#okabae

[ink-central]

We love a slay

featuring @cephalopodyuri 's oc Marcie!

[tracknews1]

RIVERS CRISIS: Ijaw Group Condemns Attack On INC President Benjamin Okaba

***As Group Insist INC Must Defend Ijaw Interest, Applauds Decision To Support Gov. Fubara YENAGOA_____The IJAW progressives and development Forum IPDF a non governmental organization has condemned in strong terms the mischievous, sentimental and anti Ijaw progressive accusations of a faceless group “The Rivers Ijaw Peoples Congress (RIPCO)” which the group assert that the President of the Ijaw…

[freebornabraye]

IYC Western Zone Affirms Support For Otuaro, Okaba, Warns Distractors To Desist

By Blessing Ebareotu The Ijaw Youth Council, Western Zone expresses utter displeasure against the misguided comments by a faceless and aimless group under the aegis of Project Niger Delta led by one Princewill Timipre targeting the National President of the Ijaw National Congress (INC), Prof. Benjamin Okaba following his endorsement of the Administrator of the Presidential Amnesty Programme, Dr.…

[palmtree-summer]

Tosa kinno-to, Okaba Ibo

[thekimonogallery]

Ginza Doll Museum, Tokyo, Japan. Photography by Isao Okaba

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part II:  Poem 44.

〽 Sumi tsugaba gotoku hasamu-na jū-mon-ji          en wo kirasu-na tsuri-ai wo mi yo

    [炭次がば五德挾むな十文字          緣を切らすな釣合を見よ].

    “If [one is] adding charcoal, [two pieces should] not pinch [a leg of] the gotoku, nor [overlap to form] a cross or project beyond the perimeter¹; and [the distribution of the charcoal] should appear well-balanced.”

    The first several points that Jōō makes -- that two pieces of charcoal should not pinch the leg of the gotoku, nor form a cross, nor extend beyond the perimeter of the fire² -- are also mentioned in the Rikyū sanjū-go-jō ken-ki [利休三十五條嫌忌] (which was translated earlier in this series³), suggesting that they were part of the traditional teachings that had been codified during the first half of the sixteenth century.

    The final admonition (that the host should make sure that the distribution of charcoal is well-balanced) is important because it will help to prevent one side of the fire from becoming too hot⁴ -- which could cause the fire to burn out on that side before the service of tea had been concluded.

        There are two different versions of the first line of the kami-no-ku [上の句].  Jōō’s version begins sumi okaba [炭置かば], which means “if [one is] placing the charcoal....”  The later versions⁵ (including the one found in Hosokawa Sansai’s Kyūshū manuscript) begin with the words sumi tsugaba [炭次がば] -- meaning “if [one is] adding charcoal....”

    As these both describe precisely the same series of actions, there is no real difference between any of the versions.

_________________________

¹The perimeter (en [緣], which is a contracted form of enishi [緣]) of the fire was originally determined by the rim of the kimen-buro (which was mirrored by the shape of the ashes).  When Jōō first began to use the ro, he sculpted the hai-gata to serve as his guide.  And after he introduced the use of a gotoku* (as equivalent to the rim of the kimen-buro), the perimeter was thereafter defined by the ring of the gotoku.

    While the ring is now buried in the ash (and so has to be guessed at by the host), when Jōō first began to use the gotoku, it was oriented with the ring uppermost (this is why the tops of the three legs on antique gotoku are frequently shaped like broad feet that are often etched with parallel lines that act like skid guards, to give the feet traction so the gotoku does not slip on the ash when the kama is rested on top).  It, therefore, physically enclosed the space where the charcoal was to be arranged, much as does a fence around a flower-garden.

    This arrangement of the gotoku was based on the way that a kiri-kake gama rests on the rim of a kimen-buro (since this was the only precedent available for Jōō to adopt at that time).

    Originally the ring was always a complete circle, regardless of whether the gotoku was going to be placed in the ro, or (apparently only later) in a furo.

    The reason why the third of the ring in front was cut away on gotoku intended for use in a furo was something suggested by Sen no Dōan, following his creation of the Dōan-buro [道安風爐] (all of which occurred when he was a teenager†).

