#sojourner ji

[gensational]

my entry for the damn nine sols reddit art contest.

lord give me strength

[satureja13]

It had started to rain again while the Boys still sojourn in the 'Screaming Mandrake'. And after Ms Coombes ended her speech, it was finally time for dinner! But our little wolverine Jack didn't touch the food. Well, this was a sight to behold ö.Ö He, whose hobby is pizza! Even Ms Coombes, who usually isn't very fond of Jack (she thinks he has a bad influence on her favourite, Vlad ^^'), was baffled. He's just sitting there, absent minded. With a stupid expression on his face...

After dinner, she took him aside. Ms Coombes: "Callahan, what's wrong?" Jack: "Uh, I don't know. I feel weird since the lightning struck me and we crashed in the swamps... That bolt hit me right in the chest." Kiyoshi choked on his bite. Jack felt a bolt in his chest?! ö.ö' Kiyoshi had felt a bolt in his chest when he first saw Jack! And Dtui told him she got hitten by a bolt too - when she first saw her fated mate, Rita (Coombes). Yes, Kiyoshi - but Jack got struck by a lightning bolt...

Ms Coombes sent him up to the Hospital Wing. The Nurse will examine the troublemaker. Ms Coombes: "If you're making this up to skip classes you're dead! And be quiet to not disturb Ji Ho!"

So Jack climbed the stairs all the way up to the tower. He was eager to see Ji Ho and how he was, but he got totally deflected by the sight of Noxee. Who apparantly is the Nurse! ö.ö (Noxee also is the Healer/Nurse in Moonwood Mill. That's how she met Greg. She even was in the same pose as now when he first saw her ^^')

Noxee: "Hey Baby! Come on in. Take your shirt off and let me see." Noxee is Jack's first love and he surely won't take off his shirt in front of her ö.Ö'

Jack shook his head to become clear again - which wasn't easy. Concentrate! He went over to Ji Ho instead, who was sleeping soundly. Ji Ho looked well. That's a relief - they are so worried about him. And apparently he's dreaming of his King :3 Noxee: "I'm positive we can wake him soon. He's doing well. He'll be sore and sensitive when he wakes up, though. So avoid touching or upsetting him. It's all a bit much getting hit by all the feelings he'd buried deep down below to survive." Jack: "Understandable. We only can imagine what he went through, growing up in the Slums of Sulani with his dead brother, next to that Brothel... and his crazy mother and that landlord scum." Noxee: "Ji Ho is strong. And he has his friends by his side, hm? I also heard you're doing a great job with your yoga, meditation and tantra practise. Keep that up. It's going to help him a lot." Jack: "We will. What about his grandfather? He can't influence him - or us through Ji Ho - while we're here, right?" Noxee: "I don't think so. Though - we still don't know what happened in your game. Had Tiny Can created this scenario or did his grandfather find a way into the game? Let's just be cautious and careful."

Eventually they went over to the examination bed and Jack told Noxee the astounding story of how Kiyoshi and him had flewn here with the TukTuk and crashed in the swamps - after they'd been struck by lightning. Jack: "... and now I feel utterly weird. I can literally hear my heart galopping - it also feels as if it's too small for my ribcage! I can't concentrate, my hands are sweating - and the worst of all: I can't eat! My stomach is twisting and turning as if I swallowed a bunch of weasles! Oh, and then the emotional turmoil! Like a rollercoaster! Oh and I can't concentrate ... and I forget stuff. I mean, for the last two issues - that's what I deal with since forever, but now it's even worse.

Noxee made a full check up but she didn't find a physical cause. The stroke of lightning and the crash left no visible marks on Jack. Which is not surprising, since Jack is the Super Soldier, after all. Created by the Council to survive even more severe attacks. Noxee: "I can't find anything. But we also know nearly nothing about what exactly the Council did to you. From what you described I would say you fell in love ^^' But we could ask Greg if he has any ideas?"

Jack: "No! No Greg! And it's not from falling in love. I already fell in love three times: with Lou, Kiyoshi and ... (ups, he can't let Noxee know what he feels for her! That would make things even more awkward between them. She's the partner of his father! ö.ö') ... and ... and it was totally different!"

Noxee mixed him a potion and told him to come back if it didn't get better and Jack left her so she could care for Ji Ho. He went downstairs to their rooms. Ms Coombes told them each three of them would share a room. There is one at the top of the tower, where Kiyoshi, Vlad and Jeb reside. And one at the bottom of the tower. For Saiwa and Jack - and Ji Ho, as soon as he's released from the hospital wing.

Jack went to the tops' room first, to bring Vlad the good news. Jack: "Ohhhh! Bunk beds! I'm going to claim the upper bed in our room!"

Concentrate, Jack! Remember why you are here! Jack sat on Vlad's bed and reassured him. Jack: "Noxee said, they will wake him up soon. He sleeps right above this room. Don't worry, hm?" Kiyoshi and Jeb were happy too to hear the good news about Ji Ho.

They chatted for a while and eventually Jack went downstairs to check their new room and claim his bed. It had been a long, eventful day. Just to find that Skully was there! Skully: "Hey, Buddy!" Jack: "What is he doing here?!" Saiwa: "I found him in your bag when I unpacked our stuff ^^' " Jack sighed. As if getting struck by lightning and being scolded by Ms Coombes weren't bad enough...

From the Beginning ��� Underwater Love 🔱 Latest

Current Chapter: 'Here comes the Sun' from the beginning ▶️ here Last Chapter: 'Who killed Jack?' from the beginning ▶️ here

📚 Previous Chapters: Chapters: 1-6 ~ 7-12 ~ 13-16 ~ 17-22 ~ 23-28

[santmat]

Spiritual Love Makes the Impossible Possible - The Radhaswami Teachings of Yogani Mata Ji - Spiritual Awakening Radio Podcast

"According to Mataji, what near-death patients experience is only the beginning of a vast sojourn into great universes of light, love and beauty... How can one sit so still, repeat only holy names and think of God constantly? 'By falling in love,' Mataji answered serenely. 'Because when one is truly in love nothing but the Beloved can enter one’s mind. So the secret of Surat Shabd Yoga and of mysticism,' she goaded, 'is not necessarily practice and more practice, but love. To be so devoted to one’s Lord that nothing can stand in the way -- this and nothing else is the truth of Sant Mat,' Mataji stressed..." (Enchanted Land: A Journey With the Saints of India)

The Bhakti Teachings of Yogani Mata Ji (Tripta Devi) of the Radhaswami Satsang Hoshiarpur today during this Spiritual Awakening Radio Podcast - Listen and/or Direct MP3 Download @ 

https://traffic.libsyn.com/spiritualawakeningradio/Spiritual_Love_Makes_the_Impossible_Possible.mp3

@ the Podcast Website With Buttons That Go To All the Popular Podcast APPS - Wherever You Follow Podcasts: 

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https://podcasts.apple.com/us/podcast/spiritual-love-makes-the-impossible-possible/id1477577384?i=1000638281603

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https://open.spotify.com/episode/0T2MIZjcrmwWvhQBhjKiJz

& @ Wherever You Subscribe and Follow Podcasts - At Your Favorite Podcast APP Just Do a Search for "Spiritual Awakening Radio" -  (Apple Podcasts, Spotify, Google Podcasts, Amazon, Audible, PodBean, Podcast APP, Overcast, Jio Saavan, iHeart Radio, Podcast Addict, CastBox, etc...): 

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In Divine Love (Bhakti), Light, and Sound, At the Feet of the Masters, Radhasoami,

James Bean

Spiritual Awakening Radio Podcasts

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A Satsang Without Walls

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#BabaFaqirChand #YoganiMataJi #SpiritualLove #radhasoami #Santmat #Sant_Mat #radha_soami #radhasoamisatsang #RadhaSoamiJi #Radhaswami #RadhaSoamiFaith #suratshabdyoga #scienceofspirituality #scienceofthesoul #bhakti #SpiritualAwakeningRadio #SantMatSatsangPodcasts #spiritualpodcasts #podcast #meditation #spirituality #SpiritualQuotes #NDEs #NearDeathExperiences #Consciousness #SpiritualityPodcasts #SpotifyPodcasts #ApplePodcasts

[travelguides-world]

A Comprehensive 2-Week Itinerary from Osaka to Hokkaido

Japan, a land of rich cultural heritage, technological marvels, and breathtaking natural landscapes, stands as a coveted destination for global travelers. Embarking on a 2-week sojourn from the vibrant city of Osaka to the serene landscapes of Hokkaido is a journey that promises a multifaceted exploration of this captivating nation.

Week 1: Osaka and Kyoto - Where Tradition Meets Modernity

Day 1-3: Osaka - The Urban Heartbeat

Commence your journey in Osaka, a metropolis pulsating with modernity and historical nuances. The towering skyscrapers juxtaposed with ancient temples create a unique urban tapestry. Begin your visit by exploring the resplendent Osaka Castle, an iconic emblem of the city's feudal past. Traverse through Dotonbori, an avenue adorned with neon billboards and culinary delights, igniting your senses with an electric charm.

Don't miss: A tranquil interlude at the Sumiyoshi Taisha Shrine, a pristine example of ancient Shinto architecture.

Day 4-7: Kyoto - Elegance Enshrined

A swift train ride lands you in Kyoto, a city that beckons with its timeless elegance. Embark on a cultural immersion by visiting the Kinkaku-ji Temple, adorned with gold leaf that shimmers under the sun's embrace. Wander through the ethereal Arashiyama Bamboo Grove, where rustling leaves create a melody of their own.

Unveil: The secrets of traditional tea ceremonies in machiya (wooden townhouses) while savoring matcha tea's nuanced flavors.

