutting dove white sweet alyssum, prom dress pink snap dragons, palm fronds and a sultry bird of paradise stalk from the apartment grounds is the ideal choice among other more fruitful seeming plans, activities or intentions. Slowing down to arrange flowers, is one of the greatest joys of these often meandering, yet mostly galloping hours. Colluding with blossoms, requires, a level of calm, so as not to shock, insult, or perturb, these subtle characters, our breaths also, must match the identical level as theirs, our minds must be clear, meditative and open to appreciate the haunting loveliness of petalled whorls, the shy cups, or fussy temperaments of botanicals that linger so briefly among us. I enter spaces beyond the present when I handle flowers, perhaps a dimension, beyond or before time. My other concerns drift away, like lilacs in the early spring, while languorously deciding which of my carefully cleaned antique, ceramic and apothecary vases to fill with comfortingly heated water, then, unhurriedly deciding which leaves below the water level to strip, or which flowers to place in the heart of the bouquets, which blooms to add as a supporting cast member, or if a fern leaf is necessary as an alluring accent, next, I am unfazed by larger contexts, rooted to the earth, while considering the scene before me, deciding where to place these flower and water symphonies, by our beds, on the dining table, on the coffee table, consoles, work desk, by the sinks and more. I discover my heart with these collaborative creations with nature, these gathered translations of ecstasy from my garden, or from the terrain whereupon I currently dwell, found on atmospherically charged, romantic hikes in the desert.

My Paris Apartment

If you don’t write down what you want how ever will you get it? For there is a power of self actualization through the craft of embedding words onto a blank page, but it must be balanced with the risk of being presumptuous or arrogant, for in one bewilderingly scant life, we have far too many barriers to achieving all the dreams we might be capable of birthing. But throwing caution to the cascades of drifting clouds, my list of delicately simmering desires, include living and working with my family in Paris, or spending hours painting in a light saturated watercolor botanical studio, or traveling to outer space to see our earth hanging indolently like a drop of opal upon a scrap of ebony velvet, or to play the piano hauntingly at an ancient English country house with views of a mature and exuberant stone walled rose garden, or to eradicate poverty with new financial technologies, or to be able to defy gravity and fly over oceans, deserts, hills, caves and meadows, or to discover an edible wildflower that allows us to travel in time, or to visit hidden, secluded, gem like islands on earth and lazily swim in untainted waters, or to develop theories on consciousness, love, memory, pain and reality, to maybe buy a Bottega Veneta purse, to dance a little bit every day, or to fall deeper in love with the mystery of being alive.

Toronto in November

I returned to Toronto after an absence of nearly a year and a half, during which my memories had matured slightly, yet remained tenuous and raw, lingering in that bittersweet space time continuum of recent experiences, that slightly hazy window of closely trailing past, that appears relentlessly fresh, even though, in actuality, a couple hundred of days have passed so quietly, steadily and unalterably by. I took the train from Union Station passing King Station, the old Toronto neighborhood, where, I had lived for more than two years, the days often beginning with croissants from St Lawrence Market and capped by evening coffee and legal study sessions at the King Edward Hotel. Though my purpose for a late November excursion to Toronto, was to attend a Professional Practice and Conduct course at the Law Society of Ontario, I made use of all my precious free hours to return to a few of the places that had unfailingly enraptured, charmed and inspired me, during my time in one of Canada’s most dynamic cities. I had coffee at Fika Café, before, savoring every second in the the wild, incense smoke enfused, bohemian, gorgeously designed and free spirited ambiance at Kensington Market, I continued a food and wine oriented trip by sipped green tea and dim sum on Spadina, dined upon mesmerizingly evocative Thai food at Sabai Sabai, feasted upon, redolent, scrumptious and creamy mushroom and chicken crepes at Coquette cafe, reacquainted with the much loved and delicious lemongrass beef at Ginger and imbibed delicate coupes of Cava at Constantine at Yorkville. I stayed with my sister who cooked our mothers chicken palif recipe, appropriately substituting cranberries for raisins, medium rare steaks and salmon cakes, and plied me with bottles of sauvignon blanc, wine from nearby Niagara vineyards, and foamy, rich and frothy cappuccinos, she also made breakfast omelettes, parathas and turmeric stained potato bhajis. I also relished engorging the Law Societies tantalizing spread of incredible buttery croissants, clementine danishes, hazelnut tortes, mocha marble cakes and more with foreign barred, future Canadian barristers and solicitors. During, my visit, I also was able to indulge in my beloved Toronto pastime of lingering and reading books at Indigo, relishing the incredible evening downtown energy while, perusing books on floral design, makers and lifestyle. The sartorial elements also shaped my visit to my childhood hometown as I carefully considered and choose from the beautiful and minimal tops and dresses that my sister lent me, experimenting with her aesthetic of clean, modern, and flowy pieces from COS, bright J Crew emerald green cropped pants, Peter Pan collar shirts, a Harvard maroon wool coat, and seal gray suede boots, effectively letting me relive the persona of a Torontonian in multiple overlapping dimensions of dress, culture, food, and other lifestyle categories.

