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thenighttrain · 4 years ago

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books read in 2020

i’ve been keeping a list and decided i want it on my blog too! everything is on my goodreads too. follow my book blog @thesonofneptune! bolded are my favourites

Middlegame by Seanan McGuire ★★★★

Stardust by Neil Gaiman ★★★

Into The Drowning Deep by Mira Grant ★★★★

Heart of Flames (Crown of Feathers #2) by Nicki Pau Preto ★★★★

Reverie by Ryan La Sala ★★

Crown of Feathers (Crown of Feathers #1) by Nicki Pau Preto ★★★

Soul in Darkness by Wendy Higgins ★★★

The King’s Dragon (Fire and Valor #1) by W.M. Fawkes ★★★★

Blue on Blue by Dal Maclean ★★★★

The Calculating Stars (Lady Astronaut #1) by Mary Robinette Kowal ★★★★

The Watchmaker of Filligree Street (The Watchmaker of Filligree Street #1) by Natasha Pulley ★★★

The Lost Future of Pepperharrow (The Watchmaker of Filligree Street #2) by Natasha Pulley ★★★★

The Bedlam Stacks by Natasha Pulley ★★★

Gods of Jade and Shadow by Silvia Garcia-Moreno ★★★★

Girls of Paper and Fire (Girls of Paper and Fire #1) by Natasha Ngan ★★★

The Prince’s Dragon (Fire and Valor #2) by W.M. Fawkes ★★★★

House of Salt and Sorrows by Erin A. Craig ★

The House of Binding Thorns (Dominion of the Fallen #2) by Aliette de Bodard ★★★

The House of Sundering Flames (Dominion of the Fallen #3) by Alliette de Bodard ★★★

The City of Brass (The Daevabad Trilogy #1) by S.A. Chakraborty ★★★

The Catch Trap by Marion Zimmer Bradley ★★★★

The Ballad of Songbirds and Snakes (The Hunger Games #0) by Suzanne Collins ★★★

Of Dragons, Feasts and Murders (Dominion of the Fallen, #3.5) by Aliette de Bodard ★★★★

The Last Smile in Sunder City (The Fetch Phillips Archives #1) by Luke Arnold ★★★★

Northern Wrath (The Hanged God Trilogy #1) by Thilde Kold Holdt ★★★

The Unspoken Name (The Serpent Gates #1) by A.K. Larkwood ★★★

Infernal by Mark de Jager ★★★

The City We Became (Great Cities #1) by N.K. Jemisin ★★★

Gideon the Ninth (The Locked Tomb #1) by Tamsyn Muir ★★★

Deathless (Leningrad Diptych #1) by Catherynne M. Valente ★★★

The Poppy War (The Poppy War #1) by R.F. Kuang ★★★★★

The Dragon Republic (The Poppy War #2) by R.F. Kuang ★★★★

Foundryside (The Founders Trilogy #1) by Robert Jackson Bennett ★★★

Rivers of London (Rivers of London #1) by Ben Aaronovitch ★★★

The Pearl That Broke Its Shell by Nadia Hashimi ★★★★

The Deep by Rivers Solomon ★★★

Ashes of the Sun (Burninngblade & Silvereye #1) by Django Wexller ★★★

The Century’s Scribe (A Fantastic Decade #1) by Brendan Walsh ★★★★

Red, White & Royal Blue by Casey McQuistonn ★★★

The Four Profound Weaves by R.B. Lembergg ★★★

A Very Large Expanse of Sea by Tahereh Mafi ★★★

Blazewrath Games by Amparo Ortiz ★★★★

The House in the Cerulean Sea by T.J. Klune ★★★★

The Sword of Kaigen by M.L. Wang ★★★★★

Jade City (The Green Bone Saga #1) by Fonda Lee ★★★★

Jade War (The Green Bone Saga #2) by Fonda Lee ★★★★

The Night Tiger by Yangsze Choo ★★★

The Rage of Dragons (The Burning #1) by Evan Winter ★★★

The Goblin Emperor (The Goblin Emperor #1) by Katherine Addison ★★★

The Conductors by Nicole Glover ★★★

The Wolf of Oren-Yaro (Chronicles of the Bitch Queen #1) by K.S. Villoso ★★★

When The Moon Is Low by Nadia Hashimi ★★★

The Ten Thousand Doors of January by Alix E. Harrow ★★★

Each of Us a Desert by Mark Oshiro ★★★★

White Silence (Elizabeth Cage #1) by Jodi Taylor ★★★

The Rook (The Checquy Files #1) by Daniel O’Malley ★★★★

The Vicar and the Rake (Society of Beasts #1) by Annabelle Greene ★★★

Lava Red Feather Blue by Molly Rinngle ★★★★

The Bone Shard Daughter (The Drowning Empire #1) by Andrea Stewart ★★★★

Alif the Unseen by G. Willow Wilson ★★★

Carter & Lovecraft (Carter & Lovecraft #1) by Jonathan L. Howard ★★★

A Good Girl’s Guide to Murder (A Good Girls’ Guide to Murder #1) by Holly Jackson ★★★★

The Bear and the Nightingale (Winternight Trilogy #1) by Katherine Arden ★★★★

The Girl in the Tower (Winternight Trilogy #2) by Katherine Arden ★★★★★

The Winter of the Witch (Winternight Trilogy #3) by Katherine Arden ★★★★

The Invisible Life of Addie LaRue by V.E. Schwab ★★★

Tower of Mud and Straw by Yaroslav Barsukov ★★★

Mexican Gothic by Silvia Garcia-Moreno ★★

Every Heart a Doorway (Wayward Children #1) by Seanan McGuire ★★★

The Changeling by Victor LaValle ★★★

Ring Shout by Djeli P Clark ★★★★

The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid ★★★★

The Year of the Witching by Alexis Henderson ★★★

We Are Okay by Nina LaCour ★★★

Dead Man in a Ditch (The Fetch Phillips Archives #2) by Luke Arnold ★★★

The Nightmare Thief (The Nightmare Thief #1) by Nicole Lesperance ★★★★

A Time of Dread (Of Blood and Bone #1) by John Gwynne ★★★★

Sleeping Giants (Themis Files #1) by Sylvain Neuvel ★★★

Dry by Neal Shusterman ★★★

Black Sun (Between Earth and Sky #1) by Rebecca Roanhorse ★★★★

The Searcher by Tana French ★★★★

Ink and Bone (The Great Library #1) by Rachel Caine ★★★

The Burning God (The Poppy War #3) by R.F. Kuang ★★★★

The Drowning Faith (The Poppy War 2.5) by R.F. Kuang ★★★★

The Henna Wars by Adiba Jaigirdar ★★★

Long Bright River by Liz Moore ★★

The Devil and the Dark Water by Stuart Turton ★★★★

Smoke and Stone by Michael R. Fletcher ★★★

A Memory Called Empire (Teixcalaan #1) by Arkady Martine ★★★

In Other Lands by Sarah Rees Brennan ★★★★

Piranesi by Susanna Clarke ★★★★

The Familiars by Stacey Halls ★★

A Man Called Ove by Fredrik Backman ★★★★

Kings of Paradise (Ash and Sand #1) by Richard Neil ★★★

Red Sister (Book of the Ancestor #1) by Mark Lawrence ★★★★

The Midnight Library by Matt Haig ★★★★

The Kingdom of Back by Marie Lu ★★★

Not Even Bones (Market of Monsters #1) by Rebecca Schaeffer ★★★

Real Life by Brandon Taylor ★★★

Godshot by Chelsea Bieker ★★★

The Toymakers by Robert Dinsdale ★★★

The Humans by Matt Haig ★★★★

My Dark Vanessa by Kate Elizabeth Russell ★★★★

The Travelling Cat Chronicles by Hiro Arikawa ★★★★

A Conspiracy of Truths by Alexandra Rowland ★★★

The Empress of Salt and Fortune (The Singing Hills Cycle #1) by Nghi Vo ★★

The Survivors by Jane Harper ★★★★

The Dry (Aaron Falk #1) by Jane Harper ★★★★

The Lost Man by Jane Harper ★★★

#leanne speaks #books

43 notes · View notes

chanoyu-to-wa · 4 years ago

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Nampō Roku, Book 6 (13.3; 13.4): a Mukō-ro with the Guests Seated on the Right Side; and, a Mukō-ro with a Board on the Far Side.

13.3) Later, as [shown] here, the the guests’ seats were [moved to] the side [of the room] adjacent to the left seat, and the ro was changed to [that side]¹. With respect to everything else, there are no other differences².

[The writing on the drawing reads: tarai-mizusashi (タライ水指)³; chaire・shiri-bukura (茶入・尻ブクラ)⁴; kono kane in nare-domo, mizusashi ni te kuguri yō ni naru (此カネ陰ナレトモ水サシニテクヽリ陽ニナル)⁵; sore yue hitotsu-mono kaku no gotoki okaruru (夫ユヘ一物如此ヲカルヽ)⁶; kore Kyū no hatsu-mei nari, Jōō mo kanshin to iu-iu (コレ休ノ發明也、紹鷗モ感心ト云〻)⁷.]