Week 2: Tokyo and Hokkaido - A Tale of Two Landscapes

Day 8-10: Tokyo - Neon Dreams and Technological Feats

Transitioning to Tokyo, a symphony of lights and technological wonders awaits. Traverse the Shibuya Crossing, a mesmerizing intersection where the urban flow converges in a dance of pedestrian choreography. Ascend the Tokyo Skytree for a panoramic view that encapsulates the city's boundless energy.

Indulge: Your inner bibliophile at Jinbocho, Tokyo's book district, boasting shelves that house literary treasures spanning centuries.

Day 11-14: Hokkaido - Nature's Poignant Sonata

Concluding your traveling to Hokkaido, be prepared to be enthralled by untouched wilderness and serene landscapes. Sapporo, the prefecture's capital, offers a blend of cosmopolitan charm and natural beauty. Revel in the resplendent colors of the Furano Flower Fields, a pastoral canvas that blooms vivaciously during the summer months.

Embrace: The therapeutic warmth of an onsen (hot spring) in Noboribetsu, a town nestled amidst volcanic terrains, bestowing an unparalleled relaxation experience.

Embarking on this meticulously crafted 2-week itinerary unravels Japan's diverse facets. From the urban tapestries of Osaka and Tokyo to the serene landscapes of Hokkaido, each destination interlaces modernity with tradition and nature's marvels. The journey etches an indelible tapestry of experiences, where historical grandeur and contemporary marvels intertwine, crafting memories that linger long after the sojourn concludes.

[silenthopper]

@mehiwilldoitlater @emelinstriker @aurexlemandarin @popatochisssp @rosescries @semisolidmind @spenobis @yourspecialstranger @downydig @ninesolswug @bonelyheartsclub @bwabys-scenarios @bunnis-monsters @theweepingegg @microbes-in-hats @heyhopperart @objectheads @jakesythu @fwugradiation @sojourner-ji

Check this out just to be safe

Hello dear!

Sorry for bothering you, but it's important to remind you to turn off your asks for a few days! Bad things are going to happen on Tumblr soon...

Don t know anything about this but BETTER BE SAFE EVERYBODY!!!!!!

[malusrecord]

~"Here you are Master Ji! May I know what path the Hexagrams have laid out today?" (Jiiiiiiiiiiiiii~)

The meticulous work of the sojourner's tool halts briefly; the pen falling away from the inscription in progress only to bob and flutter in the air near the Sol's head as he turns. For a few seconds the only sound in the old grotto is the clink of a brass plate laden with a generous amount of STILL STEAMING RICE accompanied by a small bottle of sake as both are set upon the floor before him and then Ji laughs, more to himself than anything.

"Fufu, you even BROUGHT ME AN OFFERING....? How kind." How nostalgic. How nostalgic. How nostalgic.... And then Ji is turning to step down from his crumbling perch as his hands clasp together inside of his crimson sleeves, fingers folding over one another in an invisible---and brief---repose.

"I cannot guarantee an easy path, young one, but for your kindness I hope that whatever I divine is to your liking." A kind path for a kind soul, one could at least hope for such a thing. Ah, if only such a thing could be a certainty.... "Now please CLOSE YOUR EYES AND CLEAR YOUR THOUGHTS....." A faint gust of air fills the small space as the seer silently levitates off of the floor and then seconds later a sphere appears before him, its star strewn contents spinning and casting the room with a soft, violet light. Divergences were rare---and the path of every soul present upon New Kunlun at this moment were all bound in the same way---but a small part of Ji still hoped all the same: A kindness for a kindness.

[dayapandey]

Valley of Flowers Trek with Hemkund Sahib: A Summer Adventure

Introduction

Nestled in the Indian state of Uttarakhand, the Valley of Flowers and Hemkund Sahib trek is a captivating journey that combines natural beauty with spiritual tranquility. This summer, embark on an adventure that takes you through lush meadows, vibrant floral carpets, and sacred shrines, offering an experience that rejuvenates both body and soul. The Valley of Flowers, a UNESCO World Heritage site, and Hemkund Sahib, a revered Sikh pilgrimage site, together form a trek that is as rewarding as it is challenging.

The Valley of Flowers: Nature’s Paradise

The Valley of Flowers is a mesmerizing alpine valley situated at an altitude of approximately 3,658 meters. Renowned for its rich biodiversity, the valley comes alive during the summer months when the snow melts, revealing a burst of colorful flowers. Over 600 species of flora bloom here, creating a stunning natural tapestry against the backdrop of snow-capped peaks.

Flora and Fauna

The valley is a botanist’s dream, with rare and exotic flowers such as the blue poppy, cobra lily, and brahmakamal. These flowers not only add to the valley's visual appeal but also hold significant medicinal properties. The region is also home to diverse fauna, including the elusive snow leopard, Himalayan black bear, musk deer, and a variety of birds and butterflies.

Trekking to the Valley

The trek to the Valley of Flowers starts from the small town of Govindghat, located on the banks of the Alaknanda River. From Govindghat, a 14-kilometer trek leads to Ghangaria, the base camp for treks to both the Valley of Flowers and Hemkund Sahib. The trail is well-marked and offers scenic views of cascading waterfalls, verdant forests, and quaint villages.

Hemkund Sahib: A Spiritual Sojourn

Hemkund Sahib, or Gurudwara Sri Hemkund Sahib Ji, is one of the highest Gurudwaras in the world, situated at an altitude of 4,632 meters. This serene pilgrimage site is dedicated to Guru Gobind Singh, the tenth Sikh Guru, and is considered a place of great spiritual significance.

The Sacred Lake

The Hemkund Sahib Gurudwara is set beside a glacial lake, which remains frozen for most of the year. The pristine waters of the lake reflect the surrounding seven snow-capped peaks, creating a breathtakingly tranquil environment. Pilgrims take a holy dip in the freezing waters, a ritual believed to cleanse the soul and bestow spiritual blessings.

The Trek to Hemkund Sahib

From Ghangaria, a 6-kilometer steep ascent leads to Hemkund Sahib. The trek is demanding due to the high altitude and rugged terrain, but the stunning views and the spiritual ambiance make it immensely rewarding. En route, you will pass through lush meadows, bubbling streams, and patches of snow, each turn offering a new perspective of the majestic Himalayan landscape.

Preparing for the Trek

Physical Fitness

The Valley of Flowers and Hemkund Sahib trek requires a good level of physical fitness due to the long distances and significant altitude gain. It is advisable to start a fitness regimen at least a couple of months before the trek, focusing on cardiovascular endurance, strength training, and flexibility exercises.

Essential Gear

Packing the right gear is crucial for a successful trek. Essential items include sturdy trekking shoes, a comfortable backpack, warm clothing, rain gear, a first-aid kit, and trekking poles. Additionally, ensure you carry sufficient water, energy snacks, and personal identification documents.

Acclimatization

Acclimatization is key to preventing altitude sickness. Spend an extra day at Ghangaria to acclimate to the altitude, stay hydrated, and avoid overexertion. Recognize the symptoms of altitude sickness, such as headaches, nausea, and dizziness, and descend immediately if symptoms worsen.

The Experience: A Journey of Transformation

Trekking through the Valley of Flowers and Hemkund Sahib is not just about conquering physical challenges; it is a journey that touches the soul. The unparalleled beauty of the valley, with its vibrant flora and serene landscapes, instills a sense of wonder and appreciation for nature’s splendor. The spiritual aura of Hemkund Sahib provides a profound sense of peace and reflection, making the trek a deeply transformative experience.

Encounters with Fellow Trekkers

Along the way, you will meet fellow trekkers from diverse backgrounds, each with their own stories and motivations. These encounters enrich the journey, fostering a sense of camaraderie and shared purpose. Whether it's sharing a meal, exchanging trekking tips, or simply walking together in silence, these moments create lasting memories and friendships.

Cultural Insights

The trek also offers insights into the local culture and traditions of the Garhwal region. Interacting with the villagers, observing their way of life, and experiencing their warm hospitality add a cultural dimension to the trek, making it more than just a physical adventure.

Conclusion

The Valley of Flowers and Hemkund Sahib trek is a must-do for anyone seeking a blend of natural beauty and spiritual solace. This summer, as the valley bursts into bloom and the pilgrimage site opens its doors to devotees, take the opportunity to immerse yourself in an experience that promises to be both challenging and profoundly rewarding. Prepare well, respect the environment, and open your heart to the wonders that await on this extraordinary journey. Whether you are a nature enthusiast, a spiritual seeker, or an adventure lover, this trek offers something unique for everyone.

[bestastrologerdelhi12]

Acharya Pramod Mishra's Journey to Becoming the Best Astrologer in Delhi

In the bustling city of Delhi, where the cosmic and the contemporary coexist, one name has emerged as the epitome of astrological prowess – Acharya Pramod Mishra. From his early days as a seeker of celestial wisdom to being recognized as one of the best astrologers in Delhi, Acharya Ji's journey is a fascinating tapestry of dedication, divine guidance, and the transformative power of astrology.

The Roots of Astrological Inclination

Acharya Pramod Mishra's tryst with astrology was not a mere happenstance but a legacy passed down through generations. Raised in the nurturing embrace of a father who was a revered scholar of Tantra-Mantra and Astrology, Acharya Ji's fascination with cosmic energies began early in his life. The corridors of his childhood echoed the sacred verses of Shrimad Bhagwat Mahapuran, setting the stage for a lifelong commitment to the mystical world of stars and planets.

Academic Pursuits and Corporate Sojourn

After completing his education, Acharya Pramod Mishra ventured into the corporate world, navigating the realms of a private organization. However, the celestial forces had different plans for him. In 2001, a pivotal year in his life, he started dedicating more and more of his time to astrology and the service of God. This marked the turning point where his corporate pursuits gave way to a higher calling.