Memories of my visit to Toronto in the attenuating days of 2018, isn’t complete without mentioning the friends I met there, including coffee fueled brunches with apple cake desserts with childhood friends from our navy blue and white school uniform days, or hanging out with old friends from UofT with bubble tea or negronis, to making new friends at the Law Society course while deliberations upon exceedingly difficult, heartbreaking and perplexing conundrums regarding legal confidentially and privilege that lawyers contend with. For each friend, of many moons, or of the latest season, acts as a channel to experience the momentous and unique energy of the particular scene: the present in a prosperous North American city, with early snow, mixing with banana yellow falling leaves, sunset-pink rosebuds enrobed in frost, plant, macrame and old book lined coffee shops, people buying chips and other sundry items at Shopper Drug Mart, fusion cuisine, newly debuted ballets, concerts and basketball games, each frame enriched by the people that comprise the town.

Yoga In The Dark

One of the session in my legal course, mentioned above, dealt with wellness in the legal profession. The speaker delivered an interesting, persuasive and informational speech regarding, not only the resources available for lawyers who are undergoing stress, depression, anxiety, burnout or substance abuse, but also the paramount importance of availing help, advice, counseling or support at times of need, confusion, pain or despair. No matter the line of work we are engaged in, any individual may benefit from learning more about strategies for wellness and how to navigate uncertain, unhappy or turbulent times. Speaking to people about issues helps us to understand our experiences and to consider the elements with altered perspectives, to make the situation clearer for ourselves, to alleviate the burden of carrying ones problems alone, for as the lecturer mentioned, ones own mind can be an exceedingly dangerous place. One may also find a measure of solace in reading about another’s similar experience, such as those who might have survived divorce, a terrorist attack, an earthquake or other shattering calamity. But, beyond recognizing certain patterns in the way that misfortune is meted out, or finding recommendations and sound advice on how to circumnavigate the chilly roads that lay before us, when we discover that people before us have mirrored our sorrows, or fell off a stony precipice of poisonous emotions, have floundered upon unrelenting waves of doubt and uncertainty, or have found themselves in dire rapidly disintegrating sandbars, yet somehow, in some fashion, in the infinite mercy of random tears in the fabric of reality, surmounted and risen above their unsavory circumstances, we realize we are seldom alone in the darkness, and not for very long. Thus, I often seek the kind words endowed to us in the past, those paragraphs, acting as healing lifelines, reminding us to meditate, to drink forget me not ceramic blue cups of chamomile tea, to bathe in the stars unhampered by the third quarter moon, to design a floral arrangement of brilliant orange marigolds in a copper cup, to read about the paintings in The Wallace Collection, to do yoga in a palo santo, sound bathed and houseplant infused room, to make banana, vanilla, cinnamon, almond and kefir smoothies, to sleep and mediate in abundance, to dance a tiny bit every day, to play with children, to allot hours for a carrot seed oil facial, bright manicures and pedicures, and a dry brush followed by homemade rose coconut oil, or to talk walks to collect sprigs of eucalyptus while breathing pure, untainted air.

Tuberose Perfume

When I lean in to imbibe the heavenly, poetic, soft, scintillating, ecstatic, blissful, romantic and haunting perfume of a quietly unfurling tuberose in my petite balcony garden, I linger into a separate, singular, alchemical, hidden and unimaginably gorgeous realm within reality. It is merging of senses, but an exoneration from the barriers of our own, limited human understanding of time and space. For drowning deeper into the stellar performance of a tuberose in the late morning on the first day of December, in the desert, awakens, enlightens and mesmerizes us. We learn about drama, about healing, about the palliatives offered from nature, in its simple, pure, elegant, graceful, sensitive, hypnotic and intelligent spell.

I wish I could offer you the perfume or the tuberose blooming under the waning crescent moon, it is an exceedingly peaceful time and we are lucky.

#design #healing #lifestyle #love #gypsy #style #bohemian #flowers #perfume #wellness

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herosneednotapply · 3 years ago

Text

𝐁𝐀𝐒𝐈𝐂𝐒 ――

Full name. Gin Kim

Nicknames. Tricky

Alias(es).

Sex. Male

Size. 5'11

Species. Kumiho

Age. 29 (1000+)

diac. Gemini

Spoken languages. Korean, Mandarin, English, and Hindi

𝐏𝐇𝐘𝐒𝐈𝐂𝐀𝐋 𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑𝐈𝐒𝐓𝐈𝐂𝐒 ――

Hair color. Dark Brown

Eye color. Light Brown

Skin tone. Tan

Body type. Athletic & Lanky

Voice. Low, soothing, and slightly higher when angry

Posture. great

Scars. Small nicks and cuts from his childhood.

Tattoos. Has 9 small tattoos in the shape of rings that go down his spine gradually getting smaller. Has a throat tattoo of chrysanthemums with some detached petals on his left shoulder.

