#Rin Kazari

[tanuki-kimono]

Most formal outfits for upper ranks samurai - Sokutai and Ikan formal court dress

(as worn by upper-ranked samurai of the Edo period - great charts by Nadeshico Rin). You can find more about samurai ranks and their regulated attires under the tag "samurai kimono".

The Sokutai

束帯 Sokutai is the most formal attire worn by Edo period samurai of the 4th rank and above.

It first appeared during Heian era as a ceremonial court dress worn by 公卿 kuge (nobility/Imperial court) and 殿上人tenjôbito (courtiers/court official​s). Usage was kept well into Edo period by both the Imperial court and the Tokugawa shogunate.

The intricated garb includes:

冠 Kanmuri - hat, with distinctive 垂纓 suiei "tail" hanging in the back. Materials could include silk, lacquer or horsehair and were strickly regulated

袍 Hô - a round-necked robe with large boxy sleeves. Colors and patterns were strickly regulated.

Shown here is a pattern used by the Shôgun, the 葵に丁子唐草 Aoi ni chôji karakusa (cloves with arabesques, and hollyhock leaves - which is the Tokugawa crest)

笏 Shaku - flat ritual sceptre

平緒 Hirao - a wide flat braid wrapped around the body with ties left hanging up front. Colors and weaves were strickly regulated

(飾)太刀 (Kazari)-Tachi - (mock) long sword for ceremonial use

表袴 Ue-no-bakama (or omote-bakama) - white overpants, shorter hakama pants worn over the aka-ôkuchi

赤大口(袴) Aka-ôkuchi(bakama) - red underpants, a tad longer than the overpants

下襲(の裾) Shitagasane(no-kyo) - visible train part of an inner robe worn under the 袍 hô. During Edo period, train lenght got up to 1丈 (around 3 meters/10 feet).

襪 Shitôzu - a type of ancient socks (construction is different than tabi - they don't have a sole for ex.)

石帯 Sekitai - leather belt used in ceremonial court dress, covered in black lacquer, and decorated with stones and jewels

The Ikan

衣冠 Ikan - while still very formal and worn by Edo period samurai of the 4th rank and above, ikan looked much more simpler than sokutai.

First used for nightime duties (夜間宿直) in Heian era, it gradually came to be worm during daytime too. From Muromachi period and onwards, it had become the work uniform of the Imperial court.

Like sokutai, it uses the hô+kanmuri, and wearers were allowed to carry kazari-tachi. Yet, note how the pants differ from sokutai ones: those are large bouffant pants called 指貫 sashinuki (or 奴袴 nubakama).

You can also note that wearer here is not holding a shaku scepter: it's a folded 檜扇 hiôgi (formal folding fan made of cypress also of Heian history. Those were unpatterned as painted ones were for women).

[laguzmage]

[evemoedesu]

Sansha NPC frigate (Niarja) - Rin Kazari - Witchcraft Works

A little experiment with Sansha’s hull light reflections. Look nice to use it on the others later.

[paexgo-rosa]

So, they have…

Tanpopo Kuraishi: 16

Mei Menowa: 17

Rin Kazari: 14

Kanna Utsugi: 15

Kotetsu Katsura: 16 (the same age as Tanpopo)

I wonder, how old were Tanpopo Kuraishi and her friends? Tanpopo Kuraishi and her friends are from the Tower Witches from Witch Craft Works

I really don't know this anime very well at all, but I guess those school mates are in a normal teenager age, between 14 and 17

[superchat]

[bongaboi]