Miraculous Benefits and Divine Remedies

As Acharya Ji delved deeper into the intricacies of astrology, he began studying the horoscopes of his acquaintances. What started as a personal exploration soon turned into a benevolent mission. Armed with profound knowledge and guided by divine intuition, he started offering remedies based on astrological insights. The results were nothing short of miraculous, and soon people from all walks of life were witnessing transformative benefits.

The Evolution of Expertise

Acharya Pramod Mishra's journey towards becoming one of the best astrologers in Delhi was marked by years of dedicated self-study and association with seasoned scholars. His expertise evolved, not in the ivory towers of academic institutions, but through a hands-on, experiential approach. Learning from real-life situations, refining his skills, and constantly updating his knowledge, Acharya Ji emerged as a beacon of astrological wisdom.

Association with World-Class Portals and Media

Today, Acharya Pramod Mishra stands tall in the world of astrology, not just in Delhi but globally. His expertise has garnered recognition from world-class portals, magazines, and TV channels. As the go-to astrologer for many seeking celestial guidance, he humbly shares his knowledge through various media platforms. This not only speaks volumes about his proficiency but also highlights the trust and respect he commands in the astrological community.

The Humble Approach to Astrological Service

What sets Acharya Pramod Mishra apart is not just his expertise but also his humility. Despite being recognized as one of the best astrologers in Delhi, he approaches his work with a deep sense of service and devotion. His mission is not just about predicting the future but guiding individuals towards a path of spiritual growth, providing solace in times of uncertainty, and acting as a conduit for cosmic energies to manifest positive changes.

Conclusion

In the ever-evolving landscape of astrology, Acharya Pramod Mishra's journey is nothing short of inspirational. From the corridors of academia to the cosmic realms of celestial wisdom, he has traversed a path less taken, leaving an indelible mark as one of the best astrologers in Delhi. His story is a testament to the transformative power of astrology and the unwavering spirit of those who dedicate their lives to unraveling the mysteries of the cosmos.

As seekers continue to flock to him for guidance, Acharya Pramod Mishra stands as a living testament to the fact that in the cosmic dance of stars, there are those who not only read the celestial script but also illuminate the path for others seeking light in the vastness of the unknown.

[chanoyu-to-wa]

Nampō Roku, Book 7 (67):  Hideyoshi’s Stay at Hakozaki was Occupied by Chakai Hosted by the Chajin of Hakata.

67) During the sojourn at Hakozaki, the chajin of Hakata were desirous of gathering together [with Hideyoshi]¹.  And so, day after day, when his Highness had planned to be working [on his war strategy], as well as during his leisure time², there was a continuous round of tea gatherings [for him to attend]³.

_________________________

◎ While Tachibana Jitsuzan set forth this and the following two sections as separate entries, both Shibayama Fugen and Tanaka Senshō combined them into a single long narrative.  Nevertheless, since this is a translation of the Enkaku-ji manuscript version of the text of the Nampō Roku, I think it would be better to follow Jitsuzan’s format.

    Shibayama’s toku-shu shahon and Tanaka’s “genpon” texts, which differ from the material in the Enkaku-ji manuscript enough that they warrant being treated separately, so they will be translated (together) in an appendix that will following entry 69.

¹Hakozaki tōryū no ma, tabi-tabi Hakata no chajin nado mo shitai atsumari　[箱崎逗留ノ間、度〻博多ノ茶人ナドモシタイアツマリ].

    Hakozaki tōryū no ma [箱崎逗留の間]:  during Hideyoshi's campaign to subjugate Kyūshū and incorporate it into the Japanese nation (beginning with a series of sieges in 1586, and large scale battles in 1587, after his main army landed on the island), he made his headquarters at the Hakozaki-gū [筥崎宮]*, the large Shintō shrine north-east of Hakata (the shrine is now within the confines of Fukuoka City).

    The Hakozaki-gū as it appeared in Hideyoshi’s time, surrounded by pine-barrens.

    It was customary for dignitaries to avail themselves of the residential facilities† provided by shrines and temples on occasions such as this‡.

    Tabi-tabi Hakata no chajin nado mo shitai atsumari [度々博多の茶人などもしたい集まり]:  Hakata was, at this time, like Sakai, an independent Korean city-state, so Hideyoshi was forbidden to enter (at least not without prolonged negotiations, as had been the case in Sakai when Nobunaga wished to enter).  Thus, since he needed to cultivate the townsmen of Hakata (to further his plans of subjugating the nine feudal states of Kyūshū under his hegemony), he set up camp at the Hakozaki-gū, and received the prominent citizens of Hakata (among whom were many practicing chajin) there -- using these chakai as a way to get to know the people whose assistance, he hoped, would go a long way toward furthering his plans (the conquest of Kyūshū required a considerable outlay of both money and materiel, and Hideyoshi hoped to gain the support of the wealthy merchants of Hakata in this endeavor).

    It appears that it was during these gatherings that the idea of installing himself as Emperor of China was first suggested to Hideyoshi. __________ *Hakozaki-gū [筥崎宮] literally means Hakozaki Palace.  As the enshrined deity was a former Emperor, this (and other Shintō shrines that bear the designation miya [宮]) shrine was constructed and appointed as an imperial palace (albeit on a somewhat smaller scale than the Imperial Court in Kyōto).  As a result, the residential quarters (shoin) were perfectly suitable for someone of Hideyoshi’s status.

†Shrines and temples always had at least one formal shoin; and once bedding was brought in, the room would provide a suitable space for a person of high rank to take up temporary residence.

‡Recall that when Nobunaga wished to have a respite from the incessant round of military campaigns that his goal of forging the semi-autonomous fiefs into a cohesive nation, he did so by concealing himself (and his closest associates) at the Honnō-ji in Kyōto (which was said to have been the most beautiful temple in a city of hundreds of beautiful temples and shrines.)

²Nichi-nichi denka no go-yō tsutomeraruru hima-hima mo　[日〻殿下ノ御用ツトメラルヽヒマ〰モ].

    Go-yō tsutomerareru [御用勤められる]:  go-yō [御用] means his highness’s business, in other words Hideyoshi’s plans for prosecuting the battles in Kyūshū; go-yō tsutomerareru [御用勤められる] means “(at the time) when Hideyoshi wanted to work on his business....”

    Hima-hima mo [隙々] means “and also during his free time, during his leisure moments.”

    In other words, during the time when Hideyoshi had planned to work on his military strategy, as well as during his leisure hours....

³Sukima-naku chakai ari　[スキ間ナク茶會アリ].

    Sukima-naku [隙間なく] means there was no time for rest, incessant.

    In other words, the number of tea gatherings clamoring for Hideyoshi’s presence were beyond count, both during the daytime and at night.

    During these gatherings, the chajin of Hakata brought out their greatest treasures, in order to entice Hideyoshi’s attendance.

    The chaire shown above is the Hakata bunrin [博多文琳], owned, at that time, by Kamiya Sōtan; and the one shown below is Rikyū’s Shiri-bukura chaire [尻膨茶入] -- which he also brought along to Kyūshū and used during some of the gatherings that he hosted in Hakozaki, and elsewhere.  Both are displayed on the Chinese trays with which they were paired in the sixteenth century.

    These are revelatory examples, because Rikyū’s chaire is quite typical of the glaze found on the older karamono chaire -- the glaze is essentially monochromatic, with minimal variations (other pieces, especially those with a lighter brown glaze, occasionally exhibit outlines of the potter’s fingers from when he immersed the pot in his vat of glaze, or run-marks resulting from the way the pot was turned upright afterward, but nothing more serious than that).  Sōtan’s Hakata-bunrin, on the other hand, was unique in the way the two layers of glaze contrast with each other (according to some accounts, Sōtan either personally found this chaire in China, or he discovered it in the hold of his trading ship immediately after the ship docked in Hakata’s harbor; in either case, he immediately seized upon it as an unparalleled treasure) that Hideyoshi was rendered speechless the first time he saw it (on a later occasion, it is said that he, or one of his henchmen, even tried to surreptitiously make off with it, so deeply did he covet it).  With such marvels on display (only to the attendees of the various chakai, of course), it is not really surprising, given Hideyoshi’s passion for chanoyu, that he was unable to restrain himself.

    In light of this, the potters at the Seto kilns began to experiment with replicating the effect (and eventually came up with the idea of applying a second glaze of a contrasting color on top of the other), but the Hakata bunrin was the first.  This was how the chajin of Hakata managed to secure Hideyoshi’s unbroken interest in their gatherings (at which their purpose was to talk politics and business).

[shubhyatratravels]

Chardham Yatra From Haridwar - Kedarnath Ji Darshan By Helicopter

The Chardham Yatra is a sacred pilgrimage that holds immense significance for Hindu devotees. It encompasses four revered Hindu pilgrimage sites in the Indian state of Uttarakhand - Yamunotri, Gangotri, Kedarnath, and Badrinath. Among these, Kedarnath is considered one of the most sacred destinations, associated with Lord Shiva. This article focuses on the Chardham Yatra from Haridwar with a special highlight on Kedarnath Ji Darshan by helicopter, providing an overview of the journey, its spiritual significance, the convenience of helicopter travel, and the experience of seeking the divine blessings at Kedarnath.

1. Chardham Yatra: A Spiritual Sojourn

The Chardham Yatra is a spiritually enriching pilgrimage that takes devotees through the picturesque landscapes of Uttarakhand. It is believed that embarking on this sacred journey washes away one's sins and leads to spiritual salvation. The yatra holds immense significance in Hindu mythology, as the four destinations are considered the abodes of the divine - Yamunotri is dedicated to Goddess Yamuna, Gangotri to Goddess Ganga, Kedarnath to Lord Shiva, and Badrinath to Lord Vishnu. The yatra is not only an opportunity for devotees to seek blessings but also a chance to immerse themselves in the natural beauty and cultural heritage of the region.