𝐂𝐇𝐈𝐋𝐃𝐇𝐎𝐎𝐃 ――

Place of birth. Seul, Korea

Hometown. San, Francisco but currently lives in Denver, Colorado

Siblings. N/A

Parents. N/A

A𝐃𝐔𝐋𝐓 𝐋𝐈𝐅𝐄 ――

Occupation. Forger/Fashion Designer

Close friends. Nate Miller

Relationship status. Single

Financial status. Upper Middle Class

Driver’s license. Yes

Criminal record. No

Vices. Temper, Gluttony, Lust

𝐒𝐄𝐗 𝐀𝐍𝐃 𝐑𝐎𝐌𝐀𝐍𝐂𝐄 ――

Sexual orientation. Greysexual

Preferred sexual role. Switch leaning Dom but willing to be a sub for the right person. (Service Top)

Libido. High

Turn-ons. Sounds, submission

Turn-offs. Humiliation, Blood Play, and in general bodily fluids.

Love language. Acts of Service and gift-giving.

𝐌𝐈𝐒𝐂𝐄𝐋𝐋𝐀𝐍𝐄𝐎𝐔𝐒 ――

Character’s theme song. X

Hobbies to pass time. Cooking, Shopping, Singing, Dancing, and Fashion Design

Mental illnesses. Anxiety, Depression

Left or right-brained. Left

Phobias. Abandonment

Self-confidence level. Mid

#new muse #ch:gin #little fox god

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mia-japanese-korean · 4 years ago

Photo

Odawara, Utagawa Kunisada, 1854, 7th month, Minneapolis Institute of Art: Japanese and Korean Art

This print is from a series that resulted from a collaboration between the artists Hiroshige and Kunisada. Hiroshige supplied the landscape scenes, while Kunisada provided the large-scale figures. Here, Hiroshige's view is of Odawara, a town on the Tøkaidø roadway. Kunisada rendered a female traveler fresh from her bath, wearing a cotton yukata, an informal single-layer robe. She is talking to a girl who has come to sell souvenirs. Inexpensive and long-lasting indigo-dye had long been used as a colorant for simple farm clothing in Japan. In the late 19th century, however, indigo was used to create bold patterns such as the large chrysanthemums that adorn this woman's yukata. Size: 14 3/16 × 10 1/8 in. (36 × 25.7 cm) (image, vertical ōban) Medium: Woodblock print (nishiki-e); ink and color on paper

https://collections.artsmia.org/art/61085/

#minneapolisinstituteofart #artsmia #museumarchive #utagawakunisada

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rktshx-blog · 7 years ago

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Event: MGA4 Second Audition Part: [1:45 - 2:25] Song: Sadly Crying Bird - Outsider Outfit: [ x ]

From tripping over the set as he entered, leading to a filmed ‘bromance’ moment with another contestant, to applauding appropriately as he cheered for who he thought really put up some skills. Minho felt more giddy and relaxed rather than the nerves that hit him during his first audition. It was probably because he never would have thought he’d be given a chance to come back for the second episode. With what seemed to be a thousand and more people showing up at the auditions earlier, being featured even for a moment didn’t seem like a possibility at all.

It wasn’t to say he wasn’t grateful or feeling too calm and overconfident. Hell, he’d seen countless of talents on stages that same day, and the compliments - and criticism - provided by the judges weren’t jokes. Having worked with an indie - although a famous one - label before, Minho knew just how harsh and strict these CEOs are to their potential money makers. Although their current comments shouldn’t be taken lightly, he knew how shit can truly get.

When he got called in for his turn, he bowed politely, introduced himself comfortably. He doesn’t forget to add in a little “this one of for my ‘Oba-chan’- aimed directly at Dayhe who he knew was going to watch this audition at home - if he makes into the screen this time around- but only they knew his personal greeting of course. Anyone who knows basic Japanese would think sweetly that he was talking about his grandmother. Which if she was watching this ridiculous survival show too, he’d obviously surprised her nicely.

He talks a moment to gather up his thoughts, a few seconds before the beat drops. Minho was known to be a prodigy, not only in the field of science - thanks to his membership in the exclusive Mensa association/society - but also practically wherever he puts his mind too. In fact, his track record only can show what a true mess-up he is in the streets, and it takes a real asshole to built that kinda reputation. Although currently, his genius towards music was at stake, having a musician mother and genuinely being exposes to music all his life, Minho left completely natural at what he’s about to demonstrate.

Never mind the fact that he might not yet have perfected this specific skills, but nonetheless he performers it brilliantly. Speed rapping in Japanese, in the streets of Tokyo was one thing. Heck doing so in Korean, while improvising during a diss, was a hell of a ride on its own. But speed rapping perfectly in four different language was a whole other challenge, he’s about to take on.

First he raps smoothly in Korean. A little introductions to a song that was from a well known and respected rapper within Korea and internationally. As the beat goes on so that his speed, matching it perfectly and articulating his words as though he’s created the damn language himself.