     Dōan made the Dōan-buro from an old lacquered clay mayu-buro [眉風爐] (mayu [眉] means “eyebrow,” and refers to the section of rim that extends across the top of the hi-mado, as can be seen in the left drawing)‡ that had been thrown away (some accounts claim that he brought it home from the local dump).  Regardless of its source**, the rim of this furo was broken above the hi-mado, which is why it could no longer be used for chanoyu.  Dōan cut away the remainder of the rim††, extending the sides of the himado up to the rim (as shown in the right sketch).  After relacquering the furo, he went to place the gotoku in it as usual, but the third of the ring extending across the front was disquieting (since it seemed as if it would potentially interfere with the sumi-temae); so he cut it away, thereby creating what we refer to today as the furo-yō no gotoku [風爐用の五德]‡‡. ___________ *This object was originally called a ko-taku [火卓], which can also be pronounced ko-joku.

    The name gotoku [五德] (which means “five virtues,” perhaps as a play on both the word ko-joku and jittoku [十德], the latter being the name for a monk’s black-gauze over-garment, which was sewn from ten pieces of cloth) seems to have been coined by Sen no Dōan, after he modified his gotoku by cutting off one section of the ring (so it could be used in his Dōan-buro, as described in this footnote):  the three legs, plus the remaining two sections of the ring means the gotoku is composed of five pieces.

†Dōan was born in 1544, around the time of Rikyū’s departure for the continent; and he likely created the Dōan-buro at some point during the 1560s, while Rikyū was working on rebuilding the family fortunes through the sale of the chawan and other objects that he had brought back from Korea.

‡As a result of the continuing trade embargo with the continent during the first half of the sixteenth century, the locally produced mayu-buro had largely replaced the (imported) bronze kimen-buro [鬼面風爐] and Chōsen-buro [朝���風爐] as the preferred furo for use on the daisu.

**The most common way that the rim above the mayu would break is through mishandling -- because someone had attempted to pick the furo up by holding it with the fingers through the hi-mado.  That it was broken, therefore, suggests that the person handling it had been extremely negligent.  Finding the broken furo in the dump would exculpate Dōan (and anyone else in the household) from blame -- and this may be why this detail was often emphasized in retellings of this story.

††This would have been easy to do, since this kind of furo was made of very low-fired clay (indeed, the lacquer is necessary to protect the clay, since it is so low-fired that it can begin to disintegrate if water drips onto it), which is easily cut with an ordinary handsaw.

    In those days, chajin also made their own mae-gawarake [前土器] (the semi-circular tile that is placed in the front of the furo, to protect from sparks shooting out of the kindling charcoal), by cutting off part of the edge of the low-fired clay sake-saucers that were sold for use in Shintō rituals (after use these saucers were thrown into a bucket of water, where they would eventually dissolve into clay again).  These saucers were made by the same craftsmen who made the clay furo, and were fired in the same way, so the idea of cutting low-fired clay objects with a saw hardly originated with Dōan -- indeed, the necessary skill-set would have been commonplace among the chajin of that day.

    Several years ago I witnessed the opening of the wooden box in which an old clay furo of this sort had been stored (the box had not been opened for many years, since the chajin of that house had died without a successor).  Water had somehow dripped onto the box, and the furo had completely deteriorated into a mound of clay on that side, despite its having been painted with lacquer.  

    Modern clay furo are fired at higher temperatures to prevent this kind of thing from happening.  (In the old days, clay furo were used only until the lacquer began to crack on the inside, and then discarded.  Those made nowadays, however, are sent back to the craftsman, and the old coat of lacquer is burned off in a kiln before they are polished and re-lacquered again.)

‡‡The idea of turning the gotoku upside-down (so the ring would be buried in the ash) was proposed by Rikyū, in 1582 or 1583, so that the small unryū-gama could be used inside the large kimen-buro (the kiri-kake gama for which had been lost in the fire at the Honnō-ji, while the rim of this iron furo was cracked above the himado when Mori Ranmaru threw it against the wall in order to start the fire that would consume the shoin, in order to prevent Akechi Mitsuhide from collecting and displaying Nobunaga’s head).

    Because the rim of the furo was no longer strong enough to support the weight of a kama, Rikyū made the cylindrical unryū-gama the diameter of the original kama’s mouth, with the intention of placing the kama on a gotoku.  But if the gotoku was oriented as usual -- with the ring uppermost, the ring would block the flow of air through the furo; so he came up with the idea of placing the gotoku upside-down, with the kama standing on the feet of the gotoku, which would allow hot air to rise freely all around the sides of the kama.

    Since arranging the gotoku in this way allowed for virtually all of the kama that had theretofore been usable only when suspended from the ceiling (and so almost always had been limited to being used with the ro), it was adopted so widely that, over the course of the Edo period, the idea that the gotoku had originally been used with the ring uppermost was completely forgotten.

    As for this original Dōan-buro, it is said that Rikyū held it should be used only in the most ultra-wabi of settings.  To emphasize this fact, during the sumi-temae, the habōki was supposed to be a single feather, originally without a handle (ordinary habōki are typically made from three feathers, and have either a wooden handle, or one made from a folded bamboo sheath tied with cord).  The rest of the utensils were also expected to be just as rustic as the habōki.

     The mind behind this approach to chanoyu remained a feature of Dōan’s style for the rest of his life (and culminated in his creation of the Dōan-gakkoi [道安圍い] style of room).  The reader should note that the doorway between the host and his guests is rendered as a kayoi-guchi [通い口], meaning a service entrance -- a door through which things are passed to the guests without otherwise disturbing them.

    The above Dōan-gakkoi is found in the Yodomi-no-seki [澱看席] in the Saiō-in [西翁院] of the (Jōdo-shū [淨土宗] affiliated) Konkaikōmyō-ji [金戒光明寺] in Kyōto.  (In this kind of room -- and contrary to what is seen in some modern photos -- Dōan, adhering to his father’s teachings, would have placed the furo on top of the lid of the ro, as in an ordinary mukō-giri room.)

    While today it is usually taught that the host should slide the door open immediately before the sō-rei [総礼] (at the beginning of the koicha-temae), so the guests can watch his temae, Dōan is said to have kept it closed until the bowl of koicha was prepared -- after which he opened the door and offered the tea to the guests.  Dōan seems to have taken his inspiration from the earlier o-chanoyu-dana [御茶湯棚], with the self-effacing humility that this inspires as the focus of his practice -- which, in turn, was based on the fact that the original kind of chanoyu was the offering of a bowl of tea to the Buddha, something that was done between the monk and the representation of the Buddha, with no other person present.

²Rather than en wo kirasu-na [緣を切らすな], which means (should) not project beyond the perimeter (of the grouping of charcoal), the Rikyū sanjū-go-jō ken-ki [利休三十五條嫌忌] alludes to this idea by way of hikozuri-basami [引すり挾み], which refers to the image of a formal court train that trails behind the rest of the wearer’s garments.  While the image is different, the ultimate meaning, with regard to the arrangement of the charcoal (and the fact that no piece should project outward beyond the perimeter of the group), is the same.

³Please refer to the post entitled The Chanoyu Hyaku-shu [茶湯百首], Part I:  Poem 21.  The Rikyū sanjū-go-jō ken-ki [利休三十五條嫌忌] are translated, in full, in the appendix at the end of that post.  The URL is:

https://chanoyu-to-wa.tumblr.com/post/750434095968010240/the-chanoyu-hyaku-shu-%E8%8C%B6%E6%B9%AF%E7%99%BE%E9%A6%96-part-i-poem-21

    In the version of the sanjū-go-jō ken-ki translated there, the points dealing with the charcoal are numbered 31 to 35.  In addition to the rejection of situations in which two pieces of charcoal pinch the leg of the gotoku, form a cross, or extend beyond the perimeter of the fire, this list also includes chō-ji [丁字], which means placing two pieces of charcoal so that they form a “T” shape.  Since it is similar to jū-mon-ji [十文字], it was probably left out of the poem in the interests of syllabic structure -- thus allowing Jōō to cover everything he wanted to say about the charcoal in a single verse.

⁴Which could cause the lacquer coating on clay furo to crack on that side, rendering the furo useless*. ___________ *Not because it necessarily impacts the furo’s ability to perform its proper function, but because it is inauspicious.  This is why damaged utensils were not supposed to be used (during that period).

    The use of such “distressed” pieces was discouraged until the early Edo period, when the focus began to reflect economic considerations.