2. Kedarnath Ji Darshan: Connecting with Lord Shiva

Kedarnath, nestled amidst the majestic Himalayas, is a highly revered destination for devotees of Lord Shiva. It is believed to be the place where Lord Shiva manifested in the form of a Jyotirlinga (a divine pillar of light) to bless his devotees. The Kedarnath Ji Darshan is a significant part of the Chardham Yatra, where pilgrims offer prayers and seek blessings from Lord Shiva. The darshan is believed to grant spiritual solace, fulfillment of desires, and liberation from the cycle of birth and death. The visit to Kedarnath is an opportunity for devotees to connect with the divine and experience profound peace and serenity.

3. Helicopter Travel: Convenience and Time-Saving

Traditionally, the Chardham Yatra involves long and arduous journeys, with devotees trekking through challenging terrains to reach the sacred destinations. However, with the introduction of helicopter services, the yatra has become more accessible and convenient. Helicopter travel offers a time-saving alternative, allowing pilgrims to complete the journey in a shorter duration. It eliminates the physical exertion of long treks and provides a comfortable and seamless experience. Helicopter services for the Chardham Yatra have gained popularity, especially for Kedarnath Ji Darshan, as they offer a swift and hassle-free way to reach the sacred temple.

4. Kedarnath Ji Darshan by Helicopter: A Divine Experience

The Kedarnath Ji Darshan by helicopter offers a unique and awe-inspiring experience for pilgrims. It allows devotees to witness the breathtaking beauty of the Himalayan ranges from a bird's-eye view, adding a touch of grandeur to the spiritual journey. The helicopter ride takes pilgrims to the helipad near Kedarnath, from where they can proceed for darshan. The convenience of helicopter travel not only saves time but also provides an opportunity to appreciate the serene landscapes and absorb the spiritual energy of the surroundings. It enhances the overall experience of seeking the divine blessings of Lord Shiva at Kedarnath.

5. Prerequisites and Preparations for Kedarnath Ji Darshan**

Before embarking on the Kedarnath Ji Darshan by helicopter, there are certain prerequisites and preparations that pilgrims need to consider. It is important to ensure proper registration and obtain necessary permits for the yatra. Additionally, pilgrims should be physically fit to undertake the helicopter journey and the subsequent walk to the Kedarnath Temple. Adequate warm clothing, comfortable footwear, and essential items should be packed for the trip. It is advisable to carry necessary medications, as the high-altitude environment may pose health challenges for some individuals. Proper planning and preparation contribute to a safe and fulfilling Kedarnath Ji Darshan experience.

6. The Spiritual Essence of Kedarnath Ji Darshan

The Kedarnath Ji Darshan holds a deep spiritual essence for devotees. As pilgrims approach the temple, the atmosphere resonates with chants of "Jai Kedar" and "Har Har Mahadev," creating a sense of reverence and devotion. The darshan involves offering prayers, performing rituals, and seeking blessings from Lord Shiva. It is a moment of intense devotion, where devotees experience a profound connection with the divine. The serene surroundings, the sound of the holy chants, and the majestic presence of Lord Shiva create a transformative experience, leaving a lasting impact on the hearts and souls of the pilgrims.

Conclusion

The Chardham Yatra from Haridwar, with a special focus on Kedarnath Ji Darshan by helicopter, offers a spiritual journey of a lifetime. It allows devotees to embark on a sacred pilgrimage, seek blessings from the divine, and immerse themselves in the awe-inspiring beauty of the Himalayas. The convenience of helicopter travel enhances the experience, providing a time-saving and comfortable means to reach Kedarnath. The Kedarnath Ji Darshan itself is a deeply spiritual and soul-stirring experience, connecting devotees with Lord Shiva and creating memories that last a lifetime. Embark on this divine journey and find solace, serenity, and spiritual fulfillment in the embrace of Lord Shiva at Kedarnath.

[sleepyfaequeen]

MASTERLIST

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Related to character prompts

Fluff

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Overwatch

Jack Morridon/Soldier76

Gabriel Reyes/Reaper

Ana Amari

Mercy/Angela Zeigler

Genji Shimada

Hanzo Shimada

Symmetra/Satya Vaswani

Moira O'Deorain

Ramattra

Zenyatta

Sombra/Olivia Colomar

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Junker Queen/Odessa "Dez" Stone

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Kiriko Kamori

Niran "Lifeweaver"

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Xiao

Diluc

Kaeya

Childe

Zhongli

Dead By Daylight

Onryō/Sadako

Huntress/Anna

Michael Myers

Trickster/Ji-Woon Hak

Artist/Carmina Mora

Path to Nowhere(every character but the young ones)

Bayonetta

Pokemon Violet

Final Fantasy 7

[bookofjin]

Inspector of Qin province秦州 (Songshu)

[I believe the province and all its commanderies and counties are "lodged" units governing migrant communities, and no actual territory]

Inspector of Qin province秦州, Emperor Wu of Jin's 5th Year of Taishi [269 AD], divided off the 5 commanderies of Longyou隴右, and Liang province's涼州 Jincheng金城 and Liang province's梁州 Yinping陰平, a combined 7 commanderies to become Qin province秦州, seated at Tianshui's天水 Ji冀 county. 3rd Year of Taikang [282 AD], it was combined to Yong province雍州, Emperor Hui's 7th Year of Yuankang [297 AD], reestablished it. In He's treatise Xiaowu of Jin reestablished it, transmitted seated at Xiangyang襄陽. In the era of Emperor An it was in Hanzhong's漢中 Nanzheng南鄭. Governs 14 commanderies, 42 counties, 8 732, 40 888 people.

[1]Grand Warden of Wudu武都, Emperor Wu of Han's 6th Year of Yuanding [111 BC], established it. The Commanderies and States of Yongchualso has Hechi河池 and Gudao故道 counties[a]. Now governs 3 counties, 1 274 households, 6 140 people.

[a]Both old Han counties.

[1]Prefect of Xiabian下辨, Han's old county.

[2]Prefect of Shanglu上祿, Han's old county, later rationalised. Emperor Wu of Jin's 3rd Year of Taikang [282 AD], again established it.

[3]Prefect of Chencang陳倉, Han's old county, belonging to Fufeng扶風. In the Geographic Treatise on Jin's Taikang era belongs to Qin秦 state.

[2]Grand Warden of Lüeyang略陽, in the Geographic Treatise on Jin's Taikang era belongs to Tianshui天水. In He's treatise it was formerly called Hanyang漢陽, Wei divided off and established it, calling it Guangwei廣魏. Emperor Wu altered the name. The Commanderies and States of Yongchuhas Qinshui清水 county[a]. He and Xu are without. Governs 3 counties, 1 359 households, 5 657 people.

[a]See separately

[1]Prefect of Lüeyang略陽, during Former Han belonged to Tianshui天水, Later Han's Hanyang漢陽 was precisely Tianshui天水, in the Geographic Treatise on Jin's Taikang era belongs to Lüeyang略陽. Yong province's雍 Tianshui天水 and Yi province's益州 Angu安固 commandery also have this county.

[2]Prefect of Linhan臨漢, in He's treatise newly established.

[3]Prefect of Shanggui上邽, during Former Han belonged to Longxi隴西, during Later Han belonged to Hanyang漢陽, in the Geographic Treatise on Jin's Taikang era belongs to Tianshui天水. In He's treatise drifters sojourned to cut off and pair.

[3]Grand Warden of Angu安固, the Treatise on Commanderies and States of Yongchu has Angu安固 commandery, and also has Nanangu南安固 commandery. 16th Year of Yuanjia [439 AD], it was it crossed over to Yi province益州. Now governs 2 counties, 1 505 households, 2 044 people.

[1]Prefect of Huanling桓陵[a]

[a]See separately.

[2]Prefect of Nanhuanling南桓陵, the Commanderies and States of Yongchuand He's treatise's Angu安固 commandery merely governs Huanling桓陵, 1 one county. Xu's treatise also has this county.

[4]Grand Warden of Xijingzhao西京兆, at the end of Jin drifting people from Sanfu三輔 set out for Hanzhong漢中 and lodge established it. Governs 3 counties, 693 households, 4 552 people.

[1]Prefect of Lantian藍田[a], the Commanderies and States of Yongchuis without.

[2]Prefect of Du杜[a].

[3]Prefect of Hu鄠, during the Two Han belonged to Fufeng扶風, in the Geographic Treatise on Jin's Taikang era it belongs to Shiping始平.

[5]Grand Warden of Nantaiyuan南太原[a], He's treatise states, it formerly belonged to Bing province并州, drifters sojourned to cut off and pair. In the Commanderies and States of Yongchu also has Qinghe清河[b] and Gaotang高堂 counties[c]. Commands 1 county, 233 households, 1 156 people.

[a]For Taiyuan太原 see separately.

[b]See separately

[c]See separately. In Ji province's翼州 Pingyuan平原 it is written Gaotang高唐.

[1]Prefect of Pingtao平陶, Han's old name.

[6]Grand Warden of Nan'an南安, He's treatise states it formerly belonged to Tianshui天水, Wei divided it off and established it. The Commanderies and States of Yongchu is without. Governs 2 counties, 620 households, 3 089 people.

[1]Prefect of Huandao桓道, Han's old name, belonging to Tianshui天水. During Later Han belonged to Hanyang漢陽, written huan 獂.

[2]Prefect of Zhongtao中陶. In He's treatise Wei established it. The Geographic Treatise on Jin's Taikang era has it.