Underneath the moonlight when everyone’s asleep, the stars, the wind and you and I, we were the only ones awake and quietly whispered Back then, even without words, we took out our scars and tied each other’s secrets to our hearts

Then a tribute to his birth place. Rapping in English, his voice automatically became deeper. His accent think of that a true posh english lad. His father would have been so proud. Except maybe he wouldn’t if he saw Minho using his language for such an event. Besides rapping in English in Korea is such a common thing, purely because almost every song had an english catch phrase linked to it, so people can get addicted to it globally.

We drew out the days that we didn’t know would come and firmly promised Back then, tears sparkled in your passing eye and a single stemmed chrysanthemum flower bloomed in my heart I didn’t know I’d be giving that flower to you, again today, I think of and sing about you, who has left me I’m lonely, I need someone to listen to my words

Japanese came in third, the intense tempo and speed never wavering. Neither his pronunciation and articulation. The pitch of his voice changing as he changes the language, it’s a well known fact, one’s voice changes automatically when they speak in one language than another. It’s science.

My heart is chilly and cold, someone take me out of here The endless suffering and hardships, the sweet life and the endless loneliness are decalcomanies I endlessly shout out the magic spell that brings happiness in my heart I comfort my sleeping loneliness with half closed eyes

Confidently staring at the judges in the eyes, going so far as to wink confidently at KT’s Miss, he starts rapping in Tagalog. Johnny was going to flip when - or if- he sees this. Minho doesn’t stumbled on his words. He didn’t mess up the lyrics. Still following up on the tempo. Brilliantly maintaining the speed. He silently admits to himself that this last part was harder, purely because he’s only been speaking the language for about a year and half the time he is mentally translating as he went along. Nonetheless he delivers.

When the night passes and the flower blooms out from the boulder’s cracks, will you come? The endless raindrops dance like a pitifully thin leaf, do you know my helplessly blooming and withering heart?

When his part was done, the only thing he could do was beam brightly. Although it would have been a bummer if he didn’t make it to the next round. But shit, Minho was extremely pleased with passing his personally expectation and challenge that moment.

Trying to too look to pumped, he patiently and thought out their feedback to him. Thanking them politely before stepping off the stage and proceeding back to where he was told to go and wait. God, he couldn’t wait to get out of the place and blow up a well deserved joint.

#rkmga4 #rkmga4panel #rkjohnny #dahyexrk #[everytime the front changes so does his language >.< ]#rkxsua

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wallezhang · 4 years ago

Text

Listen, see, touch, taste, and smell, did you use these 5 senses marketing?

From brick-and-mortar stores to e-commerce, from e-commerce to new retail, products will eventually go back offline.

Why is that? Because customer experience is important, like when you go to the Apple Experience Store and experience the iPhone for yourself before you decide to buy it.

Customers' "five senses" experience is the most complete in offline stores, whether they buy offline or online. A product or a service, in order to achieve sales, it is necessary to touch point, that is, to establish the connection between the brand or product and the customer, and the sense is the most direct, the most effective contact point, is the "trigger" of the customer to buy, which is far more natural and easy than the human sales incentive.

Modern physiology, psychology research proved that people receive information from the outside world, more than 83% through the eyes, 11% with the help of hearing, 3.5% rely on touch, the rest from taste and smell. The development history of marketing can also reflect this point: visual marketing was first attached importance to and adopted by enterprises, and trademark (brand) protection is often limited to the visual part -- graphics and text, followed by hearing, smell and so on.

The greatest value of sensory marketing lies in the establishment of contact and the creation of experience. The essence of contact and experience is the transmission of information, and customers need to study and judge the value of information and make purchasing decisions that are beneficial to them. And information is made up of details; details are related to success or failure.

In the case of homogenization of goods or services, customers are often conquered by a single point, namely a product detail, or a prominent and subtle feeling. Sensory marketing can create one point after another.

How to create such dots?

Eyelash stores need to design experience scenes from hardware and software.

Hardware is mainly environment, props, etc. Software is mainly culture; atmosphere and so on, sometimes hardware and software are inseparable, integrated.

1) Environment

Including real environment and virtual environment, environmental elements can be divided into time, characters, space, color, etc., which is a direct element of customer experience.

2) Culture

Including corporate culture, brand culture, store culture, product culture, celebrity culture, etc., can be displayed by using invisible culture, such as store culture wall, activity silhouette, product culture manual, etc.

3) Atmosphere

The atmosphere of the store is mainly created through sound, light and other technologies, mainly including cultural atmosphere, festival atmosphere, buying atmosphere, etc.

4) Items

The equipment, appliances, supplies and software needed to achieve customer experience can be used with some good props, which can let customers into the drama and have a sense of ceremony.

How does a lash store use the "five senses" for marketing?

1) Audio marketing

Auditory marketing refers to the use of beautiful, or unique sound to attract customers' auditory attention, and in the minds of customers to form a unique voice.