ISML 2021: Nominations List

ISML 2021: Nominations List

Female Division

Rank Name Series Ballots

- Misaka Mikoto Toaru Series Auto

- Emilia Re:Zero kara Hajimeru Isekai Seikatsu Auto

- Iwanaga Kotoko Kyokō Suiri Auto

- Ichinose Chizuru (Mizuhara Chizuru) Kanojo, Okarishimasu Auto

- Shirogane Kei Kaguya-sama wa Kokurasetai Auto

- Elaina Majo no Tabitabi Auto

- Sakurajima Mai AoButa Auto

- Yuigahama Yui OreGairu Auto

- Tōsaka Rin Fate Series Auto

- Shiro No Game No Life Auto

- Isshiki Iroha OreGairu Auto

- Shokuhō Misaki Toaru Series Auto

- Fujiwara Chika Kaguya-sama wa Kokurasetai Auto

- Tokisaki Kurumi Date A Live Auto

- Hayasaka Ai Kaguya-sama wa Kokurasetai Auto

- Yūki Asuna Sword Art Online Auto

- Takanashi Rikka Chūnibyō demo Koi ga Shitai! Auto

- Shiina Mashiro Sakura-sō no Pet na Kanojo Auto

- Shinomiya Kaguya Kaguya-sama wa Kokurasetai Auto

1 Zero Two Darling in the FranXX 383

2 Tomori Nao Charlotte 148

3 Izumi Sagiri Eromanga Sensei 135

4 Isla Plastic Memories 123

5 Tachibana Kanade Angel Beats! 121

6 Nishimiya Shōko Koe no Katachi 120

7 Ichigo Darling in the FranXX 120

8 Miyamizu Mitsuha Kimi no Na wa 115

9 Saber Fate Series 111

10 Yuzaki Tsukasa Tonikaku Kawaii 109

11 Kochō Shinobu Kimetsu no Yaiba 102

12 Kasumigaoka Utaha Saenai Heroine no Sodatekata 98

13 Kasugano Sora Yosuga no Sora 95

14 Miyazono Kaori Shigatsu wa Kimi no Uso 91

15 Kanna Kamui Kobayashi-san Chi no Maid Dragon 90

16 Index L. Prohibitorum Toaru Series 89

17 Makise Kurisu Steins;Gate 85

18 Akiyama Mio K-ON! 84

19 Shirai Kuroko Toaru Series 83

20 Hirasawa Yui K-ON! 79

21 Kitashirakawa Tamako Tamako Market 78

22 Amano Hina Tenki no Ko 72

23 Sawamura Spencer Eriri Saenai Heroine no Sodatekata 71

24 Kuriyama Mirai Kyōkai no Kanata 69

25 Schwi Dola No Game No Life 68

26 Furukawa Nagisa CLANNAD 68

27 Akame Akame ga Kill! 67

28 Aisaka Taiga Toradora! 66

29 Yoshino Date A Live 66

30 Aoyama Nanami Sakura-sō no Pet na Kanojo 66

31 Kaname Madoka Puella Magi Madoka ☆ Magica 65

32 Akemi Homura Puella Magi Madoka ☆ Magica 64

33 Horikita Suzune Yōkoso Jitsuryoku Shijō Shugi no Kyōshitsu e 63

34 Ōmae Kumiko Hibike! Euphonium 61

35 Tōru Kobayashi-san Chi no Maid Dragon 61

36 Kafū Chino Gochūmon wa Usagi Desu ka? 60

37 Sora Ginko Ryuō no Oshigoto! 59

38 Yatogami Tōka Date A Live 59

39 Nakano Azusa K-ON! 59

40 Ichigyō Ruri Hello World 58

41 Saten Ruiko Toaru Series 57

42 Doma Umaru Him��to! Umaru-chan 57

43 Megumin KonoSuba 54

44 Yuzuriha Inori Guilty Crown 54

45 Azusagawa Kaede AoButa 48

46 Makinohara Shōko AoButa 45

47 Yamauchi Sakura Kimi no Suizo wo Tabetai 44

48 Chtholly Nota Seniorious SukaSuka 44

49 Kirisaki Chitoge Nisekoi 44

50 Hyūga Hinata NARUTO 44

51 Kōsaka Reina Hibike! Euphonium 44

52 Honma Meiko AnoHana 43

53 Illyasviel von Einzbern Fate Series 43

54 Hiiragi Shinoa Owari no Seraph 41

55 Kinomoto Sakura Cardcaptor Sakura 41

56 Takagi Karakai Jōzu no Takagi-san 39

57 Matō Sakura Fate Series 38

58 Sakurasawa Sumi Kanojo, Okarishimasu 37

59 Sento Isuzu Amagi Brilliant Park 37

60 Sakura Chiyo Gekkan Shōjo Nozaki-kun 36

61 Suzumiya Haruhi Suzumiya Haruhi no Yūutsu 36

62 Tobiichi Origami Date A Live 36

63 Nibutani Shinka Chūnibyō demo Koi ga Shitai! 34

64 Rachel Gardner Satsuriku no Tenshi 33

65 Saya Majo no Tabitabi 33

66 Hoto Kokoa Gochūmon wa Usagi Desu ka? 33

67 Sarashina Ruka Kanojo, Okarishimasu 32

68 Futaba Rio AoButa 32

69 Nakamura Yuri Angel Beats! 31

70 Karuizawa Kei Yōkoso Jitsuryoku Shijō Shugi no Kyōshitsu e 30

71 Kotobuki Tsumugi K-ON! 30

72 Kyaru Princess Connect! Re:Dive 29

73 Aqua KonoSuba 28

74 Nakano Yotsuba 5-tōbun no Hanayome 27

75 Misaki Mei Another 27

76 Dekomori Sanae Chūnibyō demo Koi ga Shitai! 27

77 Sōryū Asuka Langley Neon Genesis Evangelion 26

78 Krul Tepes Owari no Seraph 26

79 Nagato Yuki Suzumiya Haruhi no Yūutsu 25

80 Honjō Kaede(Maple) BOFURI 24

81 Oshino Shinobu Monogatari Series 24

82 Alice Zuberg Sword Art Online 24

83 Beatrice Umineko no Naku Koro ni 24

84 Gasai Yuno Mirai Nikki 23

85 Uiharu Kazari Toaru Series 23

86 Jabami Yumeko Kakegurui 22

87 Gray Fate Series 22

88 Yue Arifureta Shokugyō de Sekai Saikyō 21

89 Shiba Miyuki Mahōka Kōkō no Rettōsei 21

90 Rias Gremory Highschool D×D 21

91 Ayanami Rei Neon Genesis Evangelion 21

92 Asada Shino Sword Art Online 21

93 Shichimiya Satone Chūnibyō demo Koi ga Shitai! 21

94 Furuhashi Fumino Bokutachi wa Benkyō ga Dekinai 20

95 Tenma Gabriel White Gabriel Dropout 20

96 Iki Hiyori Noragami 20

97 Natsukawa Masuzu OreShura 20

98 Victorique de Blois GOSICK 20

99 C.C. Code Geass 19

100 Aragaki Ayase Ore no Imōto 19

101 Kokkoro Princess Connect! Re:Dive 19

102 Yūki Setsuna Love Live! NijiGaku 19

103 Holo Spice and Wolf 19

104 Sonozaki Noriko Kiznaiver 19

105 Raphtalia Tate no Yūsha no Nariagari 19

106 Kōsaka Kirino Ore no Imōto 19

Male Division

Rank Name Series Ballots

- Tachibana Taki Kimi no Na wa Auto

- Kanda Sorata Sakura-sō no Pet na Kanojo Auto

- Okazaki Tomoya CLANNAD Auto

- Satō Kazuma KonoSuba Auto

- Okabe Rintarō Steins;Gate Auto

- Saitama One-Punch Man Auto

- Totsuka Saika OreGairu Auto

- Archer Fate Series Auto

- Natsuki Subaru Re:Zero kara Hajimeru Isekai Seikatsu Auto

- Ayanokōji Kiyotaka Yōkoso Jitsuryoku Shijō Shugi no Kyōshitsu e Auto

- Riku Dola No Game No Life Auto

- Togashi Yūta Chūnibyō demo Koi ga Shitai! Auto

- Ishigami Yū Kaguya-sama wa Kokurasetai Auto

- Kamijō Tōma Toaru Series Auto

- Azusagawa Sakuta AoButa Auto

- Gilgamesh Fate Series Auto

1 Hiro Darling in the FranXX 248

2 Kirigaya Kazuto Sword Art Online 86

3 Otosaka Yū Charlotte 76

4 Levi Shingeki no Kyojin 70

5 Yuzaki Nasa Tonikaku Kawaii 67

6 Kaneki Ken Tokyo Ghoul 67

7 Uchiha Itachi NARUTO 59

8 Otonashi Yuzuru Angel Beats! 51

9 Itadori Yūji Jujutsu Kaisen 50

10 Emiya Shirō Fate Series 50

11 Eren Yeager Shingeki no Kyojin 48

12 Ishigami Senkū Dr.STONE 44

13 Yato Noragami 43

14 Arima Kōsei Shigatsu wa Kimi no Uso 38

15 Takasu Ryūji Toradora! 38

16 Lelouch Lamperouge Code Geass 38

17 Hyakuya Mikaela Owari no Seraph 36

18 Itsuka Shidō Date A Live 36

19 Saiki Kusuo Saiki Kusuo no Ψ Nan 33

20 Ōma Shū Guilty Crown 33

21 Hyakuya Yūichirō Owari no Seraph 33

22 Morishima Hodaka Tenki no Ko 32

23 Ishida Shōya Koe no Katachi 32

24 Kūjō Jōtarō JoJo's Bizarre Adventure 32

25 Goro Darling in the FranXX 30

26 Isaac Foster Satsuriku no Tenshi 30

27 Kasugano Haruka Yosuga no Sora 30

28 Kuroba Kaito Detective Conan 30

29 Dazai Osamu Bungō Stray Dogs 28

30 Araragi Koyomi Monogatari Series 27

31 Katagaki Naomi Hello World 26

32 Sakata Gintoki Gintama 26

33 Uesugi Fūtarō 5-tōbun no Hanayome 25

34 Rengoku Kyōjurō Kimetsu no Yaiba 24

35 Ōji Mochizō Tamako Market 24

36 Fushiguro Megumi Jujutsu Kaisen 24

37 Shiota Nagisa Ansatsu Kyōshitsu 23

38 Uchiha Sasuke NARUTO 22

39 Tomioka Giyū Kimetsu no Yaiba 21

40 Fukube Satoshi Hyōka 21

41 Izumi Masamune Eromanga Sensei 20

42 Mizugaki Tsukasa Plastic Memories 20

43 Kanbara Akihito Kyōkai no Kanata 20

44 Waver Velvet Fate Series 20

45 Dio Brando JoJo's Bizarre Adventure 19

46 Ainz Ooal Gown Overlord 19

47 Kyon Suzumiya Haruhi no Yūutsu 19

48 Iwatani Naofumi Tate no Yūsha no Nariagari 19

49 Kuzuryū Yaichi Ryuō no Oshigoto! 19

50 Yagami Light Death Note 18

51 Yugi Amane(Hanako-kun) Jibaku Shōnen Hanako-kun 18

52 Kurogane Ikki Rakudai Kishi no Cavalry 17

53 Kanie Seiya Amagi Brilliant Park 17

54 Son Goku Dragon Ball 17

55 Akasaka Ryūnosuke Sakura-sō no Pet na Kanojo 17

56 Ryūgūin Seiya Shinchō Yūsha: Kono Yūsha ga Ore TUEEE Kuse ni Shinchō Sugiru 16

57 Gilbert Bougainvillea Violet Evergarden 16

58 Sakamaki Izayoi Mondaiji 16

59 Uchiha Madara NARUTO 16

60 Narihisago Akihito Id:Invaded 15

61 Rudeus Greyrat Mushoku Tensei 15

62 Kinoshita Kazuya Kanojo, Okarishimasu 14

63 Aki Tomoya Saenai Heroine no Sodatekata 14

64 Shinei Nouzen 86 -Eighty Six- 14

65 Inumaki Toge Jujutsu Kaisen 14

66 Emiya Kiritsugu Fate Series 14

67 Joseph Joestar JoJo's Bizarre Adventure 13

68 L Lawliet Death Note 13

69 Kurosaki Ichigo BLEACH 13

70 Shiba Tatsuya Mahōka Kōkō no Rettōsei 13

71 Bell Cranel DanMachi 13

72 Kageyama Shigeo Mob Psycho 100 13

73 Willem Kmetsch SukaSuka 13

74 Ryo Fu Hōsen Shūmatsu no Valkyrie 13

75 Akabane Karma Ansatsu Kyōshitsu 12

76 Hashibira Inosuke Kimetsu no Yaiba 12

77 Mochizuki Tōya Isekai wa Smartphone to Tomo ni. 12

78 Kaizaki Arata ReLIFE 12

79 Tatsumi Akame ga Kill! 12

80 Sakakibara Kōichi Another 12

81 Uchiha Obito NARUTO 12

82 Keyaru Kaifuku Jutsushi no Yarinaoshi 12

83 Hyōdō Issei Highschool D×D 11

84 Reigen Arataka Mob Psycho 100 11

85 Eugeo Sword Art Online 11

86 Ciel Phantomhive Kuroshitsuji 11

87 Edward Elric Fullmetal Alchemist 11

88 Glenn Radars Rokudenashi Majutsu Kōshi to Akashic Record 11

89 Ōsaka Sōgō Idolish7 11

90 Nishikata Karakai Jōzu no Takagi-san 11

91 Anos Voldigoad Maō Gakuin no Futekigōsha 11

92 Asanaka Yomogi SSSS.DYNAZENON 11

93 Sano Manjirō Tokyo Revengers 10

94 Nagumo Hajime Arifureta Shokugyō de Sekai Saikyō 10

95 Tatsumi Kōtarō Zombieland Saga 10

96 Tomoe Kamisama Hajimemashita 10

97 Inuyasha InuYasha 10

98 Satoshi Pokémon 10

99 Nohara Shinnosuke Crayon Shin-chan 10

100 Sesshōmaru InuYasha 10

101 Erwin Smith Shingeki no Kyojin 10

102 Odokawa Hiroshi Odd Taxi 9

103 Yukihira Sōma Shokugeki no Sōma 9

104 Hinata Shōyō Haikyū!! 9

105 Yadomi Jinta AnoHana 9

106 Ikari Shinji Neon Genesis Evangelion 9

107 Nakahara Chūya Bungō Stray Dogs 9

108 Usui Takumi Kaichō wa Maid-sama! 9

[kimonobeat]

Koizumi Kyoko Lyrics: Dakara Dakishimete (だから抱きしめて; So Hold Me)

English translation and romanization below the cut. Thank you @theysbian​ for the coffee!

ENGLISH

Ooh, shoobie doobie shoobie do-wo-o-p Ooh, shoobie doobie shoobie do-wop Ooh, shoobie doobie shoobie do-wo-o-p Ooh, shoobie do-wo-o-p

We found a pink clam shell As I walked down the beach in the moonlight with you My earrings, your love Swinging back and forth on my ears

I was drunk, intoxicated On that modest bit of happiness Even though I knew in my heart the dream would end someday

I’m nothing but sighs  From night after hard night, so hold me in your arms, darling Ooh, shoobie doobie shoobie do-wo-o-p Ooh, shoobie doobie shoobie do-wop Ooh, shoobie doobie shoobie do-wo-o-p Ooh, shoobie do-wo-o-p

I watched the burning sun set with you Two shadows on the seashore at twilight When we snuggled up against each other, Your love would swing back and forth on my shoulders

The dream’s just too brief, darling, to be in love I’d just find out how lonely it is to be alone tomorrow

Your flightiness is making my mind so crazy That I can’t fall asleep So hold me in your arms, darling Until my tears dry Ooh, shoobie doobie shoobie do-wo-o-p Ooh, shoobie doobie shoobie do-wop Ooh, shoobie doobie shoobie do-wo-o-p Ooh, shoobie do-wo-o-p... F.O.

ROMAJI

u- shubi dubi shubi du wappappa u- shubi dubi shubi du wappa u- shubi dubi shubi du wappappa u- shubi du wappa

anata to aruku mu-nraito bi-chi futari de sagashita sakura-gai mimi-kazari anata no ai mimimoto de yurete ita

sonna sasayaka na shiawase ni yoishirete ita watashi itsuka wa owaru yume to kokoro de shirinagara

setsunai yoru wo kasanete wa tameiki bakari dakara dakishimete da-rin u- shubi dubi shubi du wappappa u- shubi dubi shubi du wappa u- shubi dubi shubi du wappappa u- shubi du wappa

anata to mite’ta moeru sansetto tasogare no nagisa futatsu no kage yorisoeba anata no ai katasaki de yurete ita

yume wa tsuka no ma da-rin ai suru hodo ni ashita wa tada hitori no sabishisa shiru bakari

kimagure shigusa ni kokoro ga midasarete nemurenai dakara dakishimete da-rin namida ga kareru made u- shubi dubi shubi du wappappa u- shubi dubi shubi du wappa u- shubi dubi shubi du wappappa u- shubi du wappa

[beedaleebjd]

Happy new year!! I was too tired this week with all the goings-on, but here’s my 2019 end-of-year photo! I didn’t get to this for 2018, which I regret- but my little family doubled since then, so it feels like a great time to start! These photos aren’t the best, but I didn’t wanna set something fancy up when me and the boo are in the middle of re-arranging our bedroom- I’ll save that for when they’re ready for photoshoots this year. 💦

Anyway, from left to right, there’s Starchaser (DC Bella in green skin), Pisces (DC Wanda, in the back), Void-Hime (LS Wanwan), [redacted] (DIM Laia HCE head- and my only floating head, yay!), Cecelia (DF-A Bibi + LTF body, sitting in the chair), My nameless Lati Yellow Sunny holding a Kazari (Sakura & Paper) I got as a gift, Pollyanna (LTD Tyltyl), Cassidy (LTD Jack), Olive (BBB Isabella), March (Dollzone Ivy), and Hye-Rin (Nano Haruka 21cm Obitsu) sitting in front!

I included Sunny and Kazari for the time being since the two seem to like to hang out on my shelf instead of being boxed- but I haven’t decided if I’ll keep them yet, hence them not being named. I’m excited to see how this bunch evolves by the end of 2020! I have some 2019 reflections and 2020 doll/craft goals forthcoming, if I can sit still long enough to get to them!! 😂

[chanoyu-to-wa]

Nampō Roku, Book 5 (18):  the Shin [眞] Display of Two Utensils on the Naka-bon [中盆]¹.

18) Naka-bon ni-shu  shin no kazari nari [中盆二種 眞之飾也]².

[The writing (between the ten- and ji-ita) reads:  furo-kama jo-jō (風爐釜如常)³; tsune no futaoki (ツネノ蓋置)⁴.]

    The kaki-ire [書入]⁵:

① The chashaku should be excluded from the naka-bon⁶.  But, in the case of the square naka-bon, while it also might seem natural to want to include it, [we must remember that] the round naka-bon represents the orthodox form [of this temae]⁷.

◦ When [using] meibutsu [utensils] of this sort, it is better to practice placing the two fukuro side-by-side on the upper level, since this is the accepted way of doing things⁸.

◦ But in a different temae, if only the temmoku is a meibutsu while the chaire is an ordinary piece, then the chaire’s fukuro should be placed on the right seat [of the ten-ita], and the fukuro of the temmoku should be set on top of it, so that it overlaps [the chaire’s fukuro] slightly⁹.

② The chakin should be placed in the kae-chawan at the beginning, during [the temae], and at the end [of the temae]¹⁰.

◦ In general, when we speak about the kae-chawan, the one used together with the temmoku should be a simple and unassuming utensil¹¹.

◦ When speaking about the usu-chawan, there should be various kinds [in the host's collection]¹².

◦ Things [used as] a shin no usu-chawan should always be [bowls] of very fine [quality]¹³.

    Placed in its fukuro, and displayed in that way on a maru-bon, with [the chakin and chasen] arranged separately¹⁴ -- there is also a [special] way to do this temae¹⁵.

_________________________

¹Correctly speaking, this arrangement should refer to the naka maru-bon [中丸盆]*, the tray that was one of the six meibutsu trays selected by Nōami for Ashikaga Yoshimasa.  This tray was 1-shaku 2-sun 3-bu in diameter (and so roughly the same as the face of the Gassan-nagabon†).  The use of the naka maru-bon can be considered a gokushin-temae, and it is this temae that will be considered in this post.

    That said, it appears that certain influential members of the machi-shū tea community had a preference for the naka hō-bon [中方盆], which was 1-shaku square, and had been using this smaller tray since the early sixteenth century.  This can not be classified as a gokushin-temae, however -- and, for this reason, I have decided to consider it separately, in an appendix. __________ *While the original tray had a metal (probably brass) plate inlaid into the face (which featured the image of a dragon), and matching metal fukurin, the version known today was made by Haneda Gorō for Yoshimasa (after the original tray had been destroyed).  While it reproduces the shape and dimensions of the original (including the metal band that encircles the side), the entire tray was painted with Gorō‘s special kagami-nuri [鏡塗] (a black lacquer with a mirror-like luster).

    The original tray seems to have been made for carrying bowls of hot food from the kitchens to the residential apartments, hence the inlaid metal plate (to keep the hot vessels from burning the face of the tray) and raised band encircling the side (which acted as a sort of hand-grip).

†The face of the Gassan-nagabon was 1-shaku 2-sun by 8-sun.  Since the 3-bu was added because of a metal band that ran around the middle of the side of the naka maru-bon, this could be ignored, since both the rin -- and the foot -- were 1-shaku 2-sun across.  This is important, since it impacts directly on how the tray is placed on the utensil mat.

²Naka-bon ni-shu shin no kazari nari [中盆二種眞之飾也].

   “The shin [眞] arrangement for two utensils displayed on the naka-bon.”

    The “two utensils” (ni-shu [二種]) are, of course, the Kamakura nasu [鎌倉茄子] and the Kazan temmoku [花山天目].  (Both of these utensils were lost during the Ōnin wars.)

³Furo-kama jo-jō [風爐釜如常].

    “The furo and kama are as usual.”

⁴Tsune no futaoki [ツネノ蓋置].

    Tsune no futaoki [常の蓋置] means “an ordinary futaoki.”  That is, it is not the hoya.

    While the futaoki were usually made of bronze (or some other material -- ceramic, even carved soapstone) in the early days, by Rikyū’s period, bamboo futaoki were sometimes used for temae such as this.

    During the temae, the futaoki is placed on the mat in front of the furo -- in the same way that it is placed on the mat when using a ko-ita furo.  And, since there is no shaku-tate, the hishaku is also rested on the futaoki, just as during the furo-season.

⁵The texts of the kaki-ire:

① Naka-bon ni ha chashaku hi nozoku nari, shi-hō naka-bon mo shizen ni ha hi yō to ie-domo, maru naka-bon hon-shiki nari, kayō no meibutsu no toki, futatsu no fukuro narabete jō-dan ni oku-beshi, betsu no temae ni, temmoku bakari meibutsu ni te, chaire bon-no-mono naraba, chaire no fukuro wo migi-za ni oki, sono ue ni temmoku no fukuro sukoshi kasenete, hidari-za ni amasu-beshi.

[中盆ニハ茶杓被除也、四方中盆モ自然ニハ被用トイヘトモ、丸中盆本式也、カヤウノ名物ノトキ、二ツノ袋ナラヘテ上段ニヲクヘシ、別ノ手前ニ、天目ハカリ名物ニテ、茶入凡ノモノナラハ、茶入ノ袋ヲ右座ニヲキ、其上ニ天目ノ袋少ヲキカサネテ左座ニアマスヘシ].

② Chakin, sho-chū-go, kae-chawan ni oku-beshi, sōjite kae-chawan to iu ha, temmoku ni soe-taru yue karoi-dōgu nari, usu-chawan to iu ha shina-jina aru-beshi, shin no usu-chawan nado ha, ika ni mo kekkō-naru ni te, fukuro ni iri, sono-mama maru-bon midare nado kazari irete, temae-suru-koto mo aru nari.

[茶巾、初中後、カヘ茶碗ヲクヘシ、惣而カヘ茶碗ト云ハ、天目ニ添タルユヘカロキ道具也、ウス茶碗ト云ハシナ〰アルヘシ、眞ノウス茶碗ナトハ、イカニモケツカウナルニテ、袋ニ入、其マヽ丸盆ミタレナトカサリ入レテ、手前スルコトモアル也].

    The different ideas included in these kaki-ire (each of the kaki-ire contain several, unrelated, trains of thought) will be discussed individually, below.

⁶Naka-bon ni ha chashaku hi nozoku nari [中盆ニハ茶杓被除也].

    This states the rule that “the chashaku is to be excluded from the naka-bon.”

⁷Shi-hō naka-bon mo shizen ni ha hi yō to ie-domo, maru naka-bon hon-shiki nari [四方中盆モ自然ニハ被用トイヘトモ、丸中盆本式也].

    Because the arrangement of the two meibutsu on the square naka-bon bears a certain resemblance to the Gassan-nagabon, it might seem natural for the host to want to display the chashaku on the smaller tray as well*. 

    Nevertheless, since the version of this temae in which the round tray was used was created first, and consequently defined the particulars of this temae†, even when a square tray is used, the chashaku should never be placed on the tray between the dai-temmoku and the chaire. __________ *On account of the small size of the tray, it is likely that, if the chashaku is placed between the dai-temmoku and the chaire, the host could inadvertently bump the chaire, or the hane of the temmoku-dai with his right hand when attempting to extricate the chashaku, which would be reprehensible.

    More will be said about this in the appendix (since it is there that I will focus our attention on the naka hō-bon).

†The naka maru-bon was the original kind of naka-bon (and when the expression naka-bon is used in the Nampō Roku without any other qualification, the reader should assume that it is talking about the naka maru-bon -- as in the title of this arrangement), and this is the tray that was used when this temae was created.

    The square tray was a machi-shū innovation that came into use decades later.  Nevertheless, since it was the naka maru-bon that defined the particulars of this temae, when using the naka hō-bon, one must adhere to the original details.

⁸Kayō no meibutsu no toki, futatsu no fukuro narabete jō-dan ni oku-beshi [カヤウノ名物ノトキ、二ツノ袋ナラヘテ上段ニヲクヘシ].

    Kayō no meibutsu [斯様の名物] means “these particular meibutsu.”  In other words, this rule*  refers to all of the several temae when the Kamakura nasu [鎌倉茄子] and Kazan temmoku [花山天目] are being used together.

    From Tanaka Senshō's commentary:  “when both of [the utensils] are meibutsu, the fukuro are placed side by side† on the upper level‡.”

    In the original form of the gokushin-temae, the two shifuku were hung on the furo-saki byōbu that surrounds the daisu, with their long himo draped over the corner of the folding screen, and arranged so that they dangled side-by-side (rather than one overlapping the other).  The side-by-side arrangement of the shifuku on the ten-ita of the daisu mirrors this ancient practice. __________ *This kaki-ire (and the next) is concerned with the placement of the shifuku of the different utensils (i.e., the chaire and temmoku) on the ten-ita of the daisu after they have been removed at the beginning of the temae.  This is not really apparent from the structure of the sentence -- thus both Shibayama Fugen and Tanaka Senshō undertake to emphasize this point.

†Nabete-oku [並べて置く] means placed (oku [置く]) side-by-side (nabete [並べて]).

‡Jō-dan [上段], literally “upper level,” here refers to the ten-ita of the daisu.  Tanaka is simply quoting the term from the kaki-ire (even though that may introduce some confusion).

⁹Betsu no temae ni, temmoku bakari meibutsu ni te, chaire bon-no-mono naraba, chaire no fukuro wo migi-za ni oki, sono ue ni temmoku no fukuro sukoshi kasenete, hidari-za ni amasu-beshi [別ノ手前ニ、天目ハカリ名物ニテ、茶入凡ノモノナラハ、茶入ノ袋ヲ右座ニヲキ、其上ニ天目ノ袋少ヲキカサネテ左座ニアマスヘシ].

    Betsu no temae ni [別の手前に] means “in a different temae....”  In other words, this kaki-ire has no connection with the case where the two great meibutsu are being used together.

    Temmoku bakari meibutsu ni te, chaire bon-no-mono naraba [天目ばかり名物にて、茶入凡の物ならば]:  temmoku bakari meibutsu ni te [天目ばかり名物にて] means “when only the temmoku is a meibutsu;” chaire bon-no-mono naraba [茶入凡の物ならば], means “but the chaire is a commonplace object.”

    Chaire no fukuro wo migi-za ni oki [茶入の袋を右座に置き]:  the chaire’s shifuku is placed on the “right seat” -- which means it is placed on the left side of the ten-ita (above the furo -- just as always).

    Sono ue ni temmoku no fukuro sukoshi kasenete, hidari-za ni amasu-beshi [其の上天目の袋少し重て、左座に余すべし]:  the temmoku’s shifuku is placed on top of the chaire’s shifuku, so that it overlaps slightly, in the direction of the left-seat (that is, the chaire’s shifuku is placed on the left side of the ten-ita, and then the temmoku’s shifuku is placed on top of it, so that it overlaps the chaire’s shifuku slightly, with the temmoku’s shifuku on the side closer to the center of the ten-ita).  This is shown in the above photo.

¹⁰Chakin, sho-chū-go, kae-chawan ni oku-beshi [茶巾、初中後、カヘ茶碗ヲクヘシ].

    Sho [初] means in the beginning; chū [中] means during (“in the middle” of the temae); go [後] means afterward, at the conclusion of the temae.

    In other words, the chakin should be kept in the kae-chawan at all times during the temae -- when it is not being used.

    The kae-chawan was usually a large, and rather shallow chawan*.  It had to be wide enough so that the chasen (tines pointing downward) could be placed next to the folded chakin without touching it -- so that the chasen could be placed down in the bowl, and then the chakin picked up immediately.

    Not only during the present temae, but whenever a kae-chawan is being used, the chakin should always be kept in the kae-chawan throughout the temae. __________ *In the most ancient times, the kae-chawan also took the place of the temmoku-dai, as a sort of saucer.  This is why the kae-chawan usually was similar in diameter to the temmoku-dai -- between 4-sun 9-bu and 5-sun 2-bu.

¹¹Sōjite kae-chawan to iu ha, temmoku ni soe-taru yue karoi-dōgu nari [惣而カヘ茶碗ト云ハ、天目ニ添タルユヘカロキ道具也].

    Sōjite [惣而 = 総じて] means “in general,” “on the whole,” “for the most part.”

    Temmoku ni soe-taru yue [天目に添たる故] means “because (yue [故]) it will be added to (soe-taru [添たる]) the temmoku.”

    Karoi-dōgu [輕い道具]:  karoi [輕い] means light, trifling, unimportant, informal, and things of that sort.  In other words, the temmoku is sober and impressive, and demanding of attention; in contrast, the kae-chawan should be something simple, a bowl that does not especially catch the eye, or demand inspection (since it will not be available for inspection in any case).

    The kaki-ire continues with a discussion of the usu-chawan because, in the early days, the kae-chawan was used to serve usucha (to the attendants who have accompanied the nobleman, using the tea that remains after serving the noble guest koicha in the temmoku) -- though here an attempt is being made to distance the one from the other (in other words, according to Edo period thought, the kae-chawan should not be used to serve usucha:  this attitude is reflected in the modern schools’ use of a chasen-dai [茶筅臺] or chasen-oki [茶筅置] -- which resemble footed saucers, and could never be used as a chawan.

     In the early days, of course, things were different.  The Shukō-chawan [珠光茶碗], above, was both Shukō’s kae-chawan, and the first bowl used without a dai when serving tea in the wabi setting.  This is the best example that we have of what a kae-chawan was “supposed” to be.

¹²Usu-chawan to iu ha shina-jina aru-beshi [ウス茶碗ト云ハシナ〰アルヘシ].

    Shina-jina [品々] means various pieces, various objects.

    Aru-beshi [有るべし] means that these should exist (in the host's collection).

    Here we can see the clear influence of Edo period sensibilities -- since, in the early days, most chajin had only one of each of the necessary utensils.

¹³Shin no usu-chawan nado ha, ika ni mo kekkō-naru ni te [眞ノウス茶碗ナトハ、イカニモケツカウナルニテ].

    Here, once again, we can see how important various types of utensils had become during the Edo period (which is when these kaki-ire were added).

    While Jōō and Rikyū spoke of the shin-no-usucha as a reference to the temae, the author of this kaki-ire is viewing this idea more in terms of the quality of the utensils -- in this case, a chawan worthy of being displayed on the daisu (as Tanaka Senshō notes in his commentary).

    Kekkō-naru [結構なる] means a fine (chawan) -- a bowl of both beauty and high quality.  Chinese celadon bowls, as well as larger pieces from the same area that produced the different sorts of temmoku-chawan, were favored, along with Chinese blue-and-white bowls; and Korean bowls, too, were included in this class -- especially those produced during the Koryeo dynasty.

¹⁴Fukuro ni iri, sono-mama maru-bon midare nado kazari irete [袋ニ入、其マヽ丸盆ミタレナトカサリ入レテ].

    “[The shin no usu-chawan] is put into its fukuro, and, just like that, displayed on a maru-bon with something like midare[-kazari].”

    Midare nado [ミタレナト]:  midare [ミタレ] refers to midare-kazari [亂れ飾], which means that the chakin and chasen are displayed elsewhere (rather than in the chawan); and nado [など] means “and things of that sort” -- that is, midare-kazari is but one of several possible arrangements that could be used in this hypothetical situation (where a shin no usu-chawan is tied in its shifuku and displayed on a naka-bon).

    It is not entirely clear what actual arrangement is being suggested here (as has been mentioned before, the kaki-ire was added in the Edo period, and it was in that period that these numerous ways to serve usucha to the shōgun and the high members of his court and government became fashionable -- and it seems most likely that reference is being made to one of those arrangements), but perhaps the chawan and chaire are both arranged on the tray, with the chasen (resting on the chakin) displayed at the back, and the chashaku in the front, as shown in the sketch (the reader is asked to understand that this sketch has absolutely nothing to do with the arrangement that is being considered in this installment; the intention is simply to show what the expression “midare-kazari” [亂れ飾] means:  the chasen, resting on the chakin, is displayed on the far side of the maru-bon, and the chashaku is displayed at the front).

    Alternatively, perhaps the author intended that the special chawan be displayed by itself on the tray, while the chakin, chasen, and chashaku (and perhaps the chaire) are placed on the ten-ita of the daisu to its right.

¹⁵Temae-suru-koto mo aru nari [手前スルコトモアル也].

    “There is also a way to perform this temae.”

    In other words, there was (apparnelty) a special way to perform the shin no usucha temae when the chawan was tied in a shifuku, and displayed on a maru-bon.  (The details of this kind of temae are not included in the Nampō Roku:  in the instance already encountered*, the usu-chawan was not displayed on a tray, nor was it tied into its shifuku.) ___________ *That post was published in two parts.  The first was entitled Nampō Roku, Book 5 (13.1):  the Arrangement [of the Daisu] During the Shoza when [Receiving a] Respected Guest¹, Part 1;

https://chanoyu-to-wa.tumblr.com/post/620572177833623553/namp%C5%8D-roku-book-5-131-the-arrangement-of

and the second part, Nampō Roku, Book 5 (13.2):  the Arrangement [of the Daisu] During the Shoza when [Receiving a] Respected Guest, Part 2.

https://chanoyu-to-wa.tumblr.com/post/620573177135906817/namp%C5%8D-roku-book-5-132-the-arrangement-of

    As was mentioned in the above-cited posts, it is possible that this entier topic was spurious -- since the location of the arrangement within the series in Book Five appears to be random, and not related to the entries that come before, or follow, it.

——————————————–———-—————————————————

◎  Analysis of the Arrangement.

    Once again, as mentioned above, this arrangement was created for the Kazan-temmoku [花山天目], Kamakura nasu [鎌倉茄子], and seiji unryū-mizusashi [青磁雲龍水指].  They are arranged on the ji-ita of the daisu, on the naka maru-bon, as shown above.  The particulars of this arrangement, and the correlation of the several utensils to the kane (or lack whereof) are the same as was explained with respect to the same kind of arrangement on the Gassan-nagabon in the previous post.  As in that case, when displayed on the ji-ita of the daisu, the naka-bon should be placed on a fukusa-mono, for protection.

    The temae is performed in essentially the same manner as when the Gassan-nagabon was used.  The only real differences are that, on a round tray, the chashaku is placed diagonally in front of the chaire†, rather than parallel to the side; and an ordinary futaoki is placed on the mat -- the precedent for the way we orient the futaoki during an ordinary furo-temae.

    As in the previous temae, at the end of the temae the naka maru-bon is lifted onto the ten-ita, and the seiji unryū is brought out and used to replenish the kama (with two hishaku of cold water).

    Afterward, the naka maru-bon will be moved to the shelf underneath the chigai-dana (if this kind of shelf is available in the room in which tea was served). ___________ *The post in question is entitled Nampō Roku, Book 5 (17):  the Gokushin Arrangement of Three Utensils on the Nagaita [長板].  The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/622112317172318209/namp%C5%8D-roku-book-5-17-the-gokushin-arrangement

†The chaire is, as always, located 3-sun 5-bu from the front edge of the daisu; and the naka maru-bon is placed so that its foot (which, like the rim, is 1-shaku 2-sun in diameter) rises up onto the heri (the foot ends at the middle of the heri).

    Aside from these larger trays (which provide adequate space for the chashaku), Jōō and Rikyū tended to dislike using round trays of the smaller sizes.

[factorgamers-blog]

Reseña Active Raid Kidou Kyoushuushitsu Dai Hakkei

Reseña Active Raid Kidou Kyoushuushitsu Dai Hakkei

Este Anime nos precenta la historia Asami Kazari quien es asignada al escuadrón 8 compuesto por:

funasaka director,Souichirou sena  ,la sargento haruka Hoshimiya ,Madoka amano, la jefa Rin Yamabuki ,Kyoukai y por último el  inspector asistente takeru kuroki.

Este equipo se encarga de atrapar criminales que utilizan robot llamados will wears esta en peligro de desaparecer por el mal uso que hacen…

[tanuki-kimono]

印籠 (inrô) pill box/nested boxes, handy chart by fantastic Edo-lover Nadeshico Rin.

Inrô were first used during Sengoku period by men to carry their personal seals (印鑑 inkan) and thick red ink (朱肉 shuniku). It was then used to carry medecines (薬 kusuri), such as pills (丸薬 ganyaku), powders (散薬 sanyaku), or decoctions (煎じ薬 senjigusuri). Slowy people also added any small trinkets which could fit in.

First carried by samurai class, it then spread to chônin commoners in the Edo period. Many shapes existed, and inrô boxes could be made from many materials depending of their owners’ fortune, from paper to precious ivory. Often beautifully decorated, their designs could include raden (mother of pearl inlays), or makie (gold powder).

On the right, you can see the different part of an inrô:

根付 (netsuke) carved toggle (sometimes very intricated miniature sculptures), slipped into the obi belt

紐 (himo) cord, holding everything together

緒締 (ojime) string-fastener bead, could be made from precious coral or as decorated as netsuke

飾結び (kazari musubi) ornamental knot​, at the bottom

紐通し孔 (himodôshiana) lacing hole, to thread the cord into the boxes

蓋鬘 (futakazura) top piece, lid of the box

段 (-dan) row of boxes, ex. 一段 (ichidan) first row

Main types of inrô shapes existed, with of without visible lacing holes (紐通し付き himodôshi tsuki = visible / 隱し紐通し kakushi himodôshi = hidden). Rin details following styles on the left:

杏仁形 (kyônin gata) apricot seed shaped

楕円形 (daen gata) ellipse​ shaped

胴張形 (dôbari gata) hull shaped

丸角長方形 (marusumi chôhôkei) rounded rectangle shaped

長方形 (chôhôkei) rectangle shaped

角切形 (sumikiri gata) cut-corners shaped

[evemoedesu]

Will post progress on witchy witches here.

[done]

[25.07.18] Rin Kazari - sansha_npc_frigate (Incursion’s Niarja in particular), no shadows and lights applied yet.

[26.07.18] Mei Menowa - Phantasm - lineart, colors coming soon.

[27.07.18] - Phantasm in colors now. Will update with more details after all others are done to keep them closer to common style

[28.07.18] - Kotetsu Katsura - Succubus, incomplete lineart, needs more fixes.

[29.07.18] - Succubus now is colored too. Slight mismatch in details’ color - should make them darker in next pass. Added missing spikes on the back.

[30.07.18] - Kanna Utsugi - Nightmare - lineart, colors tomorrow.

[31.07.18] - Nightmare has come.

[01.08.18] - Tanpopo Kuraishi - Revenant - sketchish line art, had to rework pose completely, looks more like commander now.

[02.08.18] - updated lineart, changed some parts completely due to them be boring. Body parts’ proportions might need slight fixes.

[03.08.18] - Colored Revenant. Slight fixes of the eyes.

Now all that’s left is to add shadows, lights and all the other shiny stuff to make them more appealing.

[superchat]

i fucking love how Witchcraft Works ends its first episode with these 5 badass and very characteristic villains and left me thinking “oh shit, protag and kagari are gonna have to fight each one throughout the show arent they?”

but then episode two rolls around and withing the first 5 minutes theyre already taken care of and are clearly no match for kagaris fire magic 

[leonardotaku]

[neverwillknow]

[the-virtual-box]