13.4) On the far side [of the ro] is a board 2-sun 5-bu [wide] -- here is also the case were [the utensil mat arranged in] this way is also admissible⁸. The way the kane are distributed is the same as before⁹.

[The writing on the drawing reads: bon・chaire (盆・茶入)¹⁰; mizusashi no chiisaki wo oite, chaire in no hitotsu-mono koko ni oku-koto mo ari (水サシノチイサキヲ置テ、茶入陰ノ一ツモノコヽニヲクコトモアリ)¹¹.]

The kaki-ire [書入]:

〇 In general, in the case of the mukō-ro, or on an occasion when [one is using] the furo, even though there are people who [display the chaire] on a small tray as a [yang] hitotsu-mono, or place the chaire by itself [without a tray], these are wrong¹². Even if the chaire is a small piece, one should use a large tray¹³. If the tray crosses several kane, it is the same idea as when the mizusashi [does so]¹⁴.

[However,] using a small tray, or displaying the chaire by itself, should be done [only] when displaying [the chaire] as a yin hitotsu-mono [一ツ物]¹��.

_________________________

¹Nochi kaku no gotoku kyaku-tsuki hidari-za ni ro wo naosaruru [後如此客付左座ニ爐ヲナヲサルヽ].

Nochi [後] means afterward, at a later date.

In other words, the setting where the guests were seated on the host's left (adjoining the “right seat,” and where the mukō-ro was cut on the left side of the utensil mat) was the original configuration*. Only later was the room reversed, so that the guests sat on the host's right side (adjacent to the “left seat”), and the mukō-ro was cut on the right side of the utensil mat.

Kyaku-tsuki hidari-za ni ro wo naosaruru [客付き左座に爐を直さるる]: kyaku-tsuki [客付き] means the side (of the utensil mat) on which the guests are seated; hidari-za [左座] refers to the seat of the utensils at the head of the utensil mat, this expression referring the half of the mat facing the host's right side; naosareru [直される] (to use the modern verb form) means to be reformed, corrected, or adjusted.

Thus, this says that the ro was moved to the left seat, which was the side on which the guests were now being seated. This is the configuration that we usually recognize today†. __________ *This orientation derived directly from the o-chanoyu-dana, which was usually located on the right side of the room, originally so that the bowls of tea could be handed to an attendant seated between the mat to which the tana was appended and the entrance to the shoin, who then transported them to the guests seated in the shoin.

At some point -- very possibly in the early sixteenth century in Korea, after the restoration of Buddhism -- rather than carrying the tea out to the shoin to be drunk, or performing the temae at a daisu that was set up within that room, the custom arose whereby the guests went into the tsugi-no-ma, and were served directly from the o-chanoyu-dana.

The reason why I propose that this shift in focus (to the o-chanoyu-dana in the tsugi-no-ma) occurred in Korea (rather than in Japan) is that, when Buddhism was suppressed in Korea in the middle of the fifteenth century, the bronze implements that were used on the daisu are recorded to have been confiscated (and melted down to make ceremonial objects for use in Confucian rituals), while the iron things originally used on the o-chanoyu-dana were apparently ignored (even if left in situ when the temple buildings were razed, usually by burning, iron implements would frequently survive, at least for a certain number of years, whereas anything made of bronze would have been destroyed by the heat). It, therefore, seems that this all happened of necessity: lacking any other way to resume service with the daisu, they made use of what implements they had, and so served tea from the o-chanoyu-dana (or, when that could not be restored, changed to serving sen-cha [煎茶] -- as is also attested in the historical records, including later in the Nampō Roku).

Rikyū would have encountered this kind of thing during his sojourn on the continent, and thus he asserted that the original setting was the mukō-ro -- even though none of this seems to have been done in Japan (since, other than the Ikkō Shū [一向宗] -- and that only to a limited extent -- none of the temples were destroyed, many of these treasures still survive today).

†As has been mentioned before, this reversal of the orientation of the room was effected at the behest of Hideyoshi, so that everything that the host was doing would be readily visible to the shōkyaku (namely, himself). The Tokugawa maintained this preference, for the same reason.

²Ban-ji mu betsu gi nari [萬事無別義ナリ].

Ban-ji [萬事] means everything (literally, the ten-thousand matters).

Betsu gi nashi [別儀なし] (to put the phrase into the Japanese word-order) means that there are no special considerations-- that is, nothing is different (from the way of doing things when the guests were seated on the host's left, and the ro was also cut on that side of the utensil mat).

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

³Tarai-mizusashi [タライ水指].

A tarai-mizusashi [盥水指] is a general-purpose bronze basin used as a mizusashi. Usually objects of this sort were around 8-sun in diameter, and several sun deep. As they were not made as storage containers, they usually did not have a fitted lid, and so a wooden lid would have had to be provided.

Pieces of this sort were first used as mizusashi during the sixteenth century. (The photo shows a Chōsen-sawari tarai-mizusashi [朝鮮四分一盥水指] of the sort being discussed to in this entry. This particular tarai measures 8-sun 3-bu in diameter, and it is 2-sun 6-bu deep -- both of which are typical for this type of vessel. As there is not much variation in size or shape, Rikyū’s tarai-mizusashi would have probably looked very similar to what is shown. The rather mottled appearance of the metal is typical of Korean sawari from the early Joseon dynasty, so the only difference would have been the lid -- in Rikyū’s period, only shin-nuri lids were being made.)

While contemporary chanoyu tends to prefer this kind of mizusashi for use during the summer (on the theory that viewing the wide expanse of water will produce a cooling effect on the mind), Rikyū used his on New Year’s Day -- to exhibit the sei-ka-sui [井華水] (the first dawn water drawn in the New Year).

⁴Chaire・shiri-bukura [茶入・尻ブクラ].

The Shiri-bukura chaire [尻膨茶入] was Rikyū's great personal treasure. Though a chaire from the earliest period (and so classified as an ō-meibutsu [大名物] during the Edo period), and of the same size as the Kamakura nasu [鎌倉茄子], it is not perfectly round*, which may be why Rikyū was able to purchase it.

While Rikyū always used this chaire on a red Chinese tray in his last years, in the early days he used it without a tray†, and the episode memorialized here (including Jōō's accompanying praise) seems to have taken place in his youth, before he went to the continent. __________ *The chaire measures 2-sun 2-bu from side to side, but 2-sun 1-bu front to back. This slight imperfection precluded it from being used on a nagabon.

†When Rikyū received this chaire from Jōō, it was accompanied with a Japanese tray that Jōō had made for it (see footnote 7, below). However, Rikyū seems to have used it to serve tea without that tray, as described in this entry; and, eventually, he sold it. The new owner placed it on a red Chinese wakasa-bon [若狹盆] (this is a kind of lacquer technique where the brushstrokes remain visible -- often through the incorporation of a certain amount of inert particulate matter, such as crushed or powdered egg shells, into the lacquer: usually the upper surface of such pieces are red, the bottom is black, and the outer sides are dark green) that was just 2-sun larger than the chaire on all four sides (apparently because its lack of symmetry demanded that it not be placed on a larger tray -- which would “lock” the distance between the chaire and anything located on the far side, while a smaller tray would allow the host to move the tray slightly; the “rough” quality of the lacquer probably was influential in the choice of this tray as well), and when, years later, Rikyū was invited to a chakai at which it was used, he begged the host to allow him to buy it back.

Thus, while the size of the tray allowed Rikyū to use the chaire as if no tray was present, which was an expression of his saku-i [作意], the actual pairing of this chaire with its tray was not. Nevertheless, the result was that Rikyū's version of bon-date [盆立, 盆点, 盆點] became almost identical to his ordinary koicha-temae (and so diverged sharply from Jōō's vision of this same temae), which annoyed many of his contemporaries, and lead to the undercurrent of bad feelings that would burst forth in the aftermath of his seppuku.

⁵Kono kane in nare-domo, mizusashi ni te kuguri yō ni naru [此カネ陰ナレトモ水サシニテクヽリ陽ニナル].

“Even though this kane [on which the chaire rests] is yin, because the mizusashi crosses several [yang] kane, it becomes yang.”

Because the mizusashi crosses two yang kane, and so is yang, anything associated with it* is also yang. Furthermore, the two are counted together as a single yang unit (for the purposes of kane-wari). __________ *In other words, placed 2-sun away from it.

⁶Sore yue hitotsu-mono kaku no gotoki okaruru [夫ユヘ一物如此ヲカルヽ].

“Because of this, an hitotsu-mono [一ツ物] may be rested upon [the kane] in this way.”

The shiri-bukura chaire is placed squarely on the yin-kane, as a hitotsu-mono. However, because of the tarai-mizusashi, the chaire is actually being displayed as a yang hitotsu-mono. This is the point that these notes are intended to emphasize. (It is important for the reader to separate these matters from the fact that the mukō-ro is cut on the right side of the mat, since that has no bearing on the mizusashi and chaire. In a room where the mukō-ro has been cut on the left, with the guests also seated on that side of the room, the arrangement of a tarai-mizusashi and chaire displayed in front as an hitotsu-mono would be the mirror image of what is shown in the sketch*, though all of the rules would be exactly the same.) __________ *Care has to be taken with this statement, however. If, for example, the arrangement is mitsu-gumi [三つ組] -- in addition to the mizusashi and chaire, the chawan is also displayed on the utensil mat -- the chawan is still on the left and the chaire is still on the right.

This is important to remember (at least in so far as Rikyū's actual usages are concerned), because certain modern schools reverse these things as well (placing the chaire on the left and the chawan to its right); but, according to Rikyū, that is wrong.

⁷Kore Kyū no hatsu-mei nari, Jōō mo kanshin to iu-iu [コレ休ノ發明也、紹鷗モ感心ト云〻].

Kyū [休] is the usual abbreviation of Rikyū's name.

Hatsu-mei [發明] means an invention.

Kanshin [感心] means to admire, appreciate, favor. In other words, when Jōō saw how Rikyu arranged the shiri-bukura chaire in front of the tarai-mizusashi, he was deeply impressed.

This episode likely dates from the early days of Rikyū's association with Jōō. As is well known among modern practitioners of chanoyu, Rikyū's family had gone bankrupt; and, as a result, Rikyū was forced to sell his collection of tea utensils -- apparently to Jōō, to whom he had been introduced by Dōchin (seemingly for this purpose). Jōō, as a professional antique dealer, gave Rikyū some other pieces (those in which his other customers were not interested) as a sort of consolation gift, so that he could continue to practice chanoyu thereafter. Among these utensils were the Shiri-bukura chaire and the tarai-mizusashi. The Shiri-bukura, as was mentioned above, was asymmetrical (in consequence of which, rather than a Chinese tray, Jōō had made the matsu-no-ki [松ノ木] tray for it*). Likewise, whereas the tarai had been imported from Korea, and was made of Korean bronze, it was hardly a true mizusashi†.

It was the fact that Rikyū managed to combine these two utensils with each other (and in a way that had never occurred to Jōō), and to do so in a manner that was completely appropriate‡, that won Jōō's admiration and trust. __________ *Though patterned on the Gassan nagabon [月山長盆], this square tray is rather roughly made from pine wood, and then simply rubbed with lacquer (rather than being properly lacquered). Compared with the trays imported from the continent, the matsu-no-ki bon is crude.

It seems that Jōō created this tray because the chaire is irregular (hence the roughness of the tray was desirable, from his point of view); nevertheless, side-to-side, it also shared the size of the Kamakura-nasu (which was not only the most respected chaire, but the one that was used on the Gassan nagabon for the gokushin-temae).

†Tarai of this sort were sometimes used for serving fruit; but sometimes used for washing (including, on occasion, washing the feet), which gives an impure feeling (in addition to the cumbersome size). While the lacquered lid seems to have been in Jōō's style (a flat lid with the handle formed from a semi-circle of metal), it is unclear whether Jōō was responsible for it (or whether it was made for the tarai by Rikyū).

‡The arrangement uses neither utensil in a way that could be considered inappropriately "above" their station; yet the overall effect enhances both. While Jōō had used this chaire on a tray, albeit on a very wabi sort of locally-made piece, Rikyū eschewed to make use of the tray. Yet, by using such a large mizusashi, he made the omission perfectly natural, rather than insulting (the large size of the mizusashi makes the use of a tray of any size impossible; otherwise, doing without it would seem to be repudiating Jōō's decision to provide one).

��Mukō ni-sun go-bu ita, kaku no gotoki tōritaru mo ari [向二寸五步板、如此通リタルモアリ].

In this case, rather than just being the width of the ro, the board extends completely across the mat.

Toritaru [通りたる] means to pass or extend across. The board extends completely to the other side of the mat.

This was done only in a room that did not have a tana, and the board could be a sort of substitute for a tana in certain arrangements (though, in the case shown, it has no real impact on this particular display).

For example, the hishaku could be displayed on the right side of the mat (the cup of the hishaku rests on the board, with its handle extending parallel to the heri), with the futaoki placed at the end of the handle, as shown below.

Rikyū is also recorded as having displayed the kōgō on a board of this sort, with the habōki resting on the mat in front of it (oriented parallel to the heri).

In the case shown in the sketch, however, the host would perform the temae without a mizusashi*, bringing out a small mizusashi only at the end of the temae, after which two hishaku of cold water would be added to the kama. __________ *At those points in the temae where it is usual to add cold water to the kama, the host would instead dip a full hishaku of hot water from the kama and hold that above the mouth for several seconds (so it will cool a little), and then pour it back. This will be sufficient to lower the temperature of the kama to the point where the shōfū [松風] sound returns.

This usage actually is derived the way that tea was originally made with the daisu -- in the gokushin-temae the mizusashi is only opened at the end of the temae (after the temmoku and chaire have been cleaned, and put out for the guests to inspect), to provide cold water with which to clean the chasen in the kae-chawan, and refill the kama (actually, this is a token replenishment, primarily intended to keep the kama from overheating -- which is possible when the level of the water it contains becomes too low -- since only two hishaku of cold water are added). At all earlier points in the temae, the shōfū was restored by performing a yu-gaeshi [湯返し] (dipping out a hishaku of hot water and then pouring it back into the kama).

In such instances the ro-temae is, indeed, much closer to the “daisu temae“ (which means the gokushin-temae) than the furo-temae is.

⁹Kane no wari dōzen [カネノワリ同前].

“The way that the kane are divided is as [shown] before.”

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

¹⁰Bon・chaire [盆・茶入].

This kind of tray is generically referred to as a kuguri-bon [潜り盆]. While a tray of Jōō's preferred size would suffice, kuguri-bon were often even larger (with trays 1-shaku in diameter being most common).

¹¹Mizusashi no chiisaki wo oite, chaire in no hitotsu-mono koko ni oku-koto mo ari [水サシノチイサキヲ置テ、茶入陰ノ一ツモノコヽニヲクコトモアリ].

“If a small mizusashi is placed [on the mat], a chaire displayed as a yin hitotsu-mono could also be placed here.”

This really has nothing to do with the sketch (and, indeed, looking at the sketch tends to confuse the matter).

The situation alluded to in this note is shown below.

Note that the mizusashi does not come into contact with either of the yang-kane, and the chaire is placed squarely on the yin-kane (making it a yin hitotsu-mono).

The mizusashi is yin, and the chaire is also yin. However, because the chaire is displayed “in association” with the mizusashi, they count together as a single yin unit, for the purposes of kane-wari.

¹²Sōjite mukō-ro mata ha furo no toki, mizusashi nashi no hitotsu-mono chiisaki bon ni nose, mata ha chaire bakari oku hito ari, higa nari [摠而向爐又ハ風爐ノ時、水サシナシノ一ツ物チイサキ盆ニノセ、又ハ茶入ハカリヲク人アリ、ヒカコト也].

This is, structurally, a difficult sentence, since the situation described is being negated by the final phrase.

Sōjite [摠而] is an odd (and certainly unorthodox*) way to write sōjite [惣而 = 総じて]. It is possibly a miscopying for sōjite [惣而] (which is the way this word is usually written in the Nampō Roku).

Mizusashi nashi no hitotsu-mono [水指なしの一つ物] apparently is referring specifically to a chaire that the host intends to display as a yang hitotsu-mono on an occasion when there is no mizusashi (since the final sentence in this kaki-ire specifically allows displaying the chaire by itself, or on a small tray, when it is a yin hitotsu-mono)†.

Chiisaki bon ni nose [小さき盆に載せ] means resting on a small tray. Here, a “small tray” would have to be one that is 4-sun 9-bu across or less, suggesting that this kaki-ire was added during the Edo period (when doing such strange things, in an attempt to be “wabi,” became fashionable in certain circles).

Jōō, who created the chaire-bon, determined that the tray should be 3-sun larger than the chaire in each of the four directions. Rikyū reduced this to 2-sun (which allowed the chaire to be placed beside the chawan as if no tray were present at all). Nevertheless, even smaller trays were occasionally used in the Edo period (when the expression "small tray" was a subject of speculation).

Chaire bakari oku [茶入ばかり置く] means the chaire is placed by itself, directly on the mat.

Higa-koto [僻事] literally means an immoral act, and so, by extension, a grave or shocking mistake. It is, thus, much more forceful than “error.” __________ *The kanji sō [摠] is extremely rare, even in Chinese. In Japanese it is usually read subete [すべて] (though sō is the on-yomi [音読み]), which means whole, everything. It is usually seen only in names today.

†The objection might be to displaying it on the yin-kane as shown in the sketch, though either without the tray, or resting on a tray so small that it does not contact either of the yang-kane, though this is unclear.

¹³Chaire chiisaku to mo, dai-bon wo yō-beshi [茶入チイサクトモ、大盆ヲ用ヘシ].

Dai-bon [大盆], large tray, would mean any tray that is at least large enough that it crosses two yang-kane. By this definition, not only Jōō’s chaire-bon, but also those preferred by Rikyū, would seem to suffice. However, the usual interpretation is that this means something at least as large as the trays preferred by Jōō, and possibly trays that are even larger -- such as trays 1-shaku across.

¹⁴Bon ni te kuguri-koto mizusashi dō-i nari [盆ニテクヽリコト水サシ同意也].

Kuguri-koto [潜り事]: kuguru [潜る] means to pass across. Therefore, kuguri-koto means something that passes across. In other words, the tray should be large enough that it crosses two successive yang-kane, just as an ordinary mizusashi (which usually measure 6-sun in diameter*) does.

Dō-i [同意] is usually used today to mean “to agree with” or “consent.” However, here it is more literally “the same idea.” __________ *Unfortunately, once all of these rules and reasons were forgotten, and chanoyu fell into the purview primarily of young girls and frail old women -- neither of which groups are much inclined to lug a large mizusashi out to the utensil mat at the beginning of the temae -- who were all being taught to perform hakobi-temae [運び手前] as the standard way to serve tea, the size of the mizusashi shrank almost overnight (like a salted slug). Thus, it is sometimes difficult to acquire a mizusashi that will actually cross the two yang-kane, especially when ordering from overseas. Thus, a locally-made piece might be the better option -- at least if one of a suitable size can be found.

¹⁵Chiisaki bon ka mata chaire bakari ha, in no hitotsu-mono iri-yō no toki oku-beki nari [チイサキ盆カ又茶入ハカリハ、陰ノ一ツ物入用ノ時ヲクヘキ也].

In no hitotsu-mono iri-yō no toki oku-beshi [陰の一つ物入用の時置くべき]: in no hitotsu-mono [陰の一つ物] means a yin hitotsu-mono*; iri-yō [入用] means things like need, want, necessity (in other words, on occasions when said utensil must be displayed as an hitotsu-mono, and when it must also be yin according to the kane-wari); oku-beki [置くべき] means “must be placed.” __________ *This is not a specific kind of object, but refers to the case where a utensil (such as a chaire) that is of such high quality that it demands being displayed as an hitotsu-mono (which means that it is centered very carefully on its kane), is used on an occasion (such as at night, or during a memorial service) when it needs to be yin for the kane-wari.

In such a case, the utensil will be associated with a yin-kane. On an ordinary occasion, the same utensil would be displayed on a yang-kane.

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astarlessreader · 5 years ago

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"It's pretty enough on the rare summery afternoons, brochure-blue sky and all the girls in camisoles and red shoulders, but for some reason I love it most of all on your bog-standard Irish days, when wind blows rain-spatter in your face and everything blurs into elusive, Puritan half-tones: gray-white clouds, gray-green sea off on the horizon, great sweep of bleached-fawn sand edged with a scatter of broken shells, wide abstract curves of dull silver where the tide is coming in unevenly." —In The Woods by Tana French

#quotes #fav #mood #dark academia #tana french #in the woods #book #currently reading #literature #dark academia literature

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lemonheadisawonder-blog · 7 years ago

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Fashion Graphic Design- Research 1

Matisse & paper cut outs

I am really interested in Matisse paper cut out artwork, and his practise on clothe patterns design. In Matisse’s studio: “an interior world of his own making” by Nicholas Watkins, he describes the colourful paper cut out in his art is the objectivity form of colours, a concise way to capture the form and shapes of what he has seen in his life:

‘Colour assumed an objectivity, a concrete reality all of its own. “Cutting directly into vivid colour,” Matisse wrote in his text to his artist book Jazz (1947), his first major cut-out project, “reminds me of the direct carving of sculptors.” These images, in vivid and violent tones, resulted from crystallisations of memories of the circus, popular tales, or travel. It was his commitment of faith, his credo, that a work of art should be grounded in reality. Now that colour embodied that reality, it freed his imagination to work outside the constraints of space and time. In the magnificent paper cut-out The Panel with Mask (1947), a New Ireland Uli figure literally crowns the panels below containing pared-down signs of his memories and objects.’

The way Matisse construct the paper cut out shape was inspired the relationship between line and space in chinese calligraphy :

‘A black lacquered Chinese calligraphy panel with gilded script, a gift from his wife Amélie for his 60th birthday in 1929, acted as an unlikely talisman, a schoolroom blackboard for lessons Matisse never forgot: line had an expressive, constructional potential outside representation; line shaped colour and created space; line synthesised form and carried emotion; the intervals between line and colour, figure and ground, were as important as the elements themselves; in summary, drawing, calligraphy, had equal status with painting as a work of art in its own right. The constructional and expressive simplicity of Alga on Green Background (1947, opposite) – the intervals between the alga poetically interacting with their shapes to suggest new forms – is unthinkable outside the lessons learned from the calligraphy panel.’ *1

Henri Matisse,Alga on Green Background, 1947.

Gouache on paper, cut and pasted. 24.8 x 14.6 cm. The Pierre and Tana Matisse Foundation Collection. Photograph by Chris Burke Studio, NY. Artwork: © Succession H. Matisse/DACS 2017.

Henri Matisse,Panel with Mask, 1947.

Gouache on paper, cut and pasted, on paper. 110 x 53 cm. Designmuseum Danmark, Danish Design Archive. Photo: Archives H. Matisse, © Succession H. Matisse. Artwork: © Succession H. Matisse/DACS 2017.

L'Escargot( The Snail), Gouache on paper, cut and pasted on paper mounted on canvas, Henri Matisse, © Succession Henri Matisse/DACS 2017

‘ The concentric pattern formed by the coloured shapes in the centre of the work echoes the spiral pattern found in the snail's shell. Matisse told André Verdet (pp.64-5), 'I first of all drew the snail from nature, holding it. I became aware of an unrolling, I found an image in my mind purified of the shell, then I took the scissors'. He has combined pairs of complementary colours - red/green, orange/blue, yellow/mauve - to create a particularly vibrant effect. He gave the picture the alternative title La Composition Chromatique [Chromatic Composition].’ *2

https://www.royalacademy.org.uk/article/ra-magazine-matisse

http://www.tate.org.uk/art/artworks/matisse-the-snail-t00540

Cape idea with clothe collages

Idea inspired by Matisse paper cut out, I am thinking using a collages of random pieces of clothes and make them to a cape, which later can be fold away and used as a neck pillow...

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ralphmorgan-blog1 · 8 years ago

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Turkey’s shell-shocked opposition struggles to find a way forward

Ankara, Turkey (CNN)Turkish citizens who did not want to give more powers to President Recep Tayyip Erdogan had a very hard Monday.

There was quiet discontent in Ankara, as if its pockets of opposition had been zipped tight.

Duysen Talas, a 28-year-old born in the capital, Ankara, was slouched over in a chair of the pro-Kurdish opposition party Peoples' Democratic Party (HDP) headquarters.

Talas, like many of the country's 24 million "No" voters, woke up in a post-referendum haze -- looking for answers to a referendum tainted by complaints during the campaign, the voting and preliminary results.

Erdogan declared victory on Sunday night after state-run media Anadolu reported 51.4% voted for his "Yes" campaign.

The razor-thin majority of votes had opponents crying fraud and saying the "Yes" side would not have had so many votes and even could have lost, if the Turkish Supreme Board of Elections had followed its own protocol.

Even as the ballots were being counted on Sunday, the board decided to allow unstamped ballots to pass as legal votes -- a move that the opposition says gave the green light to voter fraud.

Tana de Zulueta, head of the Organization for Security and Cooperation in Europe and the Council for Europe election monitoring group said the decision "significantly changed the ballot validity criteria, undermining an important safeguard and contradicting the law," amongst other campaign concerns.

Challenges to the result may come, but the there is no indication that it will not stand.

As pro-Erdogan supporters flooded Ankara's streets in celebration last night, many opposition voices in the country's capital remained quiet -- fearful, perhaps of state-led retribution that's not held back with force or arrests against dissident voices since July 2016 when a failed coup rocked the country and at least 249 people died in a chaotic night of violence.

At HDP headquarters, Talas, who lives in Austria but had flown to Turkey for the referendum result, told CNN he "was expecting this fraud."

Turkey's referendum: One thing to know

Replay

Read more: http://ift.tt/2kFn9Y4

from Step Inside the YouTube-Fueled, Teenaged Extravaganza That Is Beautycon

#Step Inside the YouTube-Fueled #Teenaged Extravaganza That Is Beautycon

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chanoyu-to-wa · 7 years ago

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Rikyū Chanoyu Sho, Book 6 (Part 15): Rikyū’s Hyaku-kai Ki, (1590) Tenth Month, 27th Day, Morning.

15) Tenth Month, 27th Day; Morning [十月廿七日・朝].

￮ Guests: Tsushima no kami [對馬守]¹, Yanagawa gonsuke [柳川権亮]².

￮ 4.5-mat [room]³.

￮ Shi-hō-gama [四方釜]⁴; ◦ shi-hō-bon ni katatsuki [四方盆ニ肩衝]⁵; ◦ Sōho-dana [宗甫棚]⁶; ◦ kane no koboshi [かねのこほし]⁷; ◦ [Ko-mamori no chawan [木守ノ茶碗]⁸;] ◦ [ori-tame [をりため]⁹;] ◦ [hanaire: ko-Bizen [花入・古備前]¹⁰.]

￮ Yaki-mono (sake) [やき物 (さけ)], namasu [なます], soup (tataki [たゝき]), rice¹¹.

￮ Sui-mono (hoya) [吸物 (ほや)]¹².

￮ Kashi: fu-no-yaki [ふのやき], kuri [くり]¹³.

_________________________

◎ This was another gathering at which noblemen whose cooperation was essential to the success of Hideyoshi’s upcoming invasion were being received formally, by Rikyū, on Hideyoshi’s behalf, and the selection and arrangement of the utensils was intended to emphasize the guests’ eminence.

¹Tsushima no kami [對馬守]*.

This refers to the daimyō Sō no Yoshitoshi [宗義智; 1568 ~ 1615] who held the governorship of Tsushima at this time. He was a nobleman, eventually attaining the junior grade of the Fourth Rank as imperial chamberlain (jijū [侍従]). ___________ *In other versions of the kaiki, he is specifically named as Sō Tsushima no kami-dono [宗對馬守殿], which means “Lord Sō, Governor of Tsushima.”

²Yanagawa gonsuke [柳川権亮].

Unclear. Some scholars have suggested that this was possibly Yanagawa Shigenobu [柳川調信; 1539 ~ 1605] -- primarily from his dates* -- but the identity of this individual is really uncertain. He seems to have been an assistant or attendant† of Sō no Yoshitoshi, who was surnamed Yanagawa.

Possibly Yanagawa [柳川] is a variant of Yanagawa [柳河], which was the name of a clan located in Chikugo no kuni [筑後國], in modern-day Fukuoka Prefecture; though even if this were the case, the individual in question has not been satisfactorily identified.

A Yanagawa Tōnai [柳川藤内] is listed as a guest‡ at the next gathering (held at midday on the same day as this chakai)‡; and while it might seem likely, it is not certain that this is the same person or not (to date, nothing seems to have been discovered about the identity of this Yanagawa Tōnai, and since Rikyū has entered the names differently in the two kaiki, his document is of little help). ___________ *But looking at the career of Shigenobu suggests that, even at this point in time, he would have been a much more important man than this record seems to imply.

†Gonsuke [権亮] is a variant of gonsuke [権助]. These terms can mean an assistant to an official (i.e., a vice-official); but gonsuke can also be used to refer to a manservant, a personal attendant (which, in the case of a nobleman, would hardly have been a man of mean birth or social standing).

‡In the Rikyū Chanoyu Sho, Tōnai is listed as the ji-kyaku, but in all other versions of the Hyakkai Ki Yanagawa Tōnai is given as the shōkyaku.

³Yojō-han [四疊半].

The Sōho-dana [宗甫棚] (see footnote 6, below) was placed on the utensil mat so that it was 8-sun from the irori, as shown.

⁴Shi-hō-gama [四方釜].

⁵Shi-hō-bon ni katatsuki [四方盆ニ肩衝].

The lack of a name suggests that this was a ko-Seto katatsuki [古瀬戸肩衝], rather than a karamono piece.

There are two ko-Seto katatsuki chaire that are associated with Rikyū, though it is actually not possible to know which of them he may have used at this chakai.

The more likely of the two, however, was the chaire that previously belonged to Enjō-bō Sōen [圓乗坊宗圓; his dates of birth and death are unknown]*, a monk of the Honnō-ji in Kyōto; consequently, this chaire is usually known as the Enjō-bō katatsuki [圓乗坊肩衝]. It is shown below on a matsu-no-ki bon [松ノ木]† that was made for it by Rikyū.

It is said that this was one of two chaire belonging to Oda Nobunaga (the other being the Honnō-ji bunrin [本能寺文琳]) that were recovered from the ashes of the Honnō-ji by Sōen after Nobunaga’s seppuku. Thus, in consideration of the guests, it is likely that Rikyū would have used this chaire (if it was available to him)‡.

The second ko-Seto katatsuki was given by Rikyū to Yabunouchi Jōchi some time before his death. This chaire (which the Yabunouchi family calls the Tōshirō katatsuki [藤四良肩衝茶], after its purported maker) is shown below (on a round Chinese tsui-shu [堆朱] tray -- which is not the chaire-bon that would have been used by Rikyū)**.

Rikyū, however, also owned a Chinese uchi-aka shi-ho bon [内赤盆] (shown below) which matches the dimensions of this ko-Seto chaire, so perhaps that is the tray that he used (this tray was not paired with any of the other chaire that Rikyū owned).

___________ *This Enjō-bō Sōen is said to have been married to one of Rikyū’s daughters.

†The four corners of the chaire-bon had pieces of paper pasted onto them with black lacquer in the Edo period -- because they were beginning to split (or perhaps to help prevent them from splitting). This kind of repair work is often seen on Japanese trays from that period (and was often done to give the trays a “wabi” feeling).

‡Using this chaire would provide a physical link (Rikyū was serving tea to these two men as part of their official reception, and so acting in Hideyoshi’s stead) between Hideyoshi (whose sadō [茶頭] Rikyū was) and Nobunaga.

For the same reason, Hideyoshi frequently used the other of the two chaire -- the Honnō-ji bunrin [本能寺文琳] (shown above) when serving tea to daimyō with whom he wished to forge a political alliance. The use of these things implied very clearly that Hideyoshi represented the legitimate continuity of Nobunaga’s legacy.

**Both Jōō and Rikyū preferred square trays to round (round trays -- and trays of other shapes -- were favored by the machi-shū); and this chaire seems to have been paired with this tray sometime after Jōchi received it (perhaps not until the Edo period, given the style of the carving).

⁶Sōho-dana [宗甫棚].

The Sōho-dana was a variety of kyū-dai daisu [及第臺子]*. This ō-tana [大棚]† was a Japanese-made copy of a daisu imported from China‡. It was painted with green lacquer, with red edges to the two shelves.

The tana was named after Jū Sōho [重宗甫; dates of birth and death unknown], a disciple of Jōō and contemporary of Rikyū, who owned the original piece (which is what was used at this chakai). Sōho was one of Hideyoshi’s eight sadō [茶頭] (tea officials).

The disposition of the utensils on the tana would have been as shown below (note that the ten-ita is larger than the ji-ita**): the mizusashi [水指], koboshi [こぼし] and chawan [茶碗] are so marked. By eliminating the hishaku-tate [柄杓立] and placing the hishaku on the ten-ita of the tana, Rikyū is showing that this usage, rather than being a classical daisu temae††, is clearly based on the temae for the Yamazato-dana that Rikyū created for Hideyoshi to use when personally serving tea in his 2-mat Yamazato-maru [山里丸] tearoom‡‡.

With respect to the chawan, there are two possible ways that Rikyu could have dealt with it. One way, shown above, would be for him to bring it out with him from the katte at the beginning of the temae, placing it temporarily on the left side of the utensil mat while lowering the bon-chaire. I have opted to show this variation here, because Rikyū does not say anything about the chawan in his notes. However, later in the kaiki, Rikyū creates a similar arrangement, using the same tana (and chaire and chawan), but there he specifies that both the chawan and the chaire were displayed on the ten-ita of the tana. That arrangement will be found illustrated in the post entitled Rikyū Chanoyu Sho, Book 6 (Part 26): Rikyū’s Hyaku-kai Ki, (1590) Eleventh Month, Ninth Day; Midday.

While they are not mentioned explicitly, Rikyū would have had to use a mizusashi and futaoki. Most likely, they were the Seto mizusashi and a take-wa, as shown below, since these accord both with Rikyū’s teachings (as preserved in his densho and other writings), and with the pieces that he was using at this point in his life.

___________ *This daisu has two legs, rather than the four of the shin-daisu. Because the ji-ita is smaller than the ten-ita, there is insufficient space on the ji-ita for the furo, so the Sōho-dana, like the kyū-dai daisu, can only be used with the ro.

In China, tana of this sort were made as writing desks (with the user seated beside it on a chair). Because the floors of Chinese dwellings were often paved with stone, it is said that the thick wooden ji-ita provided an insulated place to rest the feet (as well as helping to keep the legs braced upright).

†Ō-dana [大棚] is a tana, like the various types of daisu, that is more than half the width of the tatami wide. The fukuro-dana is another well-known ō-dana, as is the naga-ita.

Tana that are less than half the width of a tatami mat are referred to as mizusashi-dana [水指棚]. Originally these were not placed on the utensil mat, but arranged in the katte, behind the fusuma at the side of the host’s seat: in the days before Jōō created the dōko, the host slid this fusuma open and lifted the utensils into the room from the mizusashi-dana. Rikyū’s two tana that were collectively known as the Kyū-dai [休臺] (i.e., the maru-joku [丸卓] and shi-hō-dana [四方棚]) were the first mizusashi-dana to be placed on the utensil mat -- beside the ko-ita furo and the mukō-ro, respectively.

‡Tradition holds that two versions of this tana were imported from the continent. One of these was smoothly lacquered, while the other is described as having “hake-me” [刷毛目] -- raised brush-marks caused by impurities (things like powdered egg-shells and pulverized dry clay) deliberately added to the lacquer which prevents it from leveling as it sets and dries. It is not clear which version of the tana Rikyū used at this chakai (though the piece owned by the Sen family, which some say is the daisu that Rikyū used on this occasion, is smoothly lacquered).

The green-lacquered kyū-daisu with red trim favored by Sen no Sōtan was derived from the Sōho-dana (it was originally made for use when Sōtan served tea to Tōfukumon-in Masako [東福門院和子; 1607 ~ 1678] -- the granddaughter of Tokugawa Ieyasu and consort of Emperor Go-mizu-no-o -- and her court; her name is also pronounced Kazuko). However, Sōtan’s daisu was smaller than the Sōho-dana, the ten-ita and ji-ita are the same size, and the style of lacquer is ikkan-bari [一閑張り] (a layer of paper, with the smooth side facing the wood, is pasted onto the tana first, and the lacquer is applied over the paper; this gives a softer finish as well as requiring less lacquer to obscure the natural imperfections in the wood, and was technically less challenging to produce -- Hiki Ikkan [飛来一閑; 1578 ～ 1657 ] was a friend of Sotan’s, and it seems Sotan encouraged him to try his hand at lacquer work since Ikkan could not find a regular job).

In the case of the Sōho-dana, the ten-ita is larger than the ji-ita.

**The ten-ita was 2-shaku 9-sun 5-bu by 1-shaku 4-sun; and the ji-ita was 2-shaku 7-sun 5-bu by 1-shaku 3-sun.

††In 1586, after learning the gokushin-temae from Rikyū, Hideyoshi forbade Rikyū to teach this temae to anyone without his express permission. (The reason is because the gokushin-temae itself, along with the very exacting arrangement of the utensils on the daisu, was originally created as a way to enter and maintain a state of samadhi. This experience is very empowering, especially if one has not had it before, and so dangerous -- politically -- if that person’s allegiance is questionable.) As a result, it seems that Rikyū began to modify his practices in a direction away from anything resembling the classical usages, in addition to modifying the shape of the shin-daisu itself. (Because the classical way to arrange the utensils on the ji-ita was based on the specific dimensions of the daisu itself, changing the shape of the tana could help to preclude unauthorized individuals from “accidentally” recreating the original arrangement.)

‡‡Which reinforces the idea that Rikyū is here acting as a sort of proxy for Hideyoshi, something that the use of the Enjō-bō katatsuki would also have suggested.

⁷Kane no koboshi [かねのこほし].

The shape is usually described as e-fugo [餌奮]; and this koboshi was made of beaten sheet-copper (rather than bronze, since that metal was not being made in Japan at that time) that was subsequently lacquered to resemble karakane.

The so-called e-fugo shape (the name is fanciful, referring to the sack in which game-birds were cached while hawking) was originally made to receive the libations after being offered to the Ancestors in Korean Ancestor Worship rituals.

⁸Ko-mamori no chawan [木守ノ茶碗].

⁹Ori-tame [をりため].

As with all chashaku that were made to be used with a bon-chaire, the handle would have been straight, and the length determined by the chaire and the tray.

¹⁰Hanaire ・ ko-Bizen [花入・古備前].

This is the hanaire that is now known as the Korai-zutsu [高麗筒].

It is an example of Koryeo togi [고려토기 = 高麗土器] -- unglazed pottery that is fired in a nobori-gama. The Imbe [伊部] kiln (the progenitor of Bizen-yaki) was opened by a family of Korean potters who immigrated to Japan in the thirteenth century, and began to fire unglazed stoneware of the sort they had been making in Korea.

Nothing is said about the flowers*, but during this season (and since the hanaire was hung up†), the most likely choice would have been a camellia‡, with pink the preferred color in that period**. ___________ *In those days, people used flowers because of their beauty. They frequently did not know what the things were called.

And even when they knew what it was, a camellia was a camellia. The catalog of hundreds of varieties was a product of the Edo period mentality.

†The Korai-zutsu was a kake-hanaire. It was hung either on the back wall of the toko or, in Rikyū’s case (since he did not usually make a bokuseki-mado in the side wall of his toko), from a hook temporarily nailed into the minor pillar located in the outer-wall side of the toko, opposite the toko-bashira. (Hanging the kake-hanaire on the wall meant it was counted as han [半] -- “one” or “odd” -- in terms of kane-wari; hanging it on the pillar was counted as chō [調] -- “two” or “even.”)

It is because, in this latter case, the flowers are so close to the guest’s face when he goes to inspect them that he was supposed to open his fan and hold it in front of his nose, so that his breath would not disarrange the chabana.

‡Originally the word cha-bana [茶花] referred to the winter-flowering varieties of camellia.

According to Jōō, during the coldest season of the year, the camellia should feature one bud and just two leaves (the bud in this case being yang -- since it moves as it opens -- while the leaves are yin, since the plant is dormant). But when it was warmer (early winter, or spring), the branchlet should have one bud (yin, since it is the sexual organ) and three leaves (yang, since they are photosynthizing). This was one of his deepest, and most secret, teachings regarding the flowers.

**The favorite flower for chabana during Rikyū’s period was the usu-iro tsubaki [薄色椿], a pale pink camellia -- and many of his contemporaries seemed to swoon whenever the host was able to display such a flower. (Wild camellias are mostly a strong red color, and only occasionally white. In those days -- before hybridizing produced the plethora of varieties that we know today -- pink was the rarest of colors.)

¹¹Yaki-mono ・ sake, namasu, shiru ・ tataki, meshi [やき物・さけ、なます、汁・たゝき、めし].

The four dishes offered to the guests on their zen:

- sake [鮭], charcoal-grilled salmon, as the yaki-mono;

- namasu [鱠]*, as an accompaniment to the first round of sake that was served while the guests were still eating from their zen;

- tataki-shiru [敲き汁], a kind of miso-shiru with minced fowl†, sake, and wild roots (rather than katsuo-bushi and konbu) used to make the broth: since the flavor of wild fowl changes over the course of the year, a blend of white and red miso was traditionally used when making tataki-shiru, with the proportion of each adjusted according to taste‡;

- meshi [めし], steamed rice measured out and shaped in a mossō [物相].

This larger meal was appropriate since the kaiseki took the place of the guests’ breakfast. __________ *A salad made of shredded daikon and carrot, dressed with a mixture of rice vinegar, mirin (a kind of sweet sake), and soy sauce.

†Usually quail (uzura [鶉]) or some other kind of small birds (ko-tori [小鳥], the general name for the various sparrows and finches). In this case, it was probably ko-tori, provided to Rikyū by Hideyoshi’s hawkers.

‡Minced wild vegetables were added to the soup just before serving.

¹²Sui-mono ・ hoya [吸物・ほや].

Sui-mono [吸物] means a clear broth with cooked vegetables and other things served in it, in a covered bowl.

Hoya [海鞘; or sometimes written 老海鼠] is the Japanese name of the sea-pineapple (Halocynthia roretzi), a type of sea-squirt*. It is eaten in coastal areas of Korea (where it is called meong-ge [멍게]), and to a lesser extent in Japan. (Because the guests were from Tsushima and western Kyūshū, they would have enjoyed this dish -- it is possible that Rikyū became acquainted with hoya sui-mono during his long sojourn in Kyūshū with Hideyoshi and his army.)

Since the hoya consists of a leathery sack (sometimes called the tunic) filled with water, they can be transported considerable distances from the ocean, and so could be available in Kyōto during the colder months (the edible part of the animal, freshly removed from within the tunic and sliced, is shown on the right; the intact sack, on the left, is inedible).

The edible part would be rinsed, sliced, and then boiled in water (along with the roots of some wild-collected plants, or else garden plants like daikon). Some say that the water that gushes out of the tunic when it is pierced with a knife should be saved, too, and added to give the soup additional richness.

The taste of hoya is said to go especially well with sake, hence Rikyū’s use of sui-mono with hoya as the hiki-mono at this gathering. ___________ *The sea pineapple is a tunicate, a marine invertebrate animal (even though it looks more like a plant). It has root-like structures, by means of which it clings securely to underwater rocks -- since it naturally lives in shallow water near the shore, and would be buffeted by waves during low tide.

¹³Kashi ・ fu-no-yaki, kuri [菓子・ふのやき、くり].

And, as in the previous gathering, Rikyū opts for the simplicity of fu-no-yaki [麩の焼] and roasted chestnuts.

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chanoyu-to-wa · 6 years ago

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Nampō Roku, Book 2 (22): (1587) Second Month, Third Day, Midday.

22) Second Month, Third Day; Midday¹.

However, because of the lingering snow, water was not splashed in the roji².

◦ Three-mat room³.

◦ [Guests:] Daimonji-ya Yōsei [大文字屋養清]⁴, onaji Sōshun [同宗春]⁵.

Sho [初]⁶.

◦ Tōyo [東與]⁷.

◦ Kama arare [釜アラレ]⁸.

◦ On the tana: ◦ kan ・ habōki [鏆・羽帚]⁹.

▵ Shiru ko-kabu ・ tairagi [汁小カブ・タイラキ]¹⁰.

▵ Tai ko-tsuki [鯛子付]¹¹.

▵ Kuro-me [黒メ]¹².

▵ Ae-mono [アヘ物]¹³.

▵ Kashi iri-kaya ・ shiitake [菓子イリカヤ・椎茸]¹⁴.

[Go [後].]¹⁵

◦ In a basket, me-yanagi [メ柳]¹⁶.

◦ On the tana: ◦ chaire ko-natsume [茶入小ナツメ]¹⁷.

◦ Mizusashi Seto [水指セト]¹⁸.

◦ Hishaku [ヒシヤク]¹⁹.

﹆ Futaoki Rinzai [蓋置臨濟]²⁰.

Su [ス]²¹.

◦ Chawan Mishima [茶碗三嶋]²².

[The chawan was] placed inside the mentsu [メンツ] and brought in [from the katte, at the beginning of the temae]²³.

_________________________

¹Ni-gatsu mikka, hiru [二月三日、晝].

The Gregorian date of this chakai was March 11, 1587. It is early spring, with some hard-packed snow still lingering in the shaded places in the front garden of the Shū-un-an [集雲庵], where this gathering was held.

²Tadashi zan-setsu yue, roji mizu utazu [但殘雪故、露地水ウタズ].

Zan-setsu [殘雪] means “lingering snow,” and this refers to the hard-packed snow that remains in places that are shaded from the sunlight after all of the rest of the snow has melted.

While Rikyū's roji had very few tobi-ishi [飛び石] (stepping stones)*, the arrangement of the garden of the Shū-un-an (where this gathering took place) is not known†.

In order to protect the lingering snow, water was not splashed in the roji. It may have been poured over the stepping stones‡, however, if Rikyū felt this was necessary. ___________ *Rikyū's roji was primarily planted with turf grass. The garden had tobi-ishi only near the koshi-kake, in front of the chōzu-bachi, and under the genkan (leading up to the nijiri-guchi of the small room).

†The garden of the Shū-un-an, as a monastic residence, would not have been laid out like a roji (it having been built by Ikkyū Sōjun's illegitimate son Giō who is not known to have been a practitioner of chanoyu -- and, in any case, the concept of the roji did not exist before the middle years of Jōō's lifetime). Most likely, it had a fairly straight, paved path leading from the gate to the pair of shōji that were used as the guests' entrance -- since, as the leader of the monks, its resident would have been the frequent recipient of official communications from the abbot.

After the Shū-un-an was looted and burned down (according to the monks of the Nanshū-ji, by elements of the Imperial Army), the site was abandoned by the temple. And after the war, it was taken over by the Sakai City government, which erected (and still maintains) a kindergarten there.

‡According to Tanaka Senshō’s commentary.

The classical teaching was that water should not be splashed in the roji during the winter months, so the question would probably be whether Rikyū felt that the beginning of the Third Month fell into this category. (In Rikyū’s day, the Third Month was the last month when the ro was used. The change to the furo came at the beginning of the Fourth Month -- though some wabi-chajin continued to use the ro all year round.)

³Sanjō shiki [三疊敷].

As mentioned above, this was the Shū-un-an [集雲庵], the residence of Nambō Sōkei, which was located within the san-mon [山門], and between that gate and the outer wall of the Nanshū-ji.

Because in this room the host faces the guests (albeit on a diagonal), it seems to create a feeling of intimacy which his 2-mat rooms may have lacked (since there is no real chance for eye-contact during most of their time together), Rikyū may have borrowed it when he had something important to discuss with his guests.

⁴Daimonji-ya Yōsei [大文字屋養清].

This refers to Daimonji-ya Yōsei [大文字屋榮清; his dates of birth and death are not known], though it appears that Rikyū has written the wrong kanji for “yō” [養, as opposed to 榮]*. He was an important machi-shū-chajin who had relocated his family from Sakai to Kyōto. The house was famously known to have been the owner of the Hatsu-hana katatsuki [初花肩衝], which Yōsei’s father presented to Oda Nobunaga in 1569. They also owned one of the most famous bokuseki written by the Song period Chán monk Xūtáng Zhìyú [虛堂智愚; 1185 ～ 1269] (pronounced Kidō Chigu in Japanese), which was therefore known as the Daimonji-ya Kidō [大文字屋虛堂]*. ___________ *This scroll is usually known as the yabure Kidō [破れ虛堂] -- “torn Kidō” -- today. This sobriquet derives from an episode that occurred later in the scroll’s history, when it was damaged (in the early Edo period, circa 1637) by an apprentice who worked in the Daimonji-ya establishment.

The scroll was very carefully repaired, and the damage is not apparent when the scroll is viewed from the usual distance.

⁵Onaji Sōshun [同宗春].

This person has not been identified, though he was perhaps a younger brother of Daimonji-ya Yōsei*. As the family owned a number of very famous -- and enormously expensive -- tea utensils, it was likely that all of the sons cultivated an interest in chanoyu.

This is the only instance where Sōshun is mentioned in Rikyū's surviving kaiki. ___________ *Onaji [同] is not a surname -- as the various Japanese commentators suggest. It means that the surname is the same as for the previous guest -- this kaiki contains many abbreviations of this sort, because it was intended for no eyes but Rikyū’s.

⁶Sho [初].

The shoza.

In terms of kane-wari, the shoza was arranged as follows:

- the kakemono was displayed in the tokonoma by itself, so the toko was han [半];

- the kama was placed in the ro, making the room han [半] as well;

- and the go-sun-hane and kan were arranged side by side on the tsuri-dana, making it chō [調].

Han + han + chō is chō. This was appropriate because this chakai was taking place in the afternoon.

⁷Tōyo [東與].

This refers to a bokuseki written by the Yuan period Chán monk Dōnglíng Yǒng-yú [東陵永璵; 1285 ~ 1365]* (whose name is pronounced Tōryō Eiyo in Japanese).

Dōnglíng Yǒng-yú is said to have been related to the great Chán master Wúxué Zǔyuán [無學祖元; 1226年 ~ 1286] (Mugaku Sogen in Japanese). Both Wúxué and Dōnglíng emigrated to Japan in order to spread the orthodox Chán teachings.

Dōnglíng Yǒng-yú was a follower of the Sōtō sect [曹洞宗] of Chán; and, as mentioned above, he came to Japan in Shōhei 6 [正平六年] (1351). Although he was a monk of the Sōtō Shū, he served as the abbot (jūji [住持]) of a number of important Japanese temples that had no affiliation with that sect, among which were the Tenryū-ji [天龍寺] and Nanzen-ji [南禪寺] in Kyōto, and the Kenchō-ji [建長寺] and Enkaku-ji [圓覺寺] in Kamakura. __________ *When writing this abbreviated version of his name (it uses the first and last of the four kanji), Rikyū has mistaken the second kanji -- writing yo [與], rather than yo [璵]. The first of these was, of course, the first syllable of Rikyū’s own childhood name (Yoshirō [與四郎]), and this may be the reason for his error.

⁸Kama arare [釜アラレ].

This was Rikyū's ko-arare uba-guchi kama, made by Yoshirō, the kama-shi who appears to have returned with Rikyū from Korea.

⁹Tana ni kan ・ habōki [棚ニ鏆・羽帚].

The kan and habōki (a go-sun-hane [五寸羽]) were arranged side by side on the tsuri-dana.

The rule was that the habōki should always be closest to the wall when arranged in this way.

¹⁰Shiru ko-kabu ・ tairagi [汁小カブ・タイラキ].

This was probably a clear soup (the turnip roots and scallops were boiled in ni-ban dashi, with the chopped leaves of the turnips added shortly before the soup was served so they would be crisp).

Ko-kabu [小蕪] are, as stated above, immature turnips*, both the leaves and roots of which were included in the soup.

Tairagi [たいらぎ = 玉珧] is commonly known as the Japanese scallop or comb pen-shell†. It is the kai-bashira [貝柱] (the muscle that opens and closes the shells) of this mollusk that is eaten. The scallops were cooked by being boiled in the broth in which they would be served. __________ *Turnips were among the various brasscaceous plants usually grown in the kitchen garden as a source of fresh greens during the winter and early spring.

†Atrina pectinata.

¹¹Tai ko-tsuki [鯛子付].

Tai [鯛] is the sea bream. Ko-tsuki [子付] means that the tai contained eggs -- which were considered a special delicacy.

While it is possible to grill the tai*, it seems that, more commonly, a sea bream that is gravid with eggs is cut into large pieces and boiled in flavored broth, or possibly steamed (either of which methods of cooking solidifies the egg mass so that it can be sliced). Thus, the tai was more likely a sort of ni-mono course. __________ *And Kumakura Isao states unequivocally that the tai ko-tsuki was the yaki-mono. However, it must be understood that he is trying to interpret the kaiki in the Nampō Roku through the medium of 20th century Urasenke practices, and this highly regimented form is not really applicable to the nature of Rikyū's kaiseki.

¹²Kuro-me [黒メ].

Kuro-me [黒布], as has been mentioned before, is a type of seaweed that is eaten during the colder months. It somewhat resembles kelp, though it is a dark brown-black in color (hence the name, which means “black cloth”), rather than green. Kuro-me was usually served raw, dressed with a mixture of rice vinegar, sesame oil, soy sauce (or, perhaps, iri-zake), sugar, salt, and ginger juice.

¹³Ae-mono [アヘ物].

Ae-mono [和え物] is a salad-like dish, containing julienned vegetables (and sometimes fruits or fruit rind -- skin of the yuzu seems to have been popular during Rikyū's period), and occasionally finely sliced raw fish as well, all of which would be mixed together with a rice-vinegar-based dressing.

¹⁴Kashi iri-kaya ・ shiitake [菓子イリカヤ・椎茸].

Iri-kaya are the nuts of the Japanese allspice tree (Torreya nucifera)* that have been roasted (iri [煎り]) in a shallow pan over a charcoal fire.

Shiitake [椎茸] mushrooms, when being prepared for use as a kashi, are lightly salted while they are grilled on skewers over charcoal. __________ *The kaya [榧] is also known as the Japanese nutmeg-yew. It is a coniferous tree in the family Taxaceae, in which the true yews (which the kaya resembles in its foliage) are also found. The seeds of the true yews (Taxus spp.) are toxic to humans -- as are all parts of the plant except for the fleshy aril (which surrounds the seed).

¹⁵Go [後].

This notation is missing from the Enkaku-ji version of the kaiki. From this point begins the description of the goza.

With respect to the kane-wari:

- the tokonoma contained the chabana, arranged in a bamboo hanaire that ws suspended on the back wall, and so was han [半];

- the room held the kama and the mizusashi, upon which was placed the hishaku, and with the futaoki standing in front of it (squarely placed on the kane), and so was chō [調];

- and the tea container -- a small natsume -- was placed in the center of the shelf, which removed it from contact with the kane, and so the tana was chō [調].

Han + chō + chō is han, which is correct for the goza of a gathering that is held during the daytime.

¹⁶Kago ni me-yanagi [籠ニメ柳].

The basket was most likely Rikyū's Katsura-kawa kago [桂川籠], which would have been hung on the hook attached to the back wall of the tokonoma.

The flower was a budding branch of the weeping willow (me-yanagi [目柳 or 芽柳]*), arranged so that it arched toward the temae-za. While it is possible that the branch actually had willow flowers on it, more likely the "buds" were leaf buds -- to show the arrival of early spring. __________ *This expression is an abbreviation. In full, it is me-bari-yanagi [目張り柳] -- which means a branch of weeping willow with the (leaf) buds starting to expand.

¹⁷Tana ni chaire ko-natsume [棚ニ茶入小ナツメ].

This would have been an ordinary black-lacquered small natsume*, tied either in a shifuku or in a small purple-dyed furoshiki (the model for the modern-day temae-fukusa).

__________ *Tanaka Senshō -- apparently, in an effort to make the kane-wari come out as he wants it to -- decided that, in this entry in the kaiki (and unlike all other instances where Rikyū used the same formula), chaire ko-natsume [茶入小ナツメ] means that Rikyū arranged both a chaire (of what sort it is impossible to imagine -- and Tanaka gives no hint of what he was thinking it might have been) and a ko-natsume (the latter for usucha -- which would also have been contrary to Rikyū’s usual practices) on the shelf: an argument which Kumakura Isao rather mindlessly apes in his interpretation of this chakai.

Shibayama Fugen argues (contrary to the way the kaiki is formatted) that the tana held not only the natsume, but also the futaoki and hishaku (which would hardly be treating the futaoki appropriately: but at least he interprets “chaire ko-natsume” to mean that “the chaire [was a] ko-natsume” as is consistent with Rikyū’s usual usage).

As I wrote earlier in this blog, I am of the opinion that the tsuri-dana -- as a direct derivative of the naka-dana of the fukuro-dana -- should partake of the fukuro-dana’s 7-kane system (even though the utensil mat, as a kyōma-datami, itself uses the 5-kane system). In such a case, displaying the ko-natsume in the center of the tana disassociates it from either of the kane that cross the shelf, thus making it chō [調] (the ko-natsume is 1-sun 9-bu in diameter), as can be seen in the sketch that follows footnote 19, below.

¹⁸Mizusashi Seto [水指セト].

This was Rikyū's Seto mizusashi, that had been made to Jōō's specifications (and originally intended for use on the fukuro-dana).

¹⁹Hishaku [ヒシヤク].

The hishaku was placed on top of the mizusashi, to lock its lid, with the handle extending toward the right -- as shown in the sketch of the utensil mat, below.

²⁰Futaoki Rinzai [蓋置臨濟].

This was the bronze name-seal that had been made for the great Chán monk Línjì Yìxuán [臨濟義玄; ? ~ 866], on the orders of the Emperor of China. In the Enkaku-ji version of the text, this entry is marked with a red spot (shown here by a “﹆“ mark), to indicate that this is the “special utensil” that was used during this chakai.

This futaoki had originally belonged to Nōami [能阿弥; 1397 ~ 1471], and it was he that first used it as a futaoki -- and who laid down the rules for its use. This futaoki has not been mentioned since the early Edo period, and its whereabouts are not known.

Rikyū may well have determined the tori-awase for this chakai based on a desire to use this very special futaoki (given the great treasures associated with the Daimonji-ya house, the guests would probably have been disappointed had Rikyū used only ordinary things during this gathering), and his handling of it was intended to draw their attention to it*.

While Tanaka Senshō suggests that the Rinzai futaoki was placed on the left side of the mat, with the hishaku resting on it (and the handle of the hishaku parallel to the heri -- as is often done at the end of a temae), the arrangement shown in the sketch (above), with the futaoki squarely on the kane, seems more likely -- since it would afford the guests the chance to look at this precious futaoki when they entered the room for the goza. During the goza of this chakai, the futaoki was decidedly the highlight of the za, so Rikyū certainly would have displayed it in a way that called attention to its presence. ___________ *Displaying it by itself in the middle of the mat, as an hitotsu-mono [一つ物] (this expression -- which will be explained more fully in Book Six of the Nampō Roku -- means a meibutsu utensil that is displayed squarely on its kane, in order to call special emphasis to its special ranking) would have been inappropriate, since this object is merely the futaoki, not the chaire or chawan.

Nevertheless, it may have been because of the way that Rikyū arranged the futaoki that a small natsume was used, one that would fit between the kane when placed in the middle of the shelf.

²¹Su [ス].

The things mentioned after this notation were brought out from the katte at the beginning of the temae.

²²Chawan Mishima [茶碗三嶋].

This was Rikyū's Mishima chawan, which he seems to have brought back from Korea.

This bowl was originally made as an ordinary rice bowl.

Arranged in the chawan were the chakin, chasen, and a ori-tame [折撓] of Rikyū's own making (above -- though the chashaku is not actually mentioned in the kaiki), as usual.

²³Mentsu no uchi ni irete hakobu [メンツノ内ニ入テハコフ].

The chawan (containing the chakin, chasen, and chashaku) was placed inside a mentsū [面桶], and in this way all of these things were brought into the room in a single trip.

Since it was a rule that the host should minimize the number of trips between the utensil mat and the katte when serving tea in the small room -- and this idea seems to have included how many times he turned back from the temae-za to the katte-guchi -- placing the chawan inside the mentsū (which was always brand new) made the beginning of the temae simpler.

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trendingnewsb · 8 years ago

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Turkey’s shell-shocked opposition struggles to find a way forward

Ankara, Turkey (CNN)Turkish citizens who did not want to give more powers to President Recep Tayyip Erdogan had a very hard Monday.

There was quiet discontent in Ankara, as if its pockets of opposition had been zipped tight.

Duysen Talas, a 28-year-old born in the capital, Ankara, was slouched over in a chair of the pro-Kurdish opposition party Peoples’ Democratic Party (HDP) headquarters.

Erdogan declared victory on Sunday night after state-run media Anadolu reported 51.4% voted for his “Yes” campaign.

Even as the ballots were being counted on Sunday, the board decided to allow unstamped ballots to pass as legal votes — a move that the opposition says gave the green light to voter fraud.

Challenges to the result may come, but the there is no indication that it will not stand.

At HDP headquarters, Talas, who lives in Austria but had flown to Turkey for the referendum result, told CNN he “was expecting this fraud.”

Turkey’s referendum: One thing to know

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