[7]Grand Warden of Pingyi馮翊, drifting people of the Sanfu三輔 set out for Hanzhong漢中. Emperor Wen's 2nd Year of Yuanjia [425 AD], lodged established it. Governs 5 counties, 1 490, 6 854.

[1]Prefect of Lianshao蓮芍[a].

[2]Prefect of Dunyang頓陽, Han's old name.

[3]Prefect of Xiabian下辨, in Xu's treatise it formerly belonged to Lüeyang略陽, drifters sojourned to cut off and pair. He is without this county.

[4]Prefect of Gaolu高陸, the Two Han and Wei were without. The Geographic Treatise on Jin's Taikang era has it, belonging to Jingzhao京兆. He's treatise drifters sojourned to cut off and pair.

[5]Prefect of Wannian萬年[a].

[a]See separately.

[8]Grand Warden of Longxi隴西, Qin established. At the beginning of Emperor Wen's Yuanjia [424 – 453], people from Guanzhong關中, 3 236 households, reverted to reform. 6th Year established it [429 AD]. Now governs 6 counties, 1 561 households, 7 530 people.

[1]Prefect of Xiangwu襄武, Han's old name

[2]Prefect of Lintao臨洮, Han's old name

[3]Prefect of Heguan河關, during Former Han belonged to Jincheng金城, during Later Han and in Geographic Treatise on Jin's Taikang era belonged to Longxi隴西.

[4]Prefect of Didao狄道, Han's old name

[5]Prefect of Daxia大夏, Han's old name. The Geographic Treatise on Jin's Taikang era is without.

[6]Prefect of Shouyang首陽

[9]Grand Warden of Shiping始平[a], the Commanderies and States of Yongchu is without. Governs 3 counties, 859 households, 5 441 people.

[1]Prefect of Shiping 始平, the Geographic Treatise on Jin's Taikang era has it. In He's treatise Emperor Wu of Jin established it. But Yong province's雍州 Shiping's始平 commandery's Shiping始平 county, He states Wei established it. Note that these counties, in the end though each were established, originally were one county. Why are they not similar?

[2]Prefect of Huali槐里[a]

[3]Prefect of Songxi宋熙, He is without, in Xu is newly established.

[a]See separately

[10]Grand Warden of Jincheng金城, Emperor Zhao of Han's 6th Year of Shiyuan [81 BC], established it. The Commanderies and States of Yongchu is without, in He and Xu governs 3 counties, 375 households, 1 000 people.

[1]Prefect of Jincheng金城, Han's old name

[2]Prefect of Yuzhong榆中, Han's old name

[11]Grand Warden of Anding安定, Emperor Wu of Han's 3rd Year of Yuanding [114 BC], established it. The Commanderies and States of Yongchu is without. Governs 2 counties, 640 households, 2 518 people.

[1]Prefect of Zhunuo朝那, Han's old name.

[2]Prefect of Songxing宋興, in He's treatise newly established

[12]Grand Warden of Tianshui天水, Wu of Han's 3rd Year of Yuanding [114 BC], established it. Emperor Ming changed the name to Hanyang漢陽. Yong province雍州 already have this commandery. The Commanderies and States of Yongchu is without. Governs 2 counties, 893 households, 5 228 people.

[1]Prefect of Eyang阿陽, Han's old name.The Geographic Treatise on Jin's Taikang era is without.

[2]Prefect of Xinyang新陽, the Geographic Treatise on Jin's Taikang era has it. In He's treatise Wei established.

[13]Grand Warden of Xifufeng西扶風[a], at the end of Jin drifting people from Sanfu三輔 set out for Hanzhong漢中 and lodge established it. Governs 2 counties, 144 households.

Prefect of Mei郿[b]

Prefect of Wugong武功[b]

[a]For Fufeng扶風 commandery, see separately

[b]See separately

[14]Grand Warden of Beifufeng北扶風, Xiaowu's 2nd Year of Xiaojian [455 A], used drifting people from Qin秦 and Yong雍 to establish it. Governs 3 counties. At the time there was also Guangchang廣長 commandery, also established Chengjie成階 county to govern Di people, soon after rationalised.

[1]Prefect of Wugong[a]

[2]Prefect of Huayin[a]

[3]Shiping county[a]

[a]See separately

[iliadshq]

                                       𝐌𝐔𝐒𝐄 𝐎𝐅 𝐓𝐇𝐄 𝐔𝐍𝐃𝐄𝐑𝐖𝐎𝐑𝐋𝐃.

— NAME : eurydice.

— AGE : 20s.

— GENDER : f/nb.

— FACE : zhu zhu, summer bishil, lee ji eun.

You were a temple child when the Goddess of Spring opened their kingdom, offering you a place beneath its columns. Hungry as all children are, starved for belonging & rabid for warmth, you climbed the steps. Bare-footed soles echoed, and then disappeared. You remained at their side ever since, and would accompany them in their sojourn above the earth. Each year you ventured into the world of men together, sprinkling seeds from the folds of your dresses—then started your pilgrimage below. There was so much more than shadows waiting around the ebony throne; there were guests, silver-eyed and braying, clamoring about their time on earth. There were overfilled cups, laments and song. Some laughed, others howled. Yet their tales were always relayed for the benefit of the royal couple. Your first love was not for a soul, but for a story. Now, with the Gods leaving their kingdom for the festivities in Sparta, you see a chance at a story of your own.

                                                    𝐂𝐎𝐍𝐍𝐄𝐂𝐓𝐈𝐎𝐍𝐒.

✹ PERSEPHONE  —  You never understood the truth of it. It was always too vast for you, too dazzling. You heard their union started with deceit, that the Goddess was blindsided, undone by their own craving. It seems impossible for serene Persephone, but what else can warrant such devotion ? Could a love so boundless exist—can it be called love at all ?

✹ HADES  —  As far as crucibles go, they are a benevolent one. It doesn't change the fact that they burn everything in their image. Not a stone upturns, not a stream meanders without their will. They hold spirit, memory itself under their sway. Oh, mortals are wrong about the netherworld; it is bright, alluring, serving legends on a golden plate. But they are not wrong about the trap—only they couldn't guess Hades is the most captive of all.

✹ ORPHEUS  —  The poet has no future & no past, nothing that could make you desert your place of worship. Every spring, the same frenzy from them. A net of empty promises, but oh, how strong their pull. How steadily it tugs at your heartstrings. Like a hand ghosted over a lyre, they move and you sing; no, you echo, loud enough to wake the very earth.

This skeleton is currently OPEN.

[twinklewebtech]

Kasauli church and temples take a spiritual trip

Yes, on the peak, amid evergreen trees and open sky, you will find your many spiritual stations!

In the serene mountains of Kasauli, you will find all the reasons to take a spiritual sojourn in between magnificent undulating hills.

The place has spiritual destinations for all religions bearing eerie revelations connecting you to spirituality in deep.    

The living moments of tranquillity will sparkle your soul and bring the tranquillity you have longed for! Common belief says some spiritual centres have existed since mythological times, while many churches were built during British colonial rule in India. 

So here’s a mini list of spiritual places in Kasauli you can take a trip to:

Hanuman Temple Kasauli

Regarded as one of the sacred locations of Kasauli, it is nestled at the Manki Point, the Air force station of Kasauli. As per popular beliefs, this place is believed to be the point where Lord Hanuman had put his feet while travelling toward Sanjeevani Buti. Thus, the value of this place becomes significant as per Hindu mythology.

Kasauli Baptist Church

Allocated in the region of Sadar Bazaar, the Baptist Church in Kasauli is regarded as a civilian area in this garrison. With the use of wood and bricks, the construction of this Church happened in 1923. The place is the perfect example of British colonial architecture.

Gurudwara Shri Nanak Ji, Kasauli

Situated on the premises of Kasauli, the Guru Nanak Ji Guradware is a holy shrine for Sikhs. The Gurudwara is in the Garkhal market, which is crowded with tourists from North India.

Shri Baba Balaknath Temple, Kasauli 

The Lord Shiva’s dedicated temple, the Baba Balak Nath Temple, is established in the Kasauli hills. Situated in the large arena of the Garkhal region, it is at a distance of 5 kilometres from Kasauli. 

Many childless couples seek blessings from the temple to fulfil their wish.

Christ Church, Kasauli

Established on July 24th, 1853, as an Anglican Church, the Christ Church is one of the oldest in India. The building is made of stained glass resembling those found in Italy and Spain, showcasing imperative beauty that makes up for the centre of attraction in this place.

Krishna Bhavan Mandir, Kasauli

One of the historical temples in the region, the Krishna Bhavan Mandir, has a domineering value in Hinduism. The temple was constructed back during British colonial rule in 1926. The architecture was carried by experienced craftsmen that gave the temple a beautiful look. 

Alongside the above listed spiritual destinations, many others hold significant value.

Discover more at Kasauli hills! 

To accommodate your perfect getaway plan, we have all that will bring you closer to nature and let you experience life without technology and the modern world equipment but instead is associated ‘with and to’ nature. You cannot gift yourself anything better than an opportunity to submerge in the beauty of simple and meaningful things and ways of living. 

[sthayil]

2020 Reading Goal Outcomes

Goal: 52 books in 2020, re-reads don’t count, romance novels don’t count, and read at least half non-fiction.

Result: 53 books, but only 14 non-fiction. Will try again next year!

Half girlfriend, by Chetan Bhagat. My first time reading this author, which half of India seems to love to hate. An easy read that still had me reflecting on elitism, English, and privilege in India.

Coming out as Dalit, by Yashica Dutt. A heartfelt memoir on caste-based discrimination in India. A very close-hitting book, and I had never thought about caste until I attended the Jaipur Literary festival and heard Dutt speak. I didn’t know the caste of any of my Indian friends, and realised that I probably did not know anyone who was Dalit, and didn’t know anyone who was “out” as Dalit. I thought that the Syrian Christian community was post-caste, but actually we are complicit in upholding caste-based discrimination through the centuries. This book will stay with me for a long time.

The Receptionist, by Janet Groth. A memoir of the author’s decades as receptionist at the New Yorker. I didn’t realise how segregated New York used to be. Got the feeling that this was written for a specific group of people. Favourite quote: “Anyone who cries as easily as you do is pretty tough. You don’t give an inch; you give only tears.”

First They Killed My Father, by Loung Ung. Devastating account of the author’s childhood in Cambodia during the Khmer Rouge regime and genocide.

Bright Stain, by Francesca Bell. Brutal, graceful collection of poetry. “Let me tell you, at forty-two, it is a deep delicious pleasure not to be dewy or fresh as a fucking daisy.”

Homeland, by R. A. Salvatore.

Exile, by R. A. Salvatore.

Sojourn, by R. A. Salvatore. Found a new fantasy author I want to keep following! Only new to me though, R. A. Salvatore is one of the masters of fantasy and his world The Forgotten Realms is apparently very popular in games. This is the first trilogy in his series and I really enjoyed it. Will continue to read from this world.

Dreamer’s Pool, by Juliet Marillier.

Tower of Thorns, by Juliet Marillier.

Den of Wolves, by Juliet Marillier. Rediscovered one of my favourite authors from high school, when I realised the New York public library has a search and hold system so I can request particular books I want! This series was deeply satisfying, there’s nothing better than reading a new series by a beloved author.

The Reproach of Hunger, by David Rieff. A searing critique of the current global food system and the world of development. One hand trying to fix problems the other created. Nothing but a strengthening of the state and deepening of democracy will fix the mess we are in.

Roar, by Cecelia Ahern. A collection of wonderful short stories of women in magical realist situations based on common expressions. Eg. The Woman Who Wore Her Heart on Her Sleeve is a small story about a medical miracle who literally wore her heart on her sleeve. The Woman With A Strong Suit is about a woman who literally searches an entire department store for the perfect suit. Adorable but powerful stories of the voices of women and the bizarre lives we lead in the modern world.

Can You Tolerate This, by Ashleigh Young. A poet’s first non-fiction work, a collection of essays about her life and memories in mainly NZ, along with interesting stories she hears/reads about from elsewhere. I most liked the first story about the skeletal disease, and the long memory of her brother’s Big Red sweater.

A New Dawn, by Various. I feel like I’m cheating by adding this to my non-fiction count. It’s a collection of essays by popular authors, reacting to the Twilight series. Very light reading.

The Fork, the Witch, and the Worm, by Christopher Paolini. A set of short stories that takes place after the Inheritance cycle! I didn’t know he kept writing! This was so exciting to find. A lovely return to a series I read and reread for years when growing up.

Catwoman Soulstealer, by Sarah J. Maas. Saw another book by Maas at the library and had to pick it up. She is always a winner.

The Uses and Abuses of History, by Margaret MacMillan. Never take history simplistically, and that if you go in looking for proof for your plan, there are sufficient examples in history to find what you are looking for. So always be careful.

The Financial Diet, by Chelsea Fagan and Lauren Have. I watch their Youtube channel, so it was nice seeing their book on the shelf here at my sublet. A quick and easy read especially if you watch their videos. Intuitive and reassuring stuff.

Men Explain Things to Me, by Rebecca Solnit. Collection of feminist essays.

Poison Princess, by Kresley Cole

Endless Knight, by Kresley Cole

Dead of Winter, by Kresley Cole

Day Zero, by Kresley Cole

Arcana Rising, by Kresley Cole

The Dark Calling, by Kresley Cole. Kresley Cole’s first YA series, still quite good, but the final book is still not out! Will have to wait for next year to finish this. I would not have started if I realised it wouldn’t end in time.

One Day We’ll All Be Dead And None Of This Will Matter, by Scaachi Kaul. Collection of essays by an Indian Immigrant to Canada. I was fortunate to grow up in Asia. What is my dominant exposure? Did I ever have one?

Doing It, by Hannah Witton. A good book for folks with limited sex ed. My main takeaway is how depressing the side effects list is for almost all methods of female contraception.

Post-Truth, by Matthew D’Ancona. A political and philosophical manifesto, examining what is going on today, and a call for us to challenge it. Facts must be presented in both an emotional and rational way in order to prevail.

Dark Currents, by Jacqueline Carey

Autumn Bones, by Jacqueline Carey

Poison Fruit, by Jacqueline Carey. Found another author whose YA fiction I hadn’t read before. The Terre D’Ange series is still my favourite, but this is good too.

Santa Olivia, by Jacqueline Carey

Saints Astray, by Jacqueline Carey. Another win for Carey!

The Dragon Keeper, by Robin Hobb

Dragon Haven, by Robin Hobb

City of Dragons, by Robin Hobb

Blood of Dragons, by Robin Hobb. So happy to have found a new author! This was a great fantasy series, and for once the dragons were not perfect glorious creatures, but just another species in the world. Will keep reading Hobb.

Eating Animals, by Jonathan Safran Foer. This was good but the topic is so awful. I was off chicken for weeks after reading this and still haven’t fully come back. I’m really thinking about going more and more towards vegetarianism now. 

Pop Empires: Transnational and Diasporic Flows of India and Korea, edited by Allison Alexy, Monika Mehta, Robert Ji-Song Ku, S. Heijin Lee. I finally got around to reading this after attending the book signing in NYC ages ago, and this was such a good collection! I so much enjoyed the different slices of analysis from film, anthropology, history, etc.

The Crystal Shard, by R. A. Salvatore

Streams of Silver, by R. A. Salvatore

The Halfling’s Gem, by R. A. Salvatore. I can see why people like this author, but I wish I had found him earlier, maybe in my early teens. Then I think I would have really loved it. Reading this as an adult just makes me think of other fantasy series where there were higher stakes and the characters were not so perfect all the time. There is a lot of good adventure here, but not much emotion.

Canticle, by R. A. Salvatore

In Sylvan Shadows, by R. A. Salvatore. I spoke too soon. I complained of perfection with Drizzt, but Cadderly’s sheer wimpyness is driving me insane. He’s too good for war, he has “compassion”, but it’s all well and good for all his friends to go to war and kill people, just not precious Cadderly.

Night Masks, by R. A. Salvatore. Alright, he’s starting to grow up, but he is still incredibly squeamish about getting his own hands dirty and the hypocrisy of it is very irritating.

The Fallen Fortress, by R. A. Salvatore.

The Chaos Curse, by R. A. Salvatore.

The Legacy, by R. A. Salvatore.

Starless Night, by R. A. Salvatore. I think I’ll pause here for a bit. Too much Salvatore for me. There are 30 books in this series alone. 

Zelaldinus, by Irwin Allen Sealy. A wonderful amalgamation of bits and pieces of prose and poetry to do with a ghost of Jalaluddin Akbar.

Blood Rights, by Kristen Painter. Started a new series to feed my Maas withdrawals. It’s just okay so far.

Flesh and Blood, by Kristen Painter.

[chanoyu-to-wa]

Nampō Roku, Book 6 (12):  the Ro [爐] in the Sō-an [草菴].

12) With respect to the ro in the sō-an [草菴], in the beginning the dimensions of the ro were not fixed.  Jōō [and] Rikyū, after extensive discussion, [decided that] everything should be cloaked in the rules [governing] the large daisu², resulting in the mukō-ro being fixed at 1-shaku 4-sun square.

    The width of the naga-ita [長板]³, 1-shaku 4-sun, is the source of [this measurement]; [but the idea that] the “seat of the furo” [on the large daisu] is 1-shaku 4-sun square, was also used [when determining the size of] the ro⁴.

    On the far side [of the mukō-ro], a board 2-sun 5-bu wide is inserted.  When [the width of] this board is subtracted from the 4-sun 5-bu that was left on the far side of the daisu, the remainder [which is transposed to the front of the ro] constitutes the yū-yo [有餘] within the space used for placing the utensils -- this is a secret⁵.

     Adding all of these together yields 1-shaku 8-sun 5-bu, and it is on this space that the kane are superimposed⁶.  These [concepts that were directly derived from the daisu] are the basis on which the rules that govern the ro were established⁷.

[The writing reads (above to below, and right to left):  kabe-tsuke go-bu no yū-yo・ku-den (カヘ付五分ノ有餘・口傳)⁸; ita ni-sun go-bu (板二寸五分)⁹; isshaku yon-sun shi-hō・ro (一尺四寸四方・爐)¹⁰; kono ni-sun oki-kata no yū-yo nari・ku-den (此二寸置方ノ有餘也・口傳)¹¹; in-kane (陰カネ)¹², yō-kane (陽カネ)¹³.]

_________________________

◎ With respect to the sketch, the reader should understand that it shows a muko-rō [向爐] -- not a sumi-ro [隅爐]* -- according to the original configuration (where the guests are seated on the host's left).

    This section is covered in entry 6 in Kumakura Isao's Nampō Roku wo yomu [南方録を読む]†. __________ *A ro that is cut in the corner of the room).

†Though Kumakura sensei, rather predictably, asserts that the sketch shows a sumi-ro -- and then goes off on a tangent discussing this within the context of Urasenke’s way of doing things.

    My own explanation, which is based on the shiki-shi [敷き紙], will be found under footnotes 8 and 11.

¹Sō-an no ro ha, hatsu ha ro no sunpō sadamarazu [草菴ノ爐ハ、初ハ爐ノ寸法定ラズ].

    As Shibayama Fugen points out at the beginning of his commentary on this entry, the sō-an [草菴] did not exist before Rikyū’s time -- and made its first appearance during the last year of Jōō’s life.  This is a fact that must not be forgotten, otherwise the result will be complete confusion regarding the development of chanoyu*.

    The evolution of the ro proceeded from two directions.  First, it seems that, toward the end of the fifteenth century (if not before†), certain members of the expatriate Korean community (who had arrived in Japan during the second half of the century‡) were already sinking a cooking pot (with the rim broken off above the flange) into a round hole cut in a board (which lifted the mouth to the level of the mats), arranging the ashes and charcoal therein, and suspending a kama over the fire, as a simple substitute for a furo (which, even if cast of iron in Japan, would still require a significant financial outlay, and long waiting period before the order could be filled), in imitation of the o-chanoyu-dana [御茶湯棚].

    On the other hand, Jōō said that his own inspiration was the sunken hearth in the common room of a farmhouse -- where four mats were arranged around a central square (equal to a half-mat), with the fire located toward one corner of that square (beside which the wife of the house would sit to cook the food over the fire).  Because making the ro this size would make things difficult for the guests (since there was no room in front of their knees beyond the edgd of the mat on which they were seated), Jōō reduced the size to 1-shaku 8-sun square (with the actual well for the fire being around 1-shaku 2-sun square -- the shaku-tate and futaoki being placed on the ro-dan [爐壇]**); and he suspended the kama over this ro on a chain or ji-zai, also in keeping with the mechanics employed in the farmhouse setting.

    Though the details of their discussion were not recorded, it seems most likely that their ultimate solution took both situations into consideration -- since, as shown here, the first 1-shaku 4-sun ro was the one cut in the far end of the utensil mat (which was precisely the part of the mat that had been originally enclosed), as a mukō-ro††. __________ *And, indeed, because Kanamori Sōwa was either unaware of this fact, or chose to ignore it, his “history of chanoyu in Japan” (which is the only history bandied about in the books and believed by the modern schools) is responsible for a very large part of the confusion suffered not only by the people of his generation -- but those of our own.

     Later in the Nampō Roku, the discussion of the 3-mat room, and the 4-mat room, are discussed in some detail, and the implication is that these were the first forms of the “small room” (which is generally considered equivalent to the sō-an).  However, both of these rooms (in their several permutations) resulted from architecturally fixing the earlier kakoi [圍], where the far end of a larger room was physically segregated from the rest by folding screens, with chanoyu offered within the enclosure -- the 3-mat room representing the far end of a six-mat room (the typical size of the jō-dan [上段]), while the 4-mat size was created when the far end of an 8-mat room (a common size for the ni-no-ma [二の間]) was enclosed in a similar way.  In rooms of this sort, either the daisu was used, or the naga-ita (meaning a simple board on which the furo and kaigu were arranged, with the other utensils carried out at the beginning of the temae).  The Nampō Roku discusses how the ro came to be cut in these rooms, but it should be understood that this practice did not come about until the second half of the sixteenth century (even though the Nampō Roku implies that it occurred there much earlier -- perhaps a conclusion interpolated by Tachibana Jitsuzan based upon his reading of Kanamori Sōwa’s writings).

    One of the biggest points of confusion, if we exclude the 3- and 4-mat rooms from this discussion, centers on the argument presented in the present entry:  namely, that the mukō-ro was fundamental to the creation of the sō-an -- because the first sō-an (in Japan) are said to be Jōō’s Yamazato no iori [山里の庵], and Rikyū’s Jissō-an [實相庵] -- both of which were 2-mat daime rooms. 

    The only way to resolve this conundrum is through the understanding that the 2-mat room derived directly from the 2-mat tsugi-no-ma [次の間], the “preparation room” that was appended to a shoin, and wherein the o-chanoyu-dana [御茶湯棚] was found.  So, the mukō-ro came from a simplified form of o-chanoyu-dana where the furo was replaced by a large cooking pot with a flange that was sunk into a hole cut in the floor-board of the o-chanoyu-dana, with ashes and the kama arranged within it.  This seems to have been the form that the Shukō-an [珠光庵] took; and, it is possible that Rikyū encountered similar small rooms being used in Korea (where Buddhism and chanoyu were only beginning to recover from the persecutions of the second half of the fifteenth century during the decade of his sojourn, and so where a state of utmost simplicity had arisen as a consequence of the destruction of the utensils and rooms that had been employed before the Ming invasions), thereby inspiring his, and Jōō’s, recollections of ideas that had been handed down from the earliest days of wabi no chanoyu in Japan.

†It is possible that this kind of thing was already being done on the continent -- since, obviously everyone who was involved with chanoyu could not possibly have been able to afford the costly bronze utensils that were required when the daisu was being used.  Arranging ones utensils in a sort of walled off recess would allow one to replicate the idea, while eschewing the costly objects.  The idea of sinking a large cooking pot into the board that constituted the floor of the recess, and arranging the fire in there, with a kama suspended over it on a tripod, would have been a rather natural solution.

‡Shukō, for example, seems to have used this kind of arrangement to serve tea in his 2-mat cell.  Though lacking the enclosure (and substituting the end portion of the mat for the wooden floor), the sketch of the ro that is included in this entry essentially replicates Shukō's way of doing things.  (The Shukō-an [珠光庵] preserves these original details, albeit with their purposes reinterpreted when the room was increased from Shukō's 2-mats to three.)

**The ro-dan [爐壇] forms the actual well in which the fire is kindled.  It is made of mud-plaster.  It is surmounted by the ro-buchi [爐縁], a wooden frame, the upper edge of which is at the same level as the surface of the mats (when they are new).

     With respect to this matter, while the height is the same when the tatami are new, if the tatami are older, and made in the traditional manner (with compressed dried-grass innards), they tend to settle, meaning that, after the passage of some time, the surface of the mats can be up to several bu lower than the top of the ro-buchi.  Some schools considered this effect “wabi,” and so elevate the ro-dan slightly (in the case of certain schools, the discrepancy is up to 5-bu, in fact), so that even when the mats are new, they are noticeably lower than the ro-buchi.

    In Rikyū’s day, the mats were usually replaced before each gathering.

††Reducing the ro to this size in the 4.5-mat room seems to have occurred a little later; the first examples were as the mukō-ro, and as the ro in the daime-giri setting. (Care must be taken when studying the architecture of the truly old rooms, since they were all rebuilt -- and remodeled, so they would conform to then-contemporary standards -- in the Edo period.)

²Jōō・Rikyū kure-gure sōdan no ue, daisu no hō wo motte banji wo yatsushi-mochiite, mukō-ro isshaku yon-sun ni sadamararuru nari [紹鷗・利休クレ〰相談ノ上、臺子ノ法ヲ以テ萬事ヲヤツシ用テ、向爐一尺四寸ニ定ラルヽ也].

    Kure-gure [呉々] means repeatedly, time and again, over and over.  In other words, Jōō and Rikyū discussed this qusetion extensively before arriving at any conclusions*.

    Sōdan no ue [相談の上] means by mutual agreement or consent:  sōdan [相談] means consultation, while ue [上], in this case, means after (the discussions were concluded).

    Yatsushi-mochiite [窶し用て]:  yatsusu [窶す] means something like to loose (oneself) in, to be absorbed in, to dress or cloak (oneself) as/in (something); mochiiru [用いる] means to employ, make use of.

    In other words, after extensive discussions, Jōō and Rikyū concluded that the best approach was to bring the rules governing the large daisu over wholesale, and apply them to the ro in the sō-an.

    A mukō-ro [向爐] is a ro cut on the far end of the utensil mat.  It seems to have been because space on the utensil mat was extremely limited that the conclusion that the ro should be based on the large daisu was reached‡. __________ *While the usual interpretation is that they discussed this matter for a long time before reaching any conclusions, in fact, this discussion, its conclusions and its application to the small room, and the proliferation of the various forms of the small room, all took place between Rikyū's return from the continent, near the end of 1554, and Jōō's death toward the end of in 1555 -- and so, in the space of less than a year.

‡Retaining the original 1-shaku 8-sun format that Jōō was using in his 4.5-mat room would have made the utensil mat appear imbalanced.  Furthermore, the precedent of the o-chanoyu-dana required the ro to be smaller than 1-shaku 5-sun front to back.

    Nevertheless, this measurement of 1-shaku 8-sun will return later in this entry (please refer to footnote 6, below), though the derivation mentioned here is part of the ku-den (and so not explained openly in the text).

³Naga-ita [長板] refers to the ji-ita of the large daisu.

⁴Naga-ita no haba isshaku yon-sun wo moto to shite, furo no za isshaku yon-sun shi-hō wo ro to shi [長板ノハヾ一尺四寸ヲモトヽシテ、風爐ノ座一尺四寸四方ヲ爐トシ].

    Moto to shi [元とし] means “(this) is the basis (of the idea that the ro should be 1-shaku 4-sun).”  In other words, the measurement is based on the width of the ji-ita of the large daisu.

    To shi [とし] means “(this argument) is (also) used.”

⁵Mukō ni ni-sun go-bu no ita wo ire-shi ha, daisu no mukō yon-sun go-bu wo, ni-sun wo dōgu no oki-kata yū-yo no hiji ni mochiite [向ニ貳寸五步ノ板ヲ入シハ、臺子ノ向四寸五分ヲ、二寸五步板ニトリ、二寸ヲ道具ノ置方有餘ノ秘事ニ用テ].

    Ire-suru [入れする] means “is inserted.”

    Ni-sun go-bu ita ni tori [二寸五步板に取り] means that the 2-sun 5-bu is taken (away) -- is subtracted -- from the 4-sun 5-bu that was located on the far side of the daisu.

    Oki-kata [置き方] means placement, setting -- here it refers to the space where (the utensils) are placed.

    Yū-yo [有餘] literally means remainder, excess, above, over.  In the Nampō Roku, it refers to space that is off limits -- a space where objects should never be displayed.  In other words, oki-kata yū-yo means a specific part of the mat within the space used for displaying the utensils that must never be used.

    Hi-ji ni mochiite [秘事に用いて] means this (non-) use of this space is a secret.

    The argument that is being made here is that this 2-sun strip was originally part of the 4-sun 5-bu wide space that was found on the far side of the daisu, that was not used.  Though it has been transposed to the front side of the mukō-ro, on account of its origins, it is still forbidden to place objects in it -- though this prohibition, and the reason for abstaining from making use of it, are secret matters (which apparently was the case, since the modern schools are generally not familiar with this concept).

⁶Tsugō isshaku hassun go-bu ni kane wo tori-orosaretari [都合一尺八寸五分ニカネヲ取ヲロサレタリ].

    Tsugō [都合] means the total*.

    Tori-orosaretaru [取り下ろされたる] means are to be lowered, let down, brought down.  In other words, the kane are superimposed upon this area of the mat (specifically, as a guide to the host, when he is going to arrange the utensils prior to the shoza and goza).

    The original purpose of the kane was as a guide to the correct arrangement of the utensils.  However, they are also used during the temae, mirroring the shiki-shi [敷き紙].

    Regarding this 1-shaku 8-sun 5-bu, as mentioned above, Jōō’s original ro was 1-shaku 8-sun square.  Furthermore, there is a rule that the outer 5-bu on every side of the tatami is to be considered yū-yo [有餘], meaning that the 1-shaku 8-sun “seat of the ro” would have to be moved 5-bu away from the wall.  This is the actual source of the 1-shaku 8-sun 5-bu dimension.

    Jōō‘s original ro had a very wide ro-dan [爐壇].  The ro-buchi [爐縁] was 1-sun wide, and the ro-dan extended 2-sun beyond that, so the opening of the well was approximately 1-shaku 2-sun square, but the kama was arranged toward the corner closest to the kyū-dai daisu*.  As the reader may recall, on the kyū-dai daisu the mizusashi is also placed on the side of the daisu closest to that same corner of the ro.  And at the beginning of the temae, the shaku-tate was moved from the daisu to the ro-dan, and then the futaoki was also moved to that place.  Thus, the arrangement of the utensils mirrored the way they were disposed when all of them (including the kama and furo) were on the daisu.  As in the daisu temae, the hishaku was always stood in the shaku-tate, and the futaoki was used only as a stand on which the lid of the kama was rested.  After the creation of the 1-shaku 4-sun ro, the futaoki had to be placed on the mat, and, on account of the distance from the shaku-tate, the custom arose of resting the hishaku on the mouth of the kama.

    In the old writings, we occasionally encounter a reference to an “8-sun ro.”  These references always postdate the creation of the 1-shaku 4-sun ro, and they mean an “old style” ro -- one that measures [1-shaku] 8-sun [square], rather than [1-shaku] 4-sun.  I mention this because even some Japanese scholars become confused, and imagine that there was some sort of miniature ro -- which is the opposite of what was actually the case. ___________ *Since the kama used in the ro were originally the same kama that were used on the furo, they usually occupied no more than an 8-sun square space within the ro.  Thus, on the far side, as well as on the side of the kama farthest from the daisu, was 4-sun of empty space that mirrored the 4-sun on the far side of the daisu.  Because the 5-bu closest to the wall is always yū-yo, the actual space on the far side of the daisu should be understood to be 4-sun + 5-bu, rather than a single unit of 4-sun 5-bu.  All of these details were secret teachings, and many of them have been lost between Rikyū’s and Nambō Sōkei’s day and our own.

⁷Kore sunawachi ro no hō wo tatashi sadametaru-konpon nari [コレ卽爐ノ法ヲタヽシ定メタル根本ナリ]

    Sunawachi [卽ち = 即ち] means “for example;” “in other words.”

    Tatasu [立たす] means to set up, raise, establish.

    Sadametaru-konpon [定めたる] means the foundation (konpon [根本]) on which (the rules that govern the ro) are based.

    The teachings that were derived from the daisu are the basis on which the rules that govern the ro were set up.

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⁸Kabe-tsuke go-bu no yū-yo・ku-den [カヘ付五分ノ有餘・口傳].

    “The 5-bu that adjoins the wall is yū-yo; there is a ku-den.”

    A 5-bu yū-yo is found on every side of every mat, not just on the side that adjoins the wall -- it exists also on the outer half of the heri, and at the foot of the mat as well), and it must be subtracted before any discussion of kane-wari is possible.  This has already been mentioned, with respect to the 1-shaku 8-sun 5-bu measurement, above.

    Ultimately, this was a consequence of the shiki-shi [敷き紙].  As has been mentioned several times before in this blog, when the idea of the shiki-shi was applied to the wabi setting, Rikyū (perhaps in consultation with Jōō) decided that the temae-za should be limited to the space between the heri*.

    In order to achieve this, the folds of the shiki-shi had to be removed, so that the three inner kane became simple lines, like the outer two (which corresponded to the edges of the shiki-shi); and the fold in the center was also reduced to a horizontal line as well.

    When placed in front of the daisu, the utensils arranged on the shiki-shi are mostly found on the far side of the central fold, though the entire 1-shaku 2-sun 3-bu width is used to some extent.  In the wabi setting, in consideration of the fact that much simpler utensils are used†, Rikyū concluded that the space necessary for the temae-za should be limited to one row of panels, and, as a result, he had the central line (previously fold) placed 2-sun away from the front edge of the mukō-ro (as can be seen above).

    A second shiki-shi of this sort‡ was then placed on the far side of the first, allowing the space from the front edge of the 2-sun wide yū-yo to the end of the 1-shaku 8-sun area (that was derived from Jōō’s original ro) to be divided into thirds (again, as may be seen in the above sketch).  The space covered by the shiki-shi stops 5-bu short of the far end of the mat, and this is the origin of the 5-bu yū-yo.

    Under this system, the temae-za occupies the lower row of panels; the chaire or other objects displayed occupy the second ro, the mizusashi is centered in the third row, and the final row is generally not used (it being too far away for the host to reach easily from his seat on the far side of the temae-za).  The host’s knee line is 2-sun below the lower edge of the shiki-shi, meaning he is seated 1-shaku away from the front edge of the ro.

    While the above narration of the derivation of the 5-bu yū-yo actually seems to have been the ku-den, since all knowledge of these things was lost among his contemporaries with Rikyū’s death, by Jitsuzan’s day all that remained was the teaching that a 5-bu yū-yo is found on all four edges of the mat. ___________ *This contrasts with the original case where, as a consequence of the 3-bu wide folds, the temae-za was expanded to the middle of both heri, so that the space to the right and left of the shiki-shi would be equal to the space of each of the panels (meaning 5-sun wide).  This was perhaps the origin of the idea of yū-yo [有餘] -- since yū-yo actually means excess, extra, what is left over.  This 5-bu on the outer edges of the heri probably came to be associated with the 5-bu at the head of the utensil mat later -- perhaps only after the idea of kane-wari came to be applied to the wabi setting.

†And, specifically, that the large trays are done away with.

‡These were not actual, physical objects, but mental images, used to help the host partition the space, and so aid him in orienting the various utensils appropriately.

⁹Ita ni-sun go-bu [板二寸五分].

    “[This] board [measures] 2-sun 5-bu.”

¹⁰Isshaku yon-sun shi-hō・ro [一尺四寸四方・爐].

    “1-shaku 4-sun square - the ro.”

¹¹Kono ni-sun oki-kata no yū-yo nari・ku-den [此二寸置方ノ 有餘 也・口傳].

    “This is the yū-yo found within the area [of the mat] where the utensils are placed; there is a ku-den.”

    As mentioned above, the origin of this yū-yo can be found in the modified version of the shiki-shi that Rikyū envisioned as governing the arrangement of the utensils in the wabi setting.

    Once the position of the mukō-ro had been decided upon, the mizusashi was placed in line with the kama (as it is on the daisu).  The (fictional, foldless) shiki-shi was placed immediately in front of the mizusashi (as the real shiki-shi had originally been placed immediately in front of the daisu).  Since the upper row of panels extends over the ro, it could not be used as the temae-za.  Thus, the temae-za was pushed to the lower row of panels, with the chawan and chaire being oriented so that their far sides touch the line.  Since the space between the line and the front edge of the ro is not used, it was considered yū-yo.  This was the original ku-den.

    As these teachings were lost following Rikyū’s death, an alternate system was created (this will be explained in the next post) which, while similar, differs in the interpretation of the space between the front edge of the ro and the front of the mizusashi.  But since this system was created after the fact, no one is able to say exactly what the actual ku-den is.

     I am afraid that it is unlikely that those people who prefer the “traditional” scholarship (which depends on repeating the explanations that were voiced by earlier generations of scholars) will be satisfied with any of this.  Unfortunately, since these earlier assertions were all made without any knowledge of the existence of the shiki-shi, they will never be able to offer an explanation of where their arguments come from.  When pressed, they either simply refuse to answer (usually by saying -- as Tanaka’s source did -- that these teachings are secret and inviolable, and cannot be disseminated even were the inquirer to offer vast sums of money), or by averring that they originate in the writings of this or that famous name (though if one manages to locate the source that is being quoted from, the reader will more than likely find that he is then referred somewhere else, eventually arriving at a dead end when the source has been “lost” -- and so an actual explanation will never be found).  Nevertheless, people who find the “speculations” related here distasteful are asked to simply ignore them (since they are always restricted to the footnotes:  the translations themