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aishangotome · 5 months ago

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Minamoto no Yoshitsune: Chapter 5

Chapter 4

♡———♡

Yoshino: Yoshitsune-sama…?

???: …

When I called out to him hesitantly, the man turned around and removed his mask…

Yoshitsune: How did you know?

He tilted his head in wonder.

(It really was Yoshitsune-sama!)

Yoshino: Wh-Why are you... here of all places...?

(I thought the next time we'd meet would be on the battlefield...)

I called out to him on impulse, but my body stiffened at the realization that I was alone with an enemy commander, and I took a step back.

Yoshitsune: Don't be so wary. I have no intention of causing a commotion here.

Yoshino: Is that so...?

(But I can't imagine him coming to enemy territory alone. He must have someone with him...)

As I looked around, Yoshitsune-sama spoke as if he had read my mind.

Yoshitsune: I came to Kamakura alone.

Yoshitsune: I didn't even tell Benkei and the others. I infiltrated under the cover of the festival's commotion.

Yoshino: Infiltrated...?

To my question, Yoshitsune-sama kept his distance and threw out words.

Yoshitsune: Well, you've discovered my true identity, haven't you?

Yoshitsune: It was a waste, even though I tried to appear with a mask I luckily had with me.

(He went through the trouble of wearing a mask to hide his identity from me. But...)

Yoshino: Why did you even have a mask in the first place? Was it perhaps for a disguise or something...?

Yoshitsune: No.

He looked down at the fox mask, looking a little disappointed.

Yoshitsune: I don't dislike the festival atmosphere. I thought I could enjoy it a little.

(Wh-What an unexpected reason!)

(Is Yoshitsune-sama... a bit of an airhead?)

Yoshitsune: ––Anyway,

Yoshitsune: I promise I won't harm Yoshino tonight.

Yoshitsune: In exchange, you must not make a fuss until I leave.

(So it's not reconnaissance either?)

Yoshitsune-sama's straightforward words didn't seem to contain any lies.

(I know it's dangerous to trust an enemy commander, but...)

(Yoshitsune-sama kept his promise to 'spare me' before.)

(And most of all, he saved me when I was about to be assaulted by bandits.)

Encouraged by this fact, I lowered my guard.

Yoshino: Um, it's a bit late to ask, but why did you save me?

Yoshitsune: That's...

Yoshitsune-sama opened his mouth slowly, his expression unchanged.

Yoshitsune: I have no right to judge you either.

Yoshitsune: It leaves a bad taste to ignore someone when you have the means to help.

(Ah––)

**cabin flashback**

Yoshitsune: Why did you help him, knowing he was your enemy?

Yoshino: What…?

Yoshitsune: Answer me.

Yoshino: Well…

Yoshino: …I’m a pharmacist.

Yoshino: Having the means to treat someone and yet ignoring an injured person right in front of you is akin to being a murderer.

**end of flashback**

Back then, Yoshitsune-sama dismissed me, but he also said... "Everyone has contradictions."

(If he hates Yoritomo-sama enough to borrow the power of ayakashi,)

(Then surely he should kill me, who cooperates with Yoritomo, by any means necessary.)

And yet, Yoshitsune-sama extended a helping hand to me in my time of need.

Yoshino: Th... thank you, Yoshitsune-sama.

Yoshitsune: I did it of my own accord.

His nonchalant dismissal of his actions felt somewhat dazzling.

––At the same time, I recalled the day I saw Yoshitsune-sama in battle.

(I was chilled when I saw him charge towards the enemy without fear of injury.)

He skillfully maneuvered his horse, advancing towards the enemy.

Many soldiers were repelled by the overwhelming difference in strength.

(And yet...)

No matter how skilled he is in tactics, no matter how dangerous his fighting style, Yoshitsune-sama always sticks to his principles in the end.

(I don't think Yoritomo-sama would fight so recklessly. But...)

**imperial palace flashback**

Yoritomo: I intend to guarantee your personal safety, at the very least, since I’m bringing a mere woman onto the battlefield.

Yoritomo: However, there’s no such thing as absolute safety, as you experienced in the previous battle.

Yoritomo: Even so, it is the shogunate’s decision to continue involving you in this matter.

Yoritomo: Therefore, if you choose to cooperate with us of your own volition, it would be only fair to guarantee you better treatment than before.

**end of flashback**

(The more I get to know Yoritomo-sama, the more I feel that he is a fair person, even if it's hard to understand.)

(... There are some similarities between Yoritomo-sama and Yoshitsune-sama after all.)

The fact that these two were enemies caused a sharp pain in my chest.

Yoshitsune: Yoshino? Is something wrong?

Yoshino: ...N-No, it's nothing.

I was startled to realize that I had unconsciously clenched my fingers.

Yoshitsune: I see. Then, I must be going.

(...!)

As Yoshitsune-sama turned to leave, I called out to him on impulse.

Yoshino: Wait!

Yoshitsune: What is it?

(Oh no, I just...)

I was confused, not knowing why I had called out to him.

But for some reason, I felt like I shouldn't just let him go like this.

My eyes suddenly fell on the package I was holding.

Yoshino: ...Do you dislike dango?

Yoshitsune: ...Dango?

Yoshino: I just bought it at a stall. Would you like to eat it as a thank you for helping me?

Yoshitsune: There's no need for thanks. I did it of my own accord.

Yoshino: That's not how it works. I'd feel bad if I didn't do anything...

Yoshino: Ah, perhaps you don't eat dango? Should I have bought something else?

(Was it rude to offer food from a stall in the first place...?)

Yoshitsune-sama furrowed his brow slightly, as if a little perplexed by my anxious rambling.

Yoshitsune: That's not the case, but...

Yoshino: Th... then, please.

Yoshitsune: Very well.

(Thank goodness...)

We sat side by side on the stone steps, and I quickly took out the dango.

Yoshino: Here you go.

Yoshitsune: Ah. Thank you.

Yoshitsune-sama received the dango and casually popped it into his mouth.

Yoshino: Wow... It's so chewy and delicious.

Yoshitsune: ...Indeed.

(I should buy some for Tamamo as a souvenir.)

(Ah, but he's a gourmet, so he might say, "Dango from a stall?")

Yoshitsune: ............

(Huh? ...He seems to be frozen.)

Yoshino: ...Lord Yoshitsune? Did you not like it?

Yoshitsune: The taste is fine.

Yoshitsune: ...But this dango is quite chewy and a bit of a struggle.

Yoshitsune: It's difficult to time the chewing.

(Eh?)

Yoshino: Does that mean you don't like chewy things?

Yoshitsune: It seems so. It makes me sleepy while eating.

(Yet another unexpected side of him...)

(The difference between his appearance and his demeanor on the battlefield is truly extreme!)

Yoshino: I'm sorry, I didn't know... I should have gotten something else.

Yoshitsune: It's alright.

Yoshitsune: Your gratitude has been conveyed sufficiently.

Yoshino: Yoshitsune-sama...

(He really is... a sincere person through and through.)

--CHOICES--

You're so kind

Thank you

I'll choose something different next time

--------------

Yoshino: You're kind.

Yoshitsune: I merely stated the obvious.

Yoshitsune: But if that's how you see it, then so be it.

Having finished the dango, Yoshitsune-sama mutters to himself.

Yoshitsune: ...What a pleasant breeze.

The leaves rustle in the night wind, creating a soothing sound.

As I listen to the sound of the leaves and look up at the night sky, I see a pale moon floating.

Yoshitsune: The moon is beautiful tonight.

Yoshitsune: The moon seen in Hiraizumi is no different in beauty from the moon seen in Kamakura.

(Speaking of which...)

Yoshitsune-sama's words remind me of our first encounter.

Yoshino: You said you came to Kamakura alone, didn't you, Yoshitsune-sama?

Yoshitsune: If Benkei-san knew, he would nag me endlessly.

(Benkei-san... is that the scary-looking guy?)

(He's surprisingly overprotective...)

Yoshino: Why did you come all the way to Kamakura?

Yoshitsune: Well...

Yoshitsune-sama's eyes seemed to darken in the night.

A brief silence filled the air as I held my breath, and then a low voice echoed in the wind.

Yoshitsune: I wanted to see the town I would eventually destroy one last time before the battle.

(The last time...?)

Yoshino: Have you been to Kamakura before?

Yoshitsune: I stayed here when I was under Yoritomo-sama.

Yoshitsune: I was quite fond of Kamakura, but...

Yoshitsune: Shortly after the war with the Heike, I was exiled by Yoritomo-sama.

Yoshino: That's terrible...

(To think that it was his own brother who exiled him...)

Yoshitsune: That's why I came here to burn this last image into my memory.

Yoshitsune: ...The town and its people. They haven't changed from my memories.

Various emotions cast fleeting shadows on his sculpted, white profile.

Only he could know what those feelings were.

(But... I feel like I've touched Yoshitsune-sama's heart a little.)

We both fell silent, lost in our own thoughts, when––

???: Hey, hey...

(A child's voice...?)

A small boy emerged from the trees.

Boy: ...Oh man, he's not here either.

Yoshino: What's wrong? Are you looking for someone?

Boy: Ah, there are people here!

The boy notices us and approaches.

Boy: Have you seen my little brother? He's wearing a blue kimono...

Yoshino: No, I haven't seen him.

Boy: I see...

Yoshitsune-sama suddenly speaks to the dejected boy.

Yoshitsune: Did you get separated?

The boy flinches at the quiet question, then nods timidly.

Boy: Yeah... We had a fight, and he ran off.

Yoshino: Oh dear, that's worrying.

(With so many people in town, it must be hard to find someone once you're separated...)

Boy: It was his fault to begin with. But maybe I got too angry...

Boy: ...I looked everywhere, but I couldn't find him.

The boy clenches his small hands and tears well up in his eyes.

Boy: He must hate me now...

(Ah... It's easy to feel insecure after a fight.)

Yoshino: It's alright––

As I start to speak--

Yoshitsune: There's no brother who can easily hate his older brother.

(Yoshitsune-sama...?)

Yoshitsune-sama's words made the boy blink.

Boy: Really...?

Yoshitsune: Yes.

Yoshitsune-sama gently placed his hand on the boy's head.

Yoshitsune: But it's better to get along from now on.

Yoshitsune: ––Because people can't always walk the same path forever.

(Ah...)

Yoshitsune-sama's profile, illuminated by the moonlight, floated whitely in the darkness.

(I've never seen anyone with such a sad face.)

Even though his expression shouldn't have changed...

My heart tightened at the emotions quietly swirling in his eyes.

(Why does he look like that?)

I was incredibly curious, but...

(...I need to think about this child right now.)

I met the boy's eyes and spoke to him gently.

Yoshino: If you'd like, I can help you look for him.

Boy: Really?

Yoshino: Of course!

Yoshitsune: Then I shall join the search as well.

Yoshino: Really!?

Boy: Th-Thank you, big brother, big sister!

(But...)

I whispered to Yoshitsune-sama.

Yoshino: Is it alright? What if someone sees your face?

Yoshitsune: No one would think I'd be attending a festival with women and children.

Yoshino: Ah, that's true...

Yoshitsune: Besides, if need be, I can carve a path for myself even if I become a fugitive.

(He's that confident in his abilities.)

Yoshino: ...I understand. If you say so.

Yoshitsune-sama nodded once and looked around.

Yoshitsune: We haven't seen your brother since we've been here. Let's go out into the town.

Yoshino: Yes, he might be wandering around, drawn by the festival sounds.

I held out my hand to the boy.

Yoshino: Let's hold hands so we don't get separated, okay?

Boy: Okay!

The boy smiled brightly and took my hand.

Then, he boldly reached out his other hand to Yoshitsune-sama.

Boy: Here, big brother!

Yoshitsune: .....

(Wow...)

Yoshino: Um, this person... well, he's not the type to do that sort of thing...

Yoshitsune: Is this alright?

(Eh?)

Yoshitsune-sama, who had taken the boy's hand, asked flatly.

Boy: Yeah! Let's go, let's go!

Yoshino: W-Wait...!

I was pulled along by the boy, who started walking excitedly.

(...This feels strange. How do we look to others?)

(We certainly don't look like a family.)

Perhaps because the festival music was getting closer, I felt strangely restless.

(I wonder what Yoshitsune-sama is thinking?)

I glanced at his white profile, but as usual, I couldn't read his expression.

The town was even more crowded than before.

Yoshitsune: He doesn't seem to be here... Let's try looking over there.

Yoshino: Yes.

(I hope we find him soon...)

Boy: ...Ah!

Yoshitsune: What is it?

Chapter 5 Premium Story

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archiveikemen · 4 months ago

Text

Minamoto no Yoshitsune Main Story: Chapter 14

This is a fan-made translation solely for entertainment purposes with no guaranteed perfection; expect mistakes, grammatical errors, and some creative liberties. All original content and media used belongs to Cybird. Please support the game by buying their stories and playing their games. Reblogs appreciated.

Read this before interacting┊aikm’s Genjiden Glossary

Yuno: But you don’t have to thank me…

(I was only doing what I should.)

Yoshitsune: Then let me rephrase it.

He took my hand and his amethyst eyes gazed into my eyes.

Yoshitsune: Come with me as an apothecary to ensure that I don't reopen my wound.

Yuno: … It’s not fair if you put it that way.

(I can’t refuse to perform my duties as an apothecary.)

Yuno: Understood. I’ll go with you.

Yoshitsune: Okay.

Yoshitsune-sama’s eyes softened when I nodded.

(I turned down the offer earlier, but…)

(I’m glad I can go outside for a bit as it's been a while since I last did.)

Yuno: Um… thank you, Yoshitsune-sama!

Yoshitsune: You’re welcome.

Yoshitsune: I’m relieved to finally see you smile.

Yuno: Eh…

(... I know there’s definitely no deeper meaning behind that but…)

Yuno: You’re amazing for being able to say such things so naturally, Yoshitsune-sama.

Yoshitsune: Did I say something strange?

Yoshitsune: I apologise if my words offend you.

Yuno: That’s not the case. I apologise for my weird comment.

(I was merely leading myself on.)

I smiled at Yoshitsune-sama who stared at me confused.

And then a slight smile formed on his lips again.

Yoshitsune: That’s a relief. Then, shall we go?

…

I quickly got ready and went outside,

(Huh?)

In front of the mansion stood Yoshitsune-sama and only one horse.

Yuno: Yoshitsune-sama, is no one else accompanying us?

Yoshitsune: I don’t need that just to go out to town.

Yoshitsune: In fact, I’m not fond of having a large entourage.

Yuno: … You were alone that night at the festival in Kamakura too.

(But is it really okay for the two of us to be alone together even when I’m a hostage?)

Yoshitsune: I know better than anyone that you won’t try to escape.

Yoshitsune: Besides, wouldn't having my vessels around make you feel anxious? This won't be a proper recreational trip if you feel that way.

Yuno: … How did you know what I was thinking?

Yoshitsune: I thought so because you’re an earnest person.

Yoshitsune: Am I wrong?

Yuno: No… you’re right.

Yoshitsune: I see. Then that should clear all your doubts.

Yoshitsune-sama extended his hand to me with a smile.

Yoshitsune: Take my hand.

Yuno: Okay…

He helped me onto the horse and my field of view became taller.

(... um.)

The feeling of his chest pressed against my back made my heart race.

When he grabbed the reins, our bodies came closer.

(My heart is beating really fast for some reason…)

Yuno: … I think I might be nervous.

Yoshitsune: You're not used to riding on a horse?

(Hya…)

I shivered when I felt his breath brush against my ear.

Yoshitsune: Your body feels tense indeed.

Yuno: Umm, t-that’s…

(I can’t tell him that it’s because he’s making my heart race.)

Yuno: That’s right. I’m not used to horses.

I quickly came up with a white lie.

Yoshitsune: This horse is well-trained.

Yoshitsune: It’s calm and tame, so you don't have to worry.

(Whoa…)

Yoshitsune-sama wrapped an arm around my waist.

Yoshitsune: Just lean on me and trust me.

Even through the fabric of my kimono, I could feel his sturdy physique. My body gradually grew hotter.

(I hope he doesn't notice!)

Yoshitsune: Hold on if you’re scared.

The horse started galloping at a comfortable pace.

…

(This is Hiraizumi!)

There was a market being held in town, and it was bustling with people.

Hiraizumi wasn’t as big as Kamakura, but it was full of life.

(There's so many children… everyone has nice smiles too.)

(They must really love this town.)

Yuno: What a wonderful town…!

Yoshitsune: I agree. This town was built up by the hands of its people.

Yoshitsune: There’s only so much I can do for it.

Yoshitsune: The townspeople are to thank for making this town this wonderful.

I could tell from Yoshitsune-sama’s tone that Hiraizumi meant a lot to him.

Yuno: This town is irreplaceable to you too, right, Yoshitsune-sama?

Yoshitsune: Yeah.

Commoner 1: Oi, isn’t that…?

Commoner 2: Yeah… it’s Yoshitsune-sama.

(Oh.)

The townspeople started whispering amongst themselves when they noticed us, their eyes filled with admiration for Yoshitsune-sama.

Commoner 3: Eh? It’s Yoshitsune-sama…

The whispering spread like ripples,

When Yoshitsune-sama passed through, the bustling town went quiet.

(Amazing…)

In Kamakura, people cheered and sang Yoritomo-sama’s praises wherever he went.

But the scene before me was entirely different.

Commoner 4: … I heard he fought like a demon in a recent battle.

Commoner 5: He’s our hero indeed… he’s like a god.

Commoner 6: Praise the heavens, praise the heavens…!

The townspeople looked at Yoshitsune-sama as though he were a deity.

(This isn’t ordinary adoration…)

(To the townspeople, Yoshitsune-sama is a person of great significance.)

Commoner 7: By the way, who’s the woman on the horse with him?

Commoner 8: Is she perhaps his beloved Lady*…?

*Word used here is 姫君 which refers to the daughter of someone with high authority e.g. a nobleman’s daughter.

(Beloved…)

An uneasy feeling crept up to me when I noticed that the attention was on me too.

Yoshitsune: Yuno? What’s wrong?

Yuno: N-No, it’s nothing.

(He doesn't seem to notice it.)

Amidst the whispering from the townspeople, Yoshitsune-sama calmly continued moving forward on his horse.

Yuno: Is this how it’s always been?

Yoshitsune: What do you mean?

When I asked in a low voice, Yoshitsune-sama leaned in closer.

Yuno: I feel like we’re attracting a lot of attention.

Yoshitsune: Not really. Although, I think it’s natural for the people to be curious about my movements due to my position as the Supreme Commander of the army.

(No, no…!)

(Yoshitsune-sama naturally draws attention to himself by simply existing. This is nothing new to him.)

Yoshitsune: We can speed up a little if it’s bothering you.

Yuno: Whoa.

He adjusted his grip on my waist and the horse gradually picked up speed, the townspeople’s whispers trailing off behind.

Yoshitsune: Let me know if you're scared.

Yuno: No, I'm alright! Actually, the breeze feels nice…

With the breeze surrounding me, I looked around with my eyes wide open.

Yuno: Horse riding is fun.

Yoshitsune: Glad you’re enjoying it.

(My heart rate is bothering me, but perhaps it’s because I feel safe in Yoshitsune-sama’s arms…)

My skin heated up slightly as I recalled the warmth I felt on the night he protected me from the ayakashi in the garden.

The exhilarating feeling grew too much to handle, I watched the passing scenery of the town.

Yuno: At any rate, this town is really beautiful…

Yoshitsune: Hiraizumi was once known as a city of gold.

Yuno: A city of gold? That sounds kind of fancy.

Yoshitsune: It was probably due to the gold mines of Oshu.

Yoshitsune: Extravagant amounts of gold were produced, the lord’s mansion and even commoner’s houses were made of gold.

(I can’t imagine a town where everything is made of gold…)

Hiraizumi still had many buildings with beauty that rivalled that of gold.

(Wait, but…)

Yuno: I noticed a couple of houses that look as though they were burnt down.

The burnt houses appeared more obvious in contrast to the beautiful buildings around them.

Yuno: Did a fire break out…?

Yoshitsune: It wasn’t a fire.

Yoshitsune: It was Yoritomo-kou’s troops.

(... I see.)

Yuno: Hiraizumi was attacked by the Shogunate.

Yoshitsune-sama’s eyebrows turned into a slight frown at the sight of me tightly pressing my lips shut.

Yoshitsune: I didn't mean to bring that up. Pardon me.

Yuno: It’s fine… it was thoughtless of me to ask.

(It’s inevitable that I’ll one day have to fight against Yoshitsune-sama.)

Initially, I ended up on the Shogunate’s side due to my circumstances.

But now, I’ve chosen to support them on my own free will.

I told myself that time and time again.

(So… why do I feel so lost?)

(My purpose of getting closer to Yoshitsune-sama was that I hate going to war without knowing a thing.)

(Where I stood was clear in my mind.)

And yet, I now realised that feelings I was never aware of had grown deep inside of me and were starting to show.

That realisation shocked me.

(... I don't want to hurt Yoshitsune-sama.)

(I’m afraid of fighting him.)

My fear wasn't of being killed on the battlefield, but of something entirely different that bound me with invisible threads.

Yoshitsune: Yuno.

Yuno: … Yes?

(I need to act normal.)

Yuno: Sorry! I got lost in my thoughts for a moment.

Yoshitsune-sama stared at me intently as I tried to laugh it off.

Yoshitsune: Let’s get moving.

After a while of riding, we arrived at the outskirts of town.

…

(Wow…!)

The green mountain range stretched endlessly surrounded by mist.

The refreshing breeze blew down from the peaks, rustling the leaves of the lush greenery.

Yuno: I’ve never seen such a magnificent view before…!

Yoshitsune: The town isn’t the only thing beautiful about Hiraizumi, its nature is beautiful as well.

Yoshitsune: Water from snow thaw circulates through the vast plot of land, nurturing its flora and fauna.

Yuno: That’s true… this must be what “picturesque scenery” means.

I took a deep breath of the fresh air.

(I feel relieved.)

Yuno: This feels different from riding through town.

Yoshitsune: Yeah. I often go on rides like this too to clear my mind.

Yoshitsune-sama’s horse appeared content, feeling him gently stroke its neck.

Yoshitsune: Good boy.

(The horse seems very fond of Yoshitsune-sama.)

Yuno: You’re really good with horses, Yoshitsune-sama.

Yuno: When you were playing the flute the other night, birds and rabbits gathered around you… you seem to be popular with animals.

Yoshitsune: That might be a little exaggerated.

Yoshitsune-sama chuckled.

Yoshitsune: I’ve always been able to get along well with horses.

Yoshitsune: I enjoy riding faster than anyone can catch up to and seeing unfamiliar sights.

Yoshitsune: Perhaps this feeling was conveyed to them. Horses are sentient creatures.

Yuno: That’s so like you, Yoshitsune-sama.

I couldn’t help but smile at his gentle words.

(Animals being drawn to Yoshitsune-sama is likely because he has a pure heart.)

Yuno: Then do you find today’s outing unsatisfying?

Yuno: You’re riding slower than usual because I’m here, right?

Yoshitsune: — No.

While handling the reins, Yoshitsune-sama pondered for a moment.

Yoshitsune: If riding fast sharpens my senses, then what I’m feeling now is the opposite.

Yoshitsune: My chest feels warm.

(That means…)

His honest words went straight to my heart.

(Even though I don't understand the reason for this feeling.)

Yuno: — Me too.

Yoshitsune: I see.

My hesitation, short response… was received by him.

After a while, the horse gradually came to a stop.

Yoshitsune: Let’s rest a little.

Yuno: Okay.

With Yoshitsune-sama’s help, I dismounted the horse.

And then, with my hand still in his, Yoshitsune-sama looked into my face.

Yoshitsune: Feeling better?

Yuno: Eh?

Yoshitsune: I’m no smooth talker, so I don’t know the right words to comfort you.

Yoshitsune: That’s why I thought of showing you my favourite scenery.

(He noticed my unease…)

A warm feeling gradually formed in my chest.

Yuno: Thank you! I’m feeling much better now.

Yoshitsune: I see.

Yoshitsune-sama let go of my hand with a smile.

(… I’m really no match for you.)

Having touched that heart, there was no escaping the uneasy feeling.

Yuno: I apologise. It was my first time seeing a town burned down by the flames of war…

Yuno: Despite being aware of what war is like, I felt upset knowing it was the result of the Shogunate’s actions.

(Yoritomo-sama must’ve attacked the town in Hiraizumi due to his personal beliefs.)

(If I’m going to take the Shogunate’s side, I have to accept the consequences of it.)

Yoshitsune: …

Yuno: If it doesn’t bother you… could you tell me more about Hiraizumi back then?

He stared into my eyes, seemingly trying to figure out my true intentions. After a brief pause, Yoshitsune-sama spoke calmly.

Yoshitsune: A long time has passed since Yoritomo-kou’s troops burnt the town to the ground.

Yoshitsune: The lives people worked hard to build up, and the lives of those who tried to fight back were lost.

Yuno: … Do you think everyone resents the Shogunate for their actions?

(The suffering of the people who had everything taken from them right before their eyes must be beyond imaginable.)

Yoshitsune: The people who have resentment and fear of the Shogunate gathered under my flag.

Yoshitsune: But… the town of Hiraizumi isn’t all negative emotions.

Yoshitsune-sama pointed at the town we came from, his sleeve fluttering in the wind.

Yoshitsune: It was a devastating sight to see after the town was ravaged, but… everyone didn’t lose hope.

Yoshitsune: They worked together to rebuild their homes, businesses resumed, and they aimed to restore the town.

Yoshitsune: As time goes by… the town will surely become much more beautiful than it ever was.

Yuno: That’s what makes the town so… wonderful.

I muttered as the realisation hit me.

Yuno: Not because of what remains of the City of Gold, but because everyone is building up their lives from the bottom and with a common goal.

(Now that I think of it, Yoshitsune-sama said earlier that…)

= Flashback Start =

Yuno: What a wonderful town…!

Yoshitsune: I agree. This town was built up by the hands of its people.

Yoshitsune: There’s only so much I can do for it.

= Flashback End =

(Yoshitsune-sama sincerely believes in the people of Hiraizumi.)

(The town of Hiraizumi is his pride.)

(The townspeople too…)

Yuno: The townspeople looked at you as though you were a deity.

Yuno: I think I learned the real reason for that today.

Yoshitsune-sama shook his head.

Yoshitsune: I’m no deity.

Yoshitsune: Once, in the face of Yoritomo-kou’s forces, I failed to protect what was important.

Yuno: Yoshitsune-sama…

A silent flame flickered in Yoshitsune-sama’s eyes as he looked ahead.

Yoshitsune: However, my vassals and the people of Hiraizumi still chose to believe in me and follow me.

Yoshitsune: It’s my mission to provide them a country where they can live peacefully under the threat of no one.

Yoshitsune: — Even if I won’t be able to see it with my own eyes.

(What does he mean by that?)

Yuno: Um…

Yoshitsune: — It’s gotten a little chilly.

(Oh…)

Yoshitsune-sama removed his haori and gently draped it over my shoulders.

Yuno: Thank you…

Yoshitsune: We should head back to the mansion.

Yuno: Yes. … I hope I can come here again.

Yuno: Ah, I’m sorry. I don’t mean to sound like I’m disappointed by the current situation… it’s just that the scenery is so beautiful, I’m a little reluctant to leave.

I scrambled to cover up my words that were spoken without consideration.

Yoshitsune: I wish I could show you more of all sorts of things too.

I took Yoshitsune-sama’s outstretched hand and climbed back onto the horse.

(I didn’t ask what he meant by those words from earlier.)

— “Even if I won’t be able to see it with my own eyes”.

Those words became tiny thorns that lingered and pricked my heart.

…

A few days later—

On my way to Yoshitsune-sama’s room to check on his wound…

(Kurama?)

I saw Kurama eating a mandarin on the engawa.

Kurama: It’s you.

(Why a mandarin…?)

Kurama picked up another mandarin and gave me an irritating look.

(It’s better not to get involved with him… I think.)

Yuno: Hello. Well…

Kurama: Wait.

Right as I was about to walk past after greeting him, he called out to me.

Yuno: What?

I stopped reluctantly, and he offered me a mandarin.

Kurama: Peel it.

Yuno: Huh?

Kurama: I told you to peel it. Just take it.

(Whoa…)

He forcefully pushed the mandarin into my hand.

Yuno: You can do it yourself.

Kurama: Why should I, when there’s someone else standing right in front of me?

Yuno: That’s tyranny…!

(I guess there’s no other option.)

There was no refusing him, and so I was pressured to reluctantly sit down next to Kurama.

I carefully peeled the mandarin, making sure I didn't crush the flesh.

Kurama: Remove the fibre.

Yuno: Aren’t you being too demanding toward someone who’s peeling your mandarin for you?

Yuno: Fine, I’ll do it. Here.

Kurama took the mandarin and nonchalantly tossed a segment of it into his mouth.

Yuno: … Do you like mandarins?

Kurama: I don’t hate them.

(That’s kind of surprising…)

Kurama: By the way, where are you going?

Yuno: To Yoshitsune-sama.

Kurama: That reminds me, you’re treating his injury.

Kurama: Is it healed?

Yuno: It’s much better now.

Kurama: Which means your treatment will soon be no longer needed.

Yuno: That’s true…

The words that were said so matter-of-factly made my heart ache.

(We’re seeing each other every day now, but there won't be a reason for us to meet after his treatment is completed.)

(I won’t be able to talk to Yoshitsune-sama anymore…)

Contrary to my clouded expression, Kurama grinned in amusement.

Kurama: That’s a good thing. Yoshitsune turns into a softie around someone like you.

Yuno: Someone like me… a little rude, don't you think?

I retorted, a cold and mocking gaze staring down at me.

Kurama: Rude? You’re a powerless woman with nothing special about you, and that's a fact.

Kurama: For human beings, Benkei and Yoichi are strong.

Kurama: That’s why they’re allowed to serve by Yoshitsune’s side…

(Kurama must have his reasons for thinking this way, but…)

Yuno: Yoshitsune-sama and I aside, I don’t think anyone has the right to decide who is or is not allowed to get closer.

Kurama narrowed his eyes sharply.

Kurama: Are you arguing with me?

#ikemen genjiden #ikemen series #cybird ikemen #cybird otome #otome #ikegen translations #ikegen main story #yoshitsune main story

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a-forbidden-detective · 9 months ago

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What to do in Kamakura: the sightseeing guide or something…

The Kamakura Station, real and the manga versions

It is said to be less than an hour from Tokyo by train and one of the ancient cities in Japan along with Kyoto. Because of the countless shrines and temples, it is called the Kyoto of the East.

So where do you think the gang is going for a sightseeing ?

1) The Great Buddha of Kamakura. The Amida Buddha, which “referred to in Sanskrit as Amitabha Tathagata—the Buddha of Limitless Light, sits upon a lotus pedestal with his hands forming the mudra of meditation,” stands 11.4 meters on the grounds of Kotokuin Temple.

2) Hase Temple. It is said to the temple of the Jodo sect, one of two old sects that brought Buddhism to Japan, and in there resides the “famous eleven-headed statue of Kannon, the goddess of mercy.”

3) Enoshima is an island that has shrines, an aquarium, caves, an observatory tower and a beach that is very popular during summer where surfers like to go.

Searching for possible Lunar New Year festivities in Kamakura city owing to the many Shinto shrines and Buddhist temples located there, I encountered this passive aggressive information on this unofficial website.

Hari kuyo {hah-re-koo-yoh} at Egara Tenjin, 8th February

Hari is literally a needle, and Hari Kuyo is a memorial service in honor of used needles just like the Fude Kuyo (calligraphy brush memorial service). Nowadays, young women do not use needles, nor do they know how to sew. Until a couple of decades ago, however, needles had been one of the most important tools women had to use. Sewing is a technique required of women to master before marriage. The memorial service for needles was thus started years ago and it is still honored in various shrines.

I’ve heard of the funeral rite and a Buddhist temple for discarded dolls in Kyoto, but broken needles? Fascinating. This is in keeping with their animist tradition.

Source

#kamonohashi ron no kindan suiri #kamakura #ron kamonohashi #totomaru isshiki #akira amano #chapter 120 #chikori monki

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ga-yuu · 8 months ago

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5 Years Later Story Event Highlights (Yoichi and Shigehira)

Yoichi and Shigehira are friends again. They come to see each other frequently and sometimes Yoichi surprises Shigehira out of nowhere by walking into his house. They are all buddy-buddy now!

Yoichi still calls Shigehira 'Botchan' meaning Young master teasingly and Shigehira gets back at him by calling him baby-faced and then they start to fight like kids.

Yoshino also joins them and congratulates both of them for their achievements. Shigehira was able to revive the Taira Clan and both Nasu Clan and Taira Clan are in good terms now.

They both ask what Yoshino's biggest dream is and Yoshino simply says that she just wants to spread happiness and everyone to remember their happy memories once in a while. She tells them that maybe hosting something like a small festival will bring everyone together once in a while.

Listening to her wish, both Yoichi and Shigehira decided to make Yoshino's wish come true. They both lovingly hold Yoshino's hands and promised her.

A month or so later, Yoshino wish does come true. In Kamakura, preparation for a small festival started, to celebrate everyone's happiness. All the male leads joined and decided to contribute in their on way.

While Shigehira and Yoichi were walking around the town of Kamakura where the festival was taking place along with Yoshino, they see Kagetoki and Benkei, who opened a sweet shop together. Benkei makes delicious sweets and Kagetoki drowns them with his syrup. Morinaga opened a store for people who are interested in flexing their muscles. He also invited Shigehira, Yoichi and Yoshino to watch naked brawny men dancing. Both Shigehira and Yoichi rejected his invitation and although Yoshino wanted to watch naked dancing men, she decided to reject Morinaga's invitation as well. Yasuchika and Tamamo opened some kind of divination stall or something.

After walking around town, the three of them sat on top of a small hill to relax while looking at the city. Both Yoichi and Shigehira then started taking turns to feed Yoshino sweets and Yoshino being embarrassed, still opens her mouth. After that, both the man cuddle with her as Yoshino's face was stuffed with sweets.

After a minute of relaxing, Yoshino thanked both of them for making everyone happy. Hosting a festival was not an easy thing, but due to Shigehira and Yoichi's personality, they were able to make people come together to enjoy a festival like this. Then both Yoichi and Shigehira tells her that their only goal is to make one particular woman smile. They don't care about anyone else.

Hearing that statement, Yoshino turns completely red from head to toe and started shaking nervously. She looks down frowning lightly and begs the both men to not make fun of her like that. Both Yoichi and Shigehira chuckles seeing her reaction.

Later they go back to the city to attend the festival and they were confronted by some shady men. Yoichi and Shigehira easily beats up the men in a matter of seconds and now they have to report this incident to both Yoritomo and Yoshitsune.

Yoichi Ending: Shigehira tells Yoichi to go enjoy the festival with his girlfriend Yoshino, while he does the 'cleaning up'. Yoichi didn't want to leave SHigehira alone but Shigehira assures him that this is his way of repaying Yoichi. When they were kids, both Yoichi and Shigehira once snuck out of their houses at night to go to a festival. They only had money to buy one snack and Yoichi bought Shigehira's favorite snack while acting like older brother for Shigehira. Now Shigehira wants to repay Yoichi for all that affection. Yoichi couldn't say anything back and smiles. Like a genuine smile and thanks him. Both Yoichi and Yoshino walk around the festival and suddenly comes across a store which was selling ice sculptures. They both look up to see Tamamo and Rikka. Tamamo dragged Rikka out of his comfy room to participate in the festival and Rikka despite looking reluctant, was ready to do anything for Tamamo. Tamamo compliments about Rikka's beautiful ice sculptures and encourages them to buy one. Yoichi lets Yoshino choose. Yoshino looked at each ice sculptures displayed and she saw an ice sculpture of two little boys. To her, it looked like young Yoichi an Shigehira. Yoichi smiles and decides buy that as a gift for Shigehira. Yoichi asks if Rikka can add a bow and a sword to make it actually look like them and Rikka looked reluctant because he's lazy. Yoichi says that he will pay more and Rikka asked if he could have Yoshino as his pay. Yoichi says no but he instead will give Rikka a list of places where he can sleep comfortably and no one can find him. Rikka happily accepts that offer and tells him that he will deliver the sculpture tomorrow because even though Rikka's ice magic is powerful and lasts longer than normal ice, he wanted to cast some kind of spells to make the ice sculpture last longer or something....I don't get this part. Anyways, after that both Yoichi and Yoshino started walking slowly towards their home. Suddenly, Yasuchika's fireworks show started and they stopped to watch. The fireworks show was so beautiful that both of them started feeling something and they both starts passionately making out. Yoichi wanted to do more, but Yoshino stopped him feeling all embarrassed and says they shouldn't do that in public. So they both run back home.

Shigehira ending: Yoichi tells Shigehira to go to the festival with Yoshino, his girlfriend. First they go to the shop that has the ring-throwing game. Throw rings and win prizes. While Yoshino was missing all her targets, Shigehira easily wins all the prizes. Two kids were watching them, and their eyes sparkle watching Shigehira. The little kids recognized him as Taira no Shigehira and they praised him for being so cool. Shigehira was taken aback at first but then smiled happily. Yoshino knew that the meaning behind that smile is that the Taira Clan has officially been revived and Shigehira's dream has come true. After that they run into Yasuchika, and he tells them that he's about to do a firework show. He tells them how it works and also told them that if they have any message they would like to convey to someone special, he can show it in the sky as fireworks. Like skywriting fireworks? Shigehira thinks for a second and then tells Yasuchika that he wants to convey a message to Yoichi. Shigehira wants the fireworks to be shown as 'Thank you' in the sky as way to thank Yoichi for everything he has done for him. Shigehira also wanted to get back at Yoichi for all the teasing, so doing this in public will surely embarrass Yoichi at least a little bit. After that, both Yoshino and SHigehira stands on a bridge where they can get a perfect view of the fireworks. The fireworks show starts and both of them where mesmerized on how beautiful it is. Then they hear Yasuchika's announcement: "Next, Shige-ch....Taira no Shigehira, has a special message for Nasu no Yoichi." The fireworks shots up into the sky and the words 'Thank you' was written on the sky. SHigehira smiled triumphantly thinking how embarrassed Yoichi would be after seeing this but also happy at the same time. But guess what? UNO reverse card Shigehira because Yoichi already made plans with Yasuchika BEFORE Shigehira did. Yasuchika's next announcement: "Next...Shigehira has a special message for Yoshino." Yoshino looks at Shigehira feeling surprised and even Shigehira looked surprised as if he didn't plan this. The fireworks shots up into the sky and the words 'I love you' was written in the sky. Both Yoshino and Shigehira starts blushing from head to toe, completely red and Shigehira pouted saying how he must try harder to get back at Yoichi next time. He realised that the message was actually from Yoichi to tease Shigehira and Yoshino. Both Shigehira and Yoshino can imagine Yoichi's charming smile in their heads right now. Shigehira was super disturbed and he picks up Yoshino and runs back to their home to make love to her.

#ikemen series #ikemen genjiden #cybird ikemen #cybird otome #otome #cybird #ikegen #ikemen mc #ikemen genjiden shigehira #ikemen genjiden yoichi

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tiny-librarian · 11 months ago

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Japanese Princess Aiko, the only child of Emperor Naruhito and Empress Masako, turned 22 on Friday, as she is leading a busy and fulfilling university life.

The princess is currently in her final year at the Faculty of Letters at Gakushuin University in Tokyo. After pandemic-related restrictions were lifted in the country, in-person classes resumed for many courses at her university.

She started to attend classes on campus this spring. Based on literature from Japan's Heian, Kamakura, Edo and Meiji periods, she is working on her graduation thesis. Meanwhile, the princess enjoyed the university's school festival in November, according to the Imperial Household Agency.

In addition to Japan's traditional culture, the princess is interested in welfare activities. In October, she and her parents visited the headquarters of the Japanese Red Cross Society to see a special exhibition on relief activities following the 1923 Great Kanto Earthquake.

She also looked around the permanent exhibition there and seemed to be impressed by the involvement of Empress Dowager Shoken, the wife of Emperor Meiji, in the early years of the organization's activities.

Source

#princess aiko #emperor naruhito #empress masako #japanese imperial family #imperial family of japan #japan #japanese monarchy

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noticiasarquelogicasjaponesas · 8 months ago

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Sean bienvenidos japonsistasarqueológicos, a una nueva entrega cultural en esta ocasión os voy comentar la festividad, del día del niño que se celebra cada 5 de Mayo que se llama Kodomo no Hi y se escribiríaこどもの日 una vez dicho esto pónganse cómodos que empezamos. - ¿Cuándo surgió el día del niño?La festividad, surge en el siglo VIII d.c en lo que respondería al periodo Heian, posiblemente tendría influencia de china al respecto ya que se basó en Tango no Sekku. El Sekku se basa en los puntos de inflexión de las estaciones y se basa en la teoría de los cinco elementos del yin y el yang en China. - La forma tradicional de celebrarlo es ofrecer ofrendas estacionales a los dioses, rezar y comer juntos los productos de segunda mano.En el período Kamakura, en pleno auge de los samurais, se convirtió en un evento importante para orar por el crecimiento y la salud de los niños y la prosperidad de la familia, con adornos como armaduras, cascos, serpentinas de carpa y muñecos festivos. - Ahora a continuación mencionaré algunos dulces de los que se suelen comer el 5 de Mayo: Kashiwa mochi,Chimaki, beko mochi, akumaki , pastel no koi. - Espero que os haya gustado y nos vemos en próximas publicaciones y que pasen un feliz día del niño.

今回は、毎年5月5日に行われる「こどもの日」というお祭りについてお話しします。「こどもの日」とは、「こどもの日」と書いて「こどもの日」と読みます。 - こどもの日」の起源は、紀元8世紀の平安時代にさかのぼりますが、「端午の節句」が元になっていることから、中国の影響を受けている可能性があります。節句とは、季節の変わり目を表すもので、中国の陰陽五行説に基づくものです。 - 季節のお供え物を神に捧げ、祈り、中古品をみんなで食べるのが伝統的な祝い方です。武士ブーム真っ只中の鎌倉時代には、甲冑や兜、こいのぼり、祝い人形などを飾り、子供の成長や健康、家族の繁栄を祈る大切な行事となりました。 - 柏餅、ちまき、べこ餅、あくまき、こいのぼりのお菓子です。 - 気に入っていただけたなら幸いです。今後の記事でお会いしましょう。そして、楽しい子供の日をお過ごしください。

Welcome to a new cultural delivery in this occasion I am going to comment on the festivity, the day of the child that is celebrated every 5th of May that is called Kodomo no Hi and it would be writtenこどもの日 once said this make yourselves comfortable that we begin. - When did Children's Day come about? The holiday, which dates back to the 8th century AD in what would be the Heian period, was possibly influenced by Chinese in this respect as it was based on Tango no Sekku. Sekku is based on the turning points of the seasons and is based on the five element theory of yin and yang in China. - The traditional way to celebrate it is to offer seasonal offerings to the gods, pray and eat second-hand goods together. In the Kamakura period, at the height of the samurai boom, it became an important event to pray for the growth and health of children and the prosperity of the family, with decorations such as armour, helmets, carp streamers and festive dolls. - Now here are some of the sweets usually eaten on May 5th: Kashiwa mochi, Chimaki, beko mochi, akumaki, no koi cake. - I hope you liked it and see you in future posts and have a happy children's day.

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aishiteru-kenshin · 2 years ago

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Yokote Kamakura Snow Festival

February 15th — February 16th

The ritual of hollowing out a mound of snow and building a small hut like an igloo is called “kamakura” (かまくら) in the snowy regions of northern Japan. Each year, more than 100 kamakura and many miniature versions are made around Yokote City in Akita Prefecture for the Yokote Kamakura Snow Festival (横手の雪まつり, Yokote no Yuki Matsuri). Candles are placed inside these igloo-like structures and visitors are invited inside to drink sake and eat rice cakes.

#Japan #Snow Festival #Yokote #Akita Prefecture #Yokote Kamakura Snow Festival #Kamakura #かまくら #Yokote no Yuki Matsuri #横手の雪まつり #Festival #Matsuri #Winter #Night #Nippon #Winter Events #Kamakura Snow Festival #Snow Huts

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whatpandorasaw · 8 months ago

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Yunishigawa Kamakura Festival in Tochigi Prefecture, Japan

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boonesfarmsangria · 11 days ago

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WHAT EVERYONE SHOULD BE TALKING ABOUT THIS WEEK

readdork.com

The Agenda Setter: Watch the indie throne - The Maccabees are back

Returning to headline All Points East next summer, for The Maccabees, the best endings are just new beginnings in disguise.

Words: Stephen Ackroyd.

The thing about goodbyes is that they’re terribly unreliable narrators. Back in 2017, The Maccabees bid farewell at Alexandra Palace with all the finality of the last page of a beloved novel – tears were shed, hearts were heavy, and those songs rang out like the world’s most beautiful full stop. But sometimes, life has a funny way of scribbling in the margins.

Take Hugo White’s wedding in 2020 – not just a marriage ceremony, but an accidentally perfect festival lineup (Adele! Florence! Jamie T! – the kind of bill that makes Glastonbury look like your local pub’s open mic night). Five attendees, in particular, found themselves sharing familiar air again among this casual collection of casual British music royalty. Not as The Maccabees, mind you – just as friends celebrating love in its purest form. As Orlando Weeks puts it, with characteristic gentle wisdom, “I didn’t go because it was The Maccabees playing together again, but because it was a beautiful gesture to be invited and to contribute to the spirit of the day. What I wanted, band aside, was to find a way to be in each other’s lives.” (Spoiler alert: sometimes the best way to be in each other’s lives is to accidentally reform your beloved indie band.)

Now, Victoria Park is about to host the kind of homecoming that screenwriters dream about. The Maccabees – those chroniclers of London life, those cartographers of growing up – will headline All Points East on 24th August 2025, exactly where they belong. It’s the 10th anniversary of ‘Marks to Prove It’, their love letter to Elephant and Castle (because if you’re going to make a comeback, you might as well layer your symbolism as thickly as one of their signature guitar lines).

Their story began in 2004, reading like an indie-rock bildungsroman – from the wide-eyed enthusiasm of ‘Colour It In’ (remember ‘Latchmere’? Of course you do – it had a wave machine!) through to 2009’s ‘Wall of Arms’, where tracks like ‘Love You Better’ and ‘Seventeen Hands’ proved growing up in public could sound this good. By 2012’s ‘Given to the Wild’, they’d somehow managed to make existential crisis sound like the most beautiful thing in the world, weaving cinematic soundscapes through tracks like ‘Ayla’ and ‘Forever I’ve Known’ while ‘Pelican’ emerged as the kind of anthem that could close the final show of your career (which, as it happens, it did).

Just ask SOFY, who explained in Dork’s recent cover feature with the White brothers’ post-Maccabees outfit 86TVs that they were “a truly wicked live band who remain timeless storytellers” – high praise that had her diving headfirst into the scene herself. Or take IDLES’ Joe Talbot, who got properly deep about it: “They were the first band that I followed, loved, and believed in as more than music. They moved people forwards creatively.” (No pressure for the comeback, lads.)

‘Marks to Prove It’ arrived in 2015 like a love letter to their adopted corner of London, with ‘Spit It Out’ and ‘Kamakura’ capturing urban life with the kind of precision that only comes from really knowing your postcode. It shot straight to Number 1, which should have been cause for celebration – but behind the scenes, things weren’t quite so rosy. In an interview with the Independent back in 2020, Orlando laid it bare, explaining that he felt they’d “not moved on as far again” as they had with ‘Given To The Wild’, and they’d been doing it for “a very, very, very long time.”

The end, when it came, was almost annoyingly mature – no dramatic bust-ups, no creative differences, just the quiet recognition that sometimes the best stories know when to end their chapter. “It was everyone knowing that that was what was going to happen. We’d had a difficult time making that final record, and we’d reached the end of the line,” Orlando explained in that same Independent interview. “It just ran out of steam a bit” – making one of the most significant splits in British indie sound like a slightly deflated balloon.

In the years that followed, they scattered like seeds on fertile ground. Orlando went solo, crafting the kind of introspective gems that make rainy days feel intentional. Felix founded Yala! Records (“The idea for Yala! was to be in service of good music,” as he told us earlier this year. “Being involved in helping music reach people was really special.”) and somehow became cricket’s most unlikely podcast star via Tailenders. Hugo produced for some big names (Jamie T, Jessie Ware – the usual suspects) before forming 86TVs with his brothers Felix and Will. “It took a long time to figure out who we were outside of The Maccabees,” Felix admitted to Dork, “but 86TVs has been a revelation – a way to keep the passion alive without trying to recreate the past.”

Now they’re back – not with a bang, but with the kind of quiet confidence that comes from knowing exactly who you are. All Points East is a homecoming, after all. “In the intervening years, we’ve been to All Points East a lot, separately,” admits Felix, who’s spent years watching other headliners with what he calls “a pinch of regret… I thought that moment had passed, and it was something I was prepared to come to terms with that I was always going to miss. I think we’re all kind of shocked and excited that we get to do it together again.”

For Hugo, watching The Strokes at the festival was like looking into a mirror that reflected back possibility. “I could see that they were enjoying it,” he explains, “realising how great what they had created together was. Being a band, you are usually in a mindset of, ‘We can do better’, and you’re always chasing something else. This is an opportunity to realise that whatever we had in that moment was pretty special and get to enjoy it again. It’s a chance to appreciate everything, and especially how it impacts other people and created a community.”

There’s no promise of new music (yet), no grand plans beyond this one perfect moment (supposedly) – though the announcement does state they’re “happy to keep their minds open and see where these shows take them next” (which in band-speak is about as subtle as a brick through your favourite record shop window). For now, they’ll curate their own lineup at Victoria Park, a perfect blend of old friends and new faces, because The Maccabees were always about putting the music first.

Sometimes, it turns out, the best endings aren’t endings at all – they’re just really long interludes. And sometimes, if you’re very lucky, those interludes lead you right back home.

The Maccabees will headline All Points East on 24th August 2025.

#article #all points east 2025 #ape2025 #i did sign up for presale.but #i guess if i already.plan to be there for this.and then they book more i can do those instead idk #the maccabees #maccabees

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studio-des-br · 1 month ago

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Shinden-zukuri 寝殿造

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

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

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

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

2. Architectural Features

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

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

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

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

3. Cultural Context

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

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

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

4. Decline and Evolution (12th Century Onwards)

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

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

5. Examples of Shinden-zukuri

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

6. Legacy in Modern Architecture

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

Conclusion

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

Shinden-zukuri 寝殿造

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

1. Origem e Desenvolvimento (Século VIII-IX)

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

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

2. Características Arquitetônicas

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

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

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

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

3. Contexto Cultural

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

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

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

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

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

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

5. Exemplos de Shinden-zukuri

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

6. Legado na Arquitetura Moderna

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

Conclusão

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

Layout

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

1. Shinden (寝殿) - Main Hall

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

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

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

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

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

3. Hisashi (廂) - Veranda or Peripheral Area

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

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

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

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

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

5. Watadono (渡殿) - Covered Corridors

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

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

6. Tō-no-ya (東の屋) - Eastern Hall

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

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

7. Nishi-no-ya (西の屋) - Western Hall

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

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

8. Kita-no-ya (北の屋) - Northern Hall

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

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

9. Kichō (几帳) - Decorative Curtains or Screens

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

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

10. Shoji (障子) - Sliding Doors

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

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

11. Engawa (縁側) - Veranda

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

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

12. Garden (庭園, Teien)

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

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

13. Chūmonrō (中門廊) - Central Gate Corridor

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

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

14. Kairō (回廊) - Roofed Walkways

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

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

15. Shitsu (室) - Private Rooms

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

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

16. Koya (庫屋) - Storehouses

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

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

17. Shinsensha (神饌舎) - Religious Structures

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

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

Conclusion:

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

Estrutura Arquitetônica

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

1. Shinden (寝殿) - Salão Principal

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

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

2. Moya (母屋) - Núcleo Central do Shinden

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

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

3. Hisashi (廂) - Varanda ou Área Periférica

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

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

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

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

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

5. Watadono (渡殿) - Corredores Cobertos

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

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

6. Tō-no-ya (東の屋) - Salão Leste

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

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

7. Nishi-no-ya (西の屋) - Salão Oeste

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

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

8. Kita-no-ya (北の屋) - Salão Norte

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

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

9. Kichō (几帳) - Cortinas ou Biombos Decorativos

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

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

10. Shoji (障子) - Portas Deslizantes

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

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

11. Engawa (縁側) - Varanda

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

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

12. Jardim (庭園, Teien)

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

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

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

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

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

14. Kairō (回廊) - Passarelas Cobertas

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

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

15. Shitsu (室) - Quartos Privados

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

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

16. Koya (庫屋) - Armazéns

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

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

17. Shinsensha (神饌舎) - Estruturas Religiosas

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

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

Conclusão:

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

Symbolic and philosophical meaning

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

1. Shinden (寝殿) - Main Hall

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

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

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

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

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

3. Hisashi (廂) - Veranda or Peripheral Area

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

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

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

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

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

5. Watadono (渡殿) - Covered Corridors

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

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

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

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

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

7. Kita-no-ya (北の屋) - Northern Hall

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

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

8. Kichō (几帳) - Decorative Curtains or Screens

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

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

9. Shoji (障子) - Sliding Doors

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

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

10. Engawa (縁側) - Veranda

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

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

11. Garden (庭園, Teien)

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

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

12. Chūmonrō (中門廊) - Central Gate Corridor

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

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

13. Kairō (回廊) - Roofed Walkways

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

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

14. Shitsu (室) - Private Rooms

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

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

15. Koya (庫屋) - Storehouses

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

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

16. Shinsensha (神饌舎) - Religious Structures

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

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

Conclusion:

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

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

Significado Simbólico e Filosófico

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

1. Shinden (寝殿) - Salão Principal

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

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

2. Moya (母屋) - Núcleo Central do Shinden

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

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

3. Hisashi (廂) - Varanda ou Área Periférica

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

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

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

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

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

5. Watadono (渡殿) - Corredores Cobertos

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

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

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

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

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

7. Kita-no-ya (北の屋) - Salão Norte

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

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

8. Kichō (几帳) - Cortinas ou Biombos Decorativos

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

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

9. Shoji (障子) - Portas Deslizantes

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

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

10. Engawa (縁側) - Varanda

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

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

11. Jardim (庭園, Teien)

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

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

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

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

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

13. Kairō (回廊) - Passarelas Cobertas

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

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

14. Shitsu (室) - Quartos Privados

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

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

15. Koya (庫屋) - Armazéns

**Simbolismo

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

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

16. Shinsensha (神饌舎) - Estruturas Religiosas

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

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

Conclusão:

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

Modern Use

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

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

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

Actions:

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

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

Step 2: Flow and Movement (Incorporating Pathways)

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

Actions:

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

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

Step 3: Transitional Spaces (Symbolism of Liminality)

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

Actions:

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

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

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

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

Actions:

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

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

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

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

Actions:

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

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

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

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

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

Actions:

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

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

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

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

Actions:

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

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

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

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

Actions:

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

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

Final Thoughts

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

Uso Moderno

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

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

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

Ações:

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

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

Passo 2: Fluxo e Movimento (Incorporando Caminhos)

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

Ações:

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

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

Passo 3: Espaços de Transição (Simbolismo da Liminaridade)

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

Ações:

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

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

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

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

Ações:

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

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

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

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

Ações:

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

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

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

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

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

Ações:

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

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

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

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

Ações:

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

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

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

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

Ações:

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

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

Considerações Finais

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

#shinden-zukuri #japanese interior design

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