For shops, hearing mainly comes from three aspects. The first is the product itself, such as the sizzling sound of steak fried in a steakhouse.

The second is the environment, such as the background music playing in the store;

The third is the transmission, such as the sound of the glue shaken by the eyelash division in the lashes shop.

For customers who cannot lie down for 2 hours, we can play light music to relieve customers' mood and eliminate tension.

In addition, in the process of operation, the lashartist needs to operate according to the standard procedures and speak the corresponding communication techniques simultaneously.

2) Visual marketing

The purpose of visual marketing is to improve the aesthetic sense of the store through visual means, to attract customers into the store consumption.

Such as shop head, window, commodity display and so on to attract customers have a vital role. Apart from displaying the corresponding products and tools, the eyelash store can display the eyelash operation process, eyelash style drawing and grafting comparison drawing for customers' reference.

3) Tactile marketing

Tactile receptors are abundant in the head, lips, tongue, and fingers, and can be used to express intimacy, kindness, gentleness and thoughtfulness.

As an eyelash artist, it is necessary to make full use of the touch. For example, when grafting eyelasheson customers' eyes, the operation should be light and the action should be gentle, so that customers will feel gentle and considerate and have a sense of security.

The establishment of taste difference can enable customers to establish taste recognition through taste experience, and attract customers to often recall the eyelash shop, or even patronize the shop.

For example, scented tea can soothe the mood and has a very good helping effect on the stability of nerves. According to the season, rose tea in spring and autumn, chrysanthemum tea in summer and ginger tea in winter are matched with rose tea.

5) Smell marketing

This is a marketing mode that allows customers to distinguish the differences of stores even with their eyes closed. Smell marketing refers to a marketing mode that attracts customers' attention and recognition with a specific smell and eventually forms a memory, which can increase the memory of products and services, such as choosing some essential oil and aromatherapy equipment and selecting the appropriate fragrance.

Your eyelash shop, in hearing, sight, touch, taste, smell, these five senses of marketing you have done? If not, look into how to improve it.

This is Our Lash, if you are looking for wholesale magnetic lashes, 3d mink lash vendors, eyelash extensions wholesale Korean or other kind of eyelash. Please contact with us.

#our lash #ourlash #eyelash extensions #lash extensions #lashes vendor #lash factory #eyelash factory #eyelash vendor #lashes extensions #lashes factory #lashes #eyelash #eyelashes #lash #lash vendors

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chanoyu-to-wa · 6 years ago

Text

Nampō Roku, Book 2 (51): (1587) Ninth Month, Thirteenth Day, Midday.

51) Ninth Month, Thirteenth Day; Midday¹.

◦ O-nari [御成]².

◦ Kuchi-kiri [口切]³.

◦ Two-mat room⁴.

Sho [初]⁵.

﹆ A portrait of Rinzai zenji [臨濟禪師]⁶.

◦ Kama ito [釜糸]⁷.

◦ On the tana: kan ・ habōki [クハン・羽帚]⁸.

▵ Shiru saku-saku [汁サク〰]⁹.

▵ Gan ・ shō-rō [鴈・松露]¹⁰.

▵ Yu-miso [柚ミソ]¹¹.

▵ Fu-no-yaki ・ kawa-take [フノヤキ・川茸]¹².

[Go [後].]¹³

﹆ In the kuchi-hiro hanaire [口廣花入], a single chrysanthemum blossom¹⁴.

﹆ On the tana: maru-tsubo [丸ツホ], on a hō-bon [方盆]¹⁵.

◦ Mizusashi Shigaraki [水指シカラキ]¹⁶.

◦ Hishaku ・ hikkiri [ヒシヤク・引切]¹⁷.

Su [ス]¹⁸.

◦ Chawan Soto-no-hama [茶碗外濱]¹⁹.

After tea was finished, [Hideyoshi] amused himself by arranging the charcoal²⁰.

_________________________

¹Ku-gatsu jū-san-nichi, hiru [九月十三日、晝].

The date was October 14, 1587, in the Gregorian calendar.

²O-nari [御成].

This means to receive a visit from ones lord -- in this case, Toyotomi Hideyoshi. On this occasion, it seems that Hideyoshi participated in the chakai unattended -- an indication of the level of trust that he was now placing in Rikyū.

³Kuchi-kiri [口切].

Rikyū waited until Hideyoshi's visit to open the first jar of the new tea -- which had been harvested between April 27, and May 17 (May 7 was the 88th day of the Lunar Year, and the feast day of Bhaiṣajyaguru, the Buddha, or Bodhisattva, of Healing -- Yakushi Nyorai [藥師如來] in Japanese -- so no processing of tea leaves was done on that day).

Rikyū does not mention which of his cha-tsubo was used on this occasion (it is possible that he only had one, though his rising position in Hideyoshi’s household would suggest otherwise) -- though it would have been the jar that contained the best tea of the year.

⁴Nijō shiki [二疊敷].

The two-mat room in Rikyū's official residence.

⁵Sho [初].

The shoza.

With respect to the kane-wari:

- the toko contained the kakemono, and so was han [半];

- the room had nothing but the kama in the ro, and so was han [半] as well;

- and the tana held the kan and habōki (arranged side by side, with each touching a different kane), and so was chō [調].

Han + han + chō is chō, which is appropriate for the shoza of a gathering held during the daytime.

⁶Rinzai zenji zō [臨濟禪師像].

Though Rikyū mentions nothing but the subject matter*, this appears to be the painting, by the fourteenth century Japanese artist Soga Jasoku [曾我蛇足; his dates of birth and death are not known], shown below.

While most of the details of Jasoku's career have been lost to history, it is said that he studied Zen under Ikkyū Sōjun [一休宗純; 1394 ~ 1481]. Furthermore, various commentators add that Ikkyū, in turn, seems to have learned painting from Jasoku.

Though the Soga family, which was one of the famous painting families of the Edo period, claimed descent from Soga Jasoku, in fact it appears that the the line had been broken, and that they had no actual connection with him (other than the shared -- or, perhaps, appropriated -- name).

The kakemono is marked with a red spot in the Enkaku-ji manuscript of Book Two of the Nampō Roku, indicating that it was the featured utensil during the shoza. __________ *Possibly, because this was a domestic work, rather than one imported from the continent, such details were considered common knowledge, and so not important to mark down in his kaiki (which, after all, was a document intended purely for his own, personal reference).

⁷Kama ito [釜糸].

The designation should be ito-me [絲目 or 糸目]. Either Rikyū abbreviated the reference (perhaps because he was in a hurry to get all of the details down before he forgot them), or the original manuscript had begun to deteriorate by the time it came (briefly) into Tachibana Jitsuzan’s hands.

This kama, which is described as being an “old Ashiya kama” [古蘆屋釜], was owned (and perhaps designed by) Jōō.

⁸Tana ni kan ・ habōki [棚ニクハン・羽帚].

In addition to his bronze kan (which he seems to have used when suspending the kama over the fire from the ceiling), Rikyū also owned a pair that was made of iron. This type of kan is known as sasage-kan [大角豆鐶], because the undulating surface resembles the seed-pods of this bean (which is an auspicious symbol).

A pair of sasage-kan is shown above, arranged on a tsuri-dana together with a go-sun-hane, as described in this kaiki. (Notice that the opening of the kan is turned in the direction of the kama.)

⁹Shiru saku-saku [汁サク〰].

This was miso-shiru, containing coarsely chopped greens from the kitchen garden. The greens were put into the soup just before it was served, so they would still be fresh and crisp when eaten.

¹⁰Gan ・ shō-rō [鴈・松露].

Gan [鴈 – more commonly written 雁] is the wild goose. The goose would have been provided to Rikyū by Hideyoshi's hawkers.

Shō-rō [松露], which means pine-dew, refers to the Japanese native “false truffle” (Rhizopogon species), which are found growing in pine barrens near the sea. The immature fruiting bodies (sporocarps), which are white inside, are preferred.

While Rikyū does not specify how these two foods were served, perhaps it was in a clear soup* (with the goose mashed and formed into dango [團子] -- meatballs). __________ *Made by boiling the flesh and bones of the goose together with pieces of daikon and, in this case, the sliced truffles.

¹¹Yu-miso [柚ミソ].

Yu-miso [柚味噌], as has been mentioned before, is actually the name of a dipping sauce -- that seems to have been one of Rikyū’s personal favorites, especially during the early winter when the yuzu had just ripened*.

While on many occasions when he served this dish Rikyū mentioned that it was accompanied by sanshō [山椒] (“Japanese pepper”), nothing of the sort is said here, so it is unclear whether this spice was included or not**. ___________ *Even today, flavored miso is a popular dipping sauce for raw vegetable spears in Korea – though usually the miso contains crushed garlic, sesame oil, and crushed Korean red pepper paste today, since something like yu-miso is too troublesome to prepare (because it can only be made in small quantities), and, of course, it would be limited to the season when yuzu are available.

‡It is also possible that a selection of vegetable spears was arranged on a small plate, and the yu-miso was drizzled over them.

If it was included, a separate dish of crushed sanshō (”Japanese pepper”) would then have been offered together with the vegetables, so that the guest could spice the food to his taste.

**Perhaps Hideyoshi was averse to spicy tastes? (The upper classes were said to prefer more delicate flavors, so perhaps Hideyoshi was intent on avoiding anything that might call attention to his plebeian origins.)

¹²Fu-no-yaki ・ kawa-take [フノヤキ・川茸].

Fu-no-yaki [麩の焼] are small wheat-flour crêpes, thinly spread with (naturally sweet) white miso, and then rolled or folded into bite-sized pieces.

Kawa-take [川茸] is a kind of freshwater seaweed that grows in flowing water. It would seem that Rikyū preferred to serve it raw, since he only served kawa-take during those times of the year when the rivers would be flowing with clean water (during the rainy season; and after the weather had turned cold) – so as to avoid the danger of enteric diseases that might result from using kawa-take collected from contaminated water.

¹³This word (go [後], meaning the goza) is not found in the Enkaku-ji manuscript of Book Two of the Nampō Roku. Nevertheless, it is clearly implied from the context.

As for the kane-wari:

- the toko held the chabana, and so was han [半];

- in addition to the kama, the room also had the mizusashi, and the hishaku, resting on the futaoki (these on the mat to the left of the mukō-ro, in association with the central kane, as shown in the sketch, below), making the room han [半];

- and the tsuri-dana supported the bon-chaire, and so was han [半] as well.

Han + han + han is han, as appropriate for the goza of a chakai that is given during the daytime.

¹⁴Kuchi-hiro hanaire ni kiku ichi-rin [口廣花入ニ菊一輪].

This was the large bronze hanaire now usually referred to under the name Kine-no-ore [杵のをれ]. It is in the Tokugawa collection.

The hanaire would have been placed, on an usu-ita*, in the middle of the floor of the toko.

The flower was a single chrysanthemum flower, with its leaves. Since this chakai was held during the daytime, the flower could have been of any color, including white blushed pink by the frosts.

The chabana (along with the chaire) is marked with a red spot in the Enkaku-ji manuscript. This indicates that the hanaire was one of the featured utensils used during the goza.

Both Shibayama Fugen and Tanaka Senshō importantly include a reference to the passage in Book One that begins “ko-zashiki no hana ha kanarazu ichi-iro wo ichi-eda ka ni-eda ka roku ike-taru ga yoshi...” [小座敷の花は必らず一色を一枝か二枝かろくいけたるがよし]† -- though this passage really is not especially enlightening, or revealing, with regard to Rikyū’s chabana here.

They also devote considerable space to discussing what kind of chrysanthemum might have been displayed -- all while studiously avoiding any discussion of the kane-wari‡. __________ *As usual, this was what is now called a yahazu-ita [矢筈板], measuring 1-shaku 3-sun 2-bu from side to side, and 9-sun 2-bu from front to back. It was painted with shin-nuri.

†Which I translated “with respect to the flowers for the small room, without exception only one kind [of plant material] should be used; and it is best if a single stem -- or perhaps two -- is placed [into the container] without any sort of manipulation.” The full text of this passage, along with my commentary, may be found in the post entitled Nampō Roku, Book 1 (7): Flowers for the Small Room; and Flowers for the 4.5-mat Room.

The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/175182365610/namp%C5%8D-roku-book-1-7-flowers-for-the-small

‡If one is ignorant of the possibility that the hishaku and futaoki can be displayed immediately to the left of the mukō-ro (this practice was morphed into placing the hishaku on the ro-buchi by Sōtan, which resulted in people forgetting the original precedent on which his arrangement was based), then it will be impossible to understand how Rikyū managed to satisfy the demands of kane-wari with the selection of utensils entered in the kaiki on this occasion.

This kind of arrangement originally appeared in the ichijō-han [ 一疊半] room.

¹⁵Tana ni maru-tsubo hō-bon ni [棚ニ丸ツホ　方盆ニ].

This is the chaire that is now known as the Rikyū maru-tsubo [利休丸壺] -- on account of its appearance in this kaiki. This is a karamono chaire, measuring 2-sun 4.5-bu in diameter.

The karamono koku-dan hō-bon [唐物黒壇方盆]* shown in the photo (below) -- which seems to have been provided by, or in conformity with the teachings of, Jōō -- measures approximately 8-sun 5-bu in diameter‡.

As mentioned above, the chaire was also marked with a red spot, indicating that this, too, was one of the featured utensils. Rikyū uses it several times more before the end of this kaiki, and then it seems to disappear from his collection. Some have suggested that this repeated use indicates that Rikyū wanted to sell the chaire, and was angling for buyers.

With respect to the temae, things would have been done in the same way as described under footnote 13 (and its sub-notes) in the previous post†. ___________ *Koku-dan [黒壇] is ebony.

†To describe things briefly, the chawan and koboshi would have been brought out and placed in their usual temporary seats on the left side of the mat, respectively. Then the bon-chaire would have been lowered from the tana, and placed in front of the mizusashi (with the chaire located within the temae-za). Then the futaoki and hishaku would have been moved to the right side of the mat, as usual, followed by the sō-rei.

After folding the fukusa and placing it in the futokoro of his kimono, the host would attend to the bon-chaire. Only after it was safely in its usual place on the left side of the temae-za would the chawan be moved in front of the host’s knees, the chashaku cleaned with the fukusa and rested on the tray (to the right of the chaire), and so forth.

‡All of the old “karamono higashi-bon” [唐物干菓子盆] of the various shapes (these are all between 8-sun and less than 9-sun in diameter) were originally imported from the continent (during Jōō’s middle period) for use as chaire-bon for the large katatsuki (which were the most popular tea containers at this time, due to the fact that the usual number of guests was originally 10 -- though later reduced to 5 or 6 people on account of the logistics of serving both one bowl of koicha and up to two bowls of usucha to each guest -- based on the pattern of the Shino family’s kō-kai [香會]). These trays lost their purpose after people began to imitate Rikyū's use of the smaller chaire-bon (which were supposed to be 2-sun larger on all four sides, rather than the three-sun on all four sides preferred by Jōō); and, being prized (and so expensive) antiques, these trays were “repurposed” as higashi-bon during the Edo period, once the service of these kashi immediately prior to the drinking of usucha began to become commonplace (when, with the availability of already-ground matcha began to become common, which fell in with the government’s encouragement of the service of usucha using a different kind of matcha -- and a different set of utensils -- from the koicha). This is a reflection of how Rikyū, and his teachings and practices, began to vanish at the very hands of the people (the Sen family under Sōtan, and the Tokugawa bakufu that recognized Sōtan as Rikyū’s official heir) who were supposed to be keeping his memory alive.

While Sōtan recognized that a “small tray” was preferred for used as a chaire-bon, he apparently never understood the way that its size was supposed to be calculated based on the diameter of the chaire that would be used on it. Thus any small tray was used with any chaire; and this remains the case, according to the teachings of the modern schools, even today. Even trays that were selected by Rikyū are rarely encountered in association with the chaire for which they were chosen today: the old chaire having been broken, the tray was reused with something else -- and that chaire rarely had the same diameter as the piece to which Rikyū had originally matched the tray. (Thus we can find “orphaned trays” described in the catalogues of Rikyū’s utensils -- a happenstance that would have struck Rikyū himself as extremely odd, if not actually repulsive.)

¹⁶Mizusashi Shigaraki [水指シカラキ].

This was Rikyū’s Shigaraki mizusashi.

¹⁷Hishaku ・ hikkiri [ヒシヤク・引切].

The hishaku was one of Rikyu’s take-wa [竹輪].

As shown below, the futaoki was placed near the far left corner of the mukō-ro, and the hishaku was rested on top of it (so that the handle, which runs parallel to the edge of the ro, would not extend into the yū-yo [有余]).

¹⁸Su [ス].

This means that the utensils described hereafter were brought out at the beginning of the temae (rather than being arranged in the tearoom beforehand).

¹⁹Chawan Soto-no-hama [茶碗外濱].

This was Rikyū’s personal ido-chawan; and the bowl is usually referred to as Soto-ga-hama [外ヵ濱] – the name of the place (at the northern tip of Honshū) where the chawan was recovered from the site of an old shipwreck – today.

And though nothing is said in this kaiki, Rikyū would also have used an ori-tame [折撓] of his own making as the chashaku, which would have been resting on the chawan (as usual), and brought into the tearoom together with it.

And the koboshi would have been a mentsū [面桶], the usual kind of koboshi traditionally used in this setting, even though it is not mentioned here.

²⁰Cha sugite o-sumi asobasaru [茶過テ御炭被遊].

This entry means that Hideyoshi decided to arrange the charcoal with his own hands after Rikyū’s temae was finished. It seems to have been almost a sort of informal lesson -- he may have been curious about how to repair the fire under these circumstances.

It is unclear (from the text of this kaiki) why Hideyoshi wanted to arrange the charcoal. Perhaps he then proceeded to make a bowl of usucha for Rikyū -- which, since he was the only recipient, Rikyū would have felt unnecessary to mention (there would really have been no other reason to rebuild the fire except if Hideyoshi intended to make a bowl of tea -- since the fire was beginning to decline, as it was supposed to do at the end of a wabi gathering: according to Rikyū, the measure of a chajin’s mastery is that he can build a fire that returns the kama to a boil efficiently, keeps it boiling strongly until the service of tea is finishing, and then begins to decline during the haiken that concludes the temae...yet the kama must not fall completely silent while the guests are still present in the tearoom).

On the other hand, Hideyoshi was probably aware that Rikyū was going to host another gathering that night, so perhaps he wanted to help by arranging the charcoal (this would have had to be done at dusk, about the time that this chakai was ending) -- and, since the guests were important chajin, perhaps Hideyoshi was also hoping to make a good impression on them with the way he rebuilt the fire (the action would have struck them as both doing them a great honor, as well as demonstrating Hideyoshi’s skill as a chajin).

If this was the latter case, as is customary at dusk, Rikyū probably emptied and cleaned out the ro, spreading a layer of fresh shimeshi-bai, and then adding some of the larger embers from the earlier fire. It would have been around these that Hideyoshi laid his charcoal.

In this case -- since the kama is usually emptied and then refilled with cold water (that had been kept, since dawn, in the large water-jar in the mizuya) during the sumi-temae that is performed at dusk -- Hideyoshi would have left after concluding his sumi-temae without preparing a bowl of tea for Rikyū (since the water in the kama would have been nowhere near hot enough at that time).

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