    It might be good to add that the way the ashes were arranged that was preferred in Jōō’s and Rikyū’s day was very different from that advocated by many of the modern schools.  Their hai-gata was shaped like what is shown below, and was relatively deep (the ash rose half way up the legs of the gotoku, or more).

    This way of arranging the ashes protected the lacquered sides of the furo.  The modern ni-mon-ji [二文字] ash-shape (and its “artistic” variants, where the host recreates the effect of mountains and valleys within the furo) focuses the heat of the fire on the left and right sides of the furo, invariably causing the lacquer to crack after not many uses.  As a result, many professional chajin in Japan have to send their furo back to be relacquered at the end of every furo season.  (Using a hotplate-style heating system helps, but does not completely alleviate the problem -- and, of course, it eliminates the sumi-temae and all of the teachings connected with that.)

    Jōō’s and Rikyū’s hai-gata are described (and illustrated) more fully in the post entitled The Three Hundred Lines of Chanoyu (Lines 51 - 60), under line 57.  The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/26906281437/the-three-hundred-lines-of-chanoyu-lines-51

⁵Somewhat curiously, the version found in the collection of the Hundred Poems that was given to Katagiri Sadamasa during his period of study (with the Sen family) agrees with Jōō’s version.  This suggests that the Sen family altered the contents of the collection preserved in their archives in deference to the version of this poem that was being disseminated by Hosokawa Sansai -- perhaps because, since Sansai was the last surviving of Rikyū’s personal disciples, they decided that his version must be “more accurate” than the one that they had acquired previously.  But the uncertain nature of Sansai’s very influential recollections (he was pressed to write his teachings down during the last years of his life) can be easily seen when his manuscript is compared with Rikyū’s own densho.  

    Indeed -- and most unfortunately -- it is not infrequently the case that Sansai declares as correct something that is the polar opposite of Rikyū’s actual teaching (as supported by Rikyū’s own densho).  The likely cause for why this version was given credence was because of another misunderstanding of Rikyū’s relationship to Sansai:  Hosokawa Yūsai [細川幽齋; 1534 ~ 1610], Sansai’s father, was Rikyū’s great friend, and the connection between the two houses may be found there.  The Sen family, nevertheless, interpreted Sansai’s visit to the bank of the Yodogawa, to bid Rikyū farewell as he was being sent back to Sakai (where he had been ordered to commit seppuku), as a sign, on a purely personal level, of the intimacy between these two men.  But, in fact, it appears that Yūsai had ordered his son to do this -- in his stead -- because he would then be in a position to defend his house, and his son, against Hideyoshi’s potential anger, should their lord take offense at this gesture; whereas Yūsai would have been powerless to do anything if, having gone himself to say goodbye to his old friend, Hideyoshi had then fallen into a rage.

    During the last eight or nine years of Rikyū’s life, Sansai was increasingly busy with affairs of state, so the time available for him to study with Rikyū would have been truncated to the point where, as we see in his writings, he ended up completely misinterpreting many of the things Rikyū sought to teach him* -- and so became guilty of misrepresenting them (whether deliberately or not†) to posterity.  Nevertheless, on account of the respect and affection in which the Sen family held Sansai, his pronouncements were deemed strong enough to cause them to completely rethink the teachings of Rikyū that had come to them from other sources. ___________ *One commonly mentioned difference regards the way to pick up the natsume and wipe it with the fukusa, as opposed to the way to do the same with the nakatsugi.  In his writings, Sansai completely reverses Rikyū‘s teachings on these matters.

†Sansai’s writings on chanoyu date from the period when the daimyō who were involved with chanoyu were becoming increasingly restive, as the conflict between those of Rikyū’s own teachings that were preserved in their family archives, and the teachings proselytized by the Sen family, came to diverge farther and farther.  But whether he wrote things that would knowingly differ from the Sen family’s teachings, or did this inadvertently (as a result of his misremembering things that had been said to him by Rikyū), is unclear.

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

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

https://PayPal.Me/chanoyutowa

[succ-princess]

Name: Jung-Hwa (정화) Surname-May-Vary •Goes By: Jun (順)

Nationality: Half S. Korean, Half Swedish

Gender: Full Package Futanari •Position - Submissive

Occupation: Final Year Highschool (Cosplayer, Streamer, etc)

Eye Color: Silver Hair Color: Silk Raven Black Hair Style: Long, even cut bangs (these vary wildly when cosplaying)

Measurements: Height - 155cm (5'1") Bust - 153cm (60) •O Cup Waist - 58cm (23) Hips - 90cm (35) Cock length: 12" (grows with each edged load) Ball Size: Orange+ (grows with edged loads) Cum amount: 2+ cups minimal

Personality: Jun is generally a helpful, kind, and honestly very naive person. As her story progresses she'll also assuredly be corrupted much more into a truly lewd plaything, until then however. . Just hiding how nerdy she can be.

Background: Jun is an above average sized Streamer (especially because when she games the only thing she plays is fighting games), much more popular Cosplayer, and all around well liked content creator. She happily goes by e-girl despite not having very many e-girl qualities, her cosplays can be revealing but she also loves every character she cosplays, has watched the anime, played the game, and enjoys getting to dress up like them. She's a member of the FGC (fighting game community) and has been playing them since she was 6, taught by her late father. Her Morrigan Aensland cosplay was done out of love for the name Aensland, and her adoration of the Vampire series (she main'd Lilith though, shh). Waaiit. . Jun hadn't done these things. Her online handle NEPHiLiM had. In fact, her 'normal' life and creator life were completely separated from one another, and for many reasons, mostly ones that she still kept behind yet another layer of secrecy.

Jun's favorite things:

Jun's favorite bands/music?

A few of Jun's favorite Anime/Manga?

Chainsaw Man (literal favorite piece of fiction) Steins;Gate (was my favorite anime for a long long time, Okaba is one of the best MCs) D.Grey-Man Hunter x Hunter A few of the many FGs you can play with her: BlazBlue Central Fiction (i don't think i'll ever enjoy any other game as much as i do BBCF, BB is 'Gimmick Character ; The Game!' so every character feels like they're from a different game almost, it's incredibly fun, but learning every matchup is a pain in the butt) Tekken 7 (have a long story here but damn. . . played Tekken the first time in 2023, and it's easily the game i play the most) Guilty Gear -strive- (sorry everyone i am dissapointed to report i had to secondary Jack-O', after spending so much time away from the game because of the bad man (in case your confused: Happy Chaos), i decided to finally learn Ram, and I've been crushing it.) Street Fighter 6 (i actually wasn't playing this very much despite it being the new big thing, and i mean it's been breaking records for number of people playing at tournaments, but. . A.K.I. just released, and guess what. . my character crises is over. will still probably switch to Ibuki when she's release, or just dual main, but yeah. . found a main <3)

May add to any of this at some point if needed.

[estescollision]

How The Best Auto Body Shops Differ From The Others

What Sets Estes Collision Repair Apart From The Other Collision Repair Shops

Estes Collision, a premier collision repair shop in Miami, OK, provides high-quality auto body repair services, setting itself apart from the competition. With a steadfast commitment to quality, customer satisfaction, and state-of-the-art technology, Estes Collision has become a trusted name in the industry. This article gives an overview of what the best auto body shops do to differentiate themselves from the others. 

Experience & Expertise

Estes Collision stands out as a collision repair shop due to its extensive experience and expertise. Founded by Billie Estes, an industry professional since 2007, the shop has been providing top-notch collision repair services since 2015. The team at Estes Collision is composed of highly skilled technicians who bring years of experience to every repair job. Their depth of knowledge ensures that each vehicle is restored to its pre-accident condition with precision and care.

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To deliver the best auto body repair services, Estes Collision invests in the latest technology and equipment. They follow OEM procedures. The shop is equipped with advanced diagnostic tools, computerized paint-matching systems, and modern repair equipment. These resources enable technicians to perform precise and efficient repairs, ensuring vehicles are restored to their original condition. Estes Collision is expanding with a new, cutting-edge facility expected to be completed in 2025, further enhancing its capabilities.

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Clear Communication

Transparent communication is key to a positive customer experience. Estes Collision prioritizes keeping clients informed throughout the collision repair process. From detailed explanations of necessary repairs to regular updates on the progress, the shop ensures customers are always in the loop. This clear and honest communication helps alleviate concerns and build confidence in the repair process.

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Dealing with insurance claims can be a hassle, but Estes Collision simplifies the process by working seamlessly with all major insurance providers except AllState. The shop assists with every step of the insurance claim process, from helping file the claim to communicating with the insurance provider. This flexibility ensures a smooth and efficient collision repair in Miami, OK, minimizing out-of-pocket expenses for customers.

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Choosing the right auto body shop is crucial for ensuring the safety, performance, and appearance of your vehicle. Estes Collision, with its skilled technicians, state-of-the-art equipment, and commitment to customer satisfaction, stands out as a trusted auto body shop in Miami, OK. Experience the difference that exceptional service and expertise can make. Contact Estes Collision at (918) 542 6699 or estescollision@gmail.com, or visit their shop. Trust Estes Collision, for all your auto body repair needs, and let them restore your vehicle to its original condition with the care and precision it deserves.

Original Source: https://estescollision.com/all-auto-body-shops-are-not-the-same/

[pusatstikerhologram]

Dapatkan Stiker Hologram Berkualitas, Siap Kirim Ke Kabupaten Merauke

Dapatkan Stiker Hologram Berkualitas, Siap Kirim ke Kabupaten Merauke Untuk masyarakat Kabupaten Merauke, kini Anda dapat dengan mudah mendapatkan stiker hologram berkualitas tinggi. Kami melayani pengiriman ke seluruh kecamatan dan kelurahan di Merauke, termasuk: Merauke Tanah Miring Kurik Semangga Jagebob Lampu Satu Samkai Salor Ngurumbun Okaba Erambu Anda juga dapat menikmati layanan bayar…

[hardynwa]

Rivers political crisis: Ijaw group urges Wike to make peace with Fubara

The Ijaw National Congress Worldwide has urged Rivers State’s immediate past governor, Nyesom Wike, to make peace with Governor Siminialayi Fubara for peace and prosperity. The group, which expressed its discontent with the state’s political problems, particularly between Fubara and his predecessor, stated that it would always be on the side of truth and good administration. This was said in a statement released by the group’s President, Prof Benjamin Okaba, and made available to newsmen in Akure, Ondo State, on Sunday. In the statement, the group commended the people of Rivers State for standing up to the alleged planned impeachment of Fubara and encouraged Wike not to destabilize the state’s existing administration. The statement read, “We urgently call on all political players in Rivers State to play their duty to their constituents and forthwith cease from any further acts capable of slurring the sanctity of the office, institution, and person of the Governor of all Rivers people. “We specifically appeal to Chief Nyesom Wike, to retrace his steps from stoking division of any sort against the government of the day under the guise of protecting his ‘structure’. The political structure to which he refers should not be rolled up with the structure of the government of Governor Fubara as one entity under anyone’s thumb.” Read the full article

[tracknews1]

PAP: N-Delta Youth Stakeholders Carpet Princewill, PND Over Outburst Against INC President

The coalition of Niger Delta Youths Stakeholders has condemned in strong terms the statements issued by one Timipre Princewill and his unpopular group of ” Project Niger Delta (PND) ” faulting the endorsement and commendations made by the Revered Ijaw National Congress President, Prof. Benjamin Okaba to the current Administrator of the Presidential Amnesty Programme Dr. Dennis Otuaro. In a…

[freebornabraye]

PAP: INC Expresses Satisfaction In Otuaro’s Administration, Says Ijaw Nation Is Proud Of Him

By Freeborn Abraye The Presidential Amnesty Programme (PAP) Administrator, Dr. Dennis Otuaro, has received praise from the national leadership of the Ijaw National Congress (INC) for his creative leadership. This was said by Prof. Benjamin Okaba, President of the INC, on Thursday at the PAP Office in Abuja while leading a delegation from the leading Ijaw socio-cultural organization to visit…

[tmkaryajasa]

Jalan Intan Nuraini OKABA PAPUA / tiidak secantik nama nya

[funkzunk]

HIS NAME IS OKABA AND HES A POKEMON I MADE

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part II:  Poem 29.

〽 Toko ni mata waka no rui wo ba kakeru nara          hoka ni ka-sho wo ba kazaranu to shire

    [床に又和歌の類をば掛けるなら          外に歌書をば飾らぬと知れ].

    “And again, if [a scroll of] something of the waka category is hung in the toko, understand that books of poetry are not to be displayed anywhere else [during that gathering].”

    Waka no rui wo ba [和歌の類をば] means “if there is something of the class or type of waka.”  This would include the obvious cases of waka-shikishi [和歌色紙]¹ and waka-kaishi [和歌懷紙]²; but it would also mean paintings in which a poem is quoted in the colophon³.

    The reason why books of poetry⁴, or things of that sort, should not be displayed in the tea room when the kakemono also features a poem is because they are redundant.  When a poem is hung up in the toko, then no other examples of poetry should be included during that gathering.

   Two versions differ from the others, the first being Jōō’s original version, and the version included by the Sen family in the collection that they distributed to their students during the early Edo period.  The two variants are also different from each other.

    Jōō’s original version of this poem reads:

〽 toko ni mata Ko-kin shu nado kazari na ba          hoka ni ka-sho wo ba kazaranu to kiku

    [床に又古今集などかざりなば          外に歌書をばかざらぬときく].

    “And again, if the Ko-kin shū, or something of that sort, is displayed in the toko, in that case [other] books of poetry should not be displayed elsewhere, so [I] have heard.”

    Here Jōō seems to be talking about the host’s placing the books of the Ko-kin shū in the toko⁶; and in that case, other books of poetry should not be shown during the same gathering.

    The version that was being distributed by the Sen family, according to Katagiri Sekishū, is slightly different in its wording⁷, but similar to Jōō‘s version:

〽 toko ni mata Ko-kin shu nado kazari-okaba          hoka ni ka-sho nado kazaranu to kiku

    [床に又古今集などかざり置ば          外に歌書など飾らぬと聞].

    “And again, if the Ko-kin shu, or something of that sort, had been placed out in the toko, elsewhere things like books of poetry should not be displayed, [I] have heard.”

    Though the wording is different, the intent of these different versions of the poem is just the same:  if a kakemono or books containing poetry are displayed in the toko, then other things connected with poetry should not be exhibited anywhere else during that same gathering.

__________________________

¹Waka-shikishi [和歌色紙] are poetry cards inscribed with a waka verse.

    The left shikishi was written by Emperor Go-Mizuno-o [後水尾天皇; 1596 ~ 1680]; and the right was written by his consort, Tōfukumon-in [東福門院; 1607 ~ 1678].

²Waka-kaishi [和歌懷紙] are pieces of kaishi* on which records of a poetry gathering (usually held at some scenic place) is recorded.  Such gatherings were usually attended by the reigning Emperor, which is the primary reason why the details of the assembly were preserved.

    This specimen of a waka-kaishi was written by Emperor Ōgimachi [正親町天皇; 1517 ~ 1593].

    Ōgimachi was the emperor to whom Hideyoshi served tea in the spring of 1586, in his ōgon no chashitsu [黄金の茶室] (golden tea room). ___________ *Kaishi [懷紙] originally referred to a kind of note paper (each sheet of which measured 1-shaku 6-sun by 1-shaku 2-sun, with the pack folded into quarters), imported in packs of 30 sheets or so from the continent.  It was kept in the futokoro of one’s kimono for use on occasions when it became necessary to send a message to someone, or to make a written record of something (as here).  This use of kaishi had been customary since the Heian period.

    The kami kama-shiki [紙釜敷], preferred for use as the rest for the kama (when it is removed from the ro or furo during the sumi-temae) by many of the modern schools, is an example of this kind of kaishi.

    The little packets of paper that are sold as kaishi for use in chanoyu today are supposed to have been devised by Rikyū (according to this idea, his kaishi was of the smaller size, the kind used by women today -- though his kaishi was made from very thin paper), but their use became common only during the Edo period.

³This kind of composition is referred to as a waka ga-san [和歌畵賛], and consists of an ink painting with a colophon that includes a waka.

    This waka ga-san was written and painted by the 67th generation Ta-a shōnin* (rokujū-nana-sei no Ta-a shōnin [六十七世他阿上人; I have been unable to find his personal name or his dates†] of the Yugyō-ji [遊行寺] (also known as the Shōjōkō-ji [清浄光寺], founded in 1325), the head temple of the Ji-shū sect of Buddhism, in Kanagawa.

    While in China (and Korea) the colophon is usually relegated to the periphery of the composition, in Japan it seems that the classical idea of writing poems on shikishi that had previously been painted with a picture‡ prevailed, so that the colophons tend to cover at least part of the underlying painting, as seen in this example. ___________ *Shōnin [上人], which means something like “holy priest” or “the sainted,” is the religious title used by the heads of the Ji-shū sect.

    The founder’s name was Yugyō shōnin [遊行上人; active during the thirteenth century].  He was succeeded by his disciple, known as Ta-a shōnin [他阿 上人; active during the late thirteenth and early fourteenth centuries], and his name became the hereditary name of the head of that sect.

†The Yugyō-ji burned down during the last century, resulting in the loss of its records.  The 67th generation Ta-a shōnin seems to have been active during the early 20th century.

‡Regarding Fujiwara no Sadaie’s Ogura-shikishi [小倉色紙] (which were the first examples of waka-shikishi ever displayed in the tea room), Jōō held that those poems written on paper that had not first been painted with an ink sketch of some sort “were worthless.”

⁴In general, this is discussing things that would be done only in the 4.5-mat room, or shoin.  In the wabi small room, books of poetry and the like would be out of place.

⁵The Ko-kin waka shū [古今和歌集] (the name translates Collection of Ancient and Modern Waka) was one of the earliest of the chokusen waka shū [勅撰和歌集], the 21 Imperial poetry anthologies.  Conceived by the Emperor Uda [宇多天皇; 866 ~ 931], it was finally published by his son, the Emperor Daigo [醍醐天皇; 885 ~ 930] in 905.  The collection was edited by Ki no Tsurayuki [紀貫之; 872 ~ 945], Ki no Tomonori [紀友則; c. 850 ~ c. 904], Ōshikōchi no Mitsune [凡河内躬恒; ? ~ 925 or 926], and Mibu no Tadamine [壬生忠岑; dates unknown].

    While various antique editions of the Ko-kin shū were extant during Jōō’s and Rikyū’s period, and the books (the complete Ko-kin shū consists of 20 volumes) were occasionally displayed on the chigai-dana in the shoin, here Ko-kin shū should be interpreted more generally, as being a reference to bound poetry anthologies, or those prepared as hand scrolls, as in the later versions of the poem.

    Jōō, as a trained poet, would have had great reverence for the Imperial poetry anthologies.

⁶Jōō created the Jōō-dana (shown below) as a way to display things like sets of books* in the toko in a room that did not have a chigai-dana or dashi fu-zukue†.  This tana has a ten-ita and a naka-dana, with a ji-fukuro beneath (where the precious books were stored when not on display.

    Historical accounts suggest that this tana was only used in the toko.  On the utensil mat, the utensils were arranged on the fukuro-dana [袋棚].

    That said, the fact that the Jōō-dana has a ji-fukuro lead later generations to confuse it with the fukuro-dana, so that this tana came to be used on the utensil mat as well (during the Edo period). ___________ *Jōō also attached a hook to the underside of the ten-ita, allowing him to suspend his tsuri-bune there (which was much safer than suspending it from the ceiling of the toko).  Historical references to Jōō’s suspending his tsuri-bune from the ten-ita would seem to refer to this tana, not the fukuro-dana (this may be corroborated by the fact that Jōō is recorded to have placed the Haneda Gorō replica of the Gassan nagabon [月山長盆] below his tsuri-bune, to catch the water that would drip from the boat; it would have been impossible to do this if the reference was to the fukuro-dana -- since its shelves are too short to support this tray, coupled with the fact that the boat would have been suspended in the middle of the tana above the kabura-ita [蕪板], the upright board that supports the naka-dana [中棚]).

†Jōō’s 4.5-mat room, which was covered with inakama-tatami [田舎間疊] did not have either of these features.

    By placing this tana in the toko, Jōō also avoided the situation where a guest who was a member of the nobility would attempt to take his seat there (apparently a problem during his early middle period, when his guests were still largely drawn from among the acquaintances he made at the poetry and incense gatherings in which Jōō participated.

⁷Traditionally a collection of the Hundred Poems was written down from memory each time a copy was needed.  As a result, while the meanings are usually consistent, the actual wording (particularly the use of particles) can tend to differ from time to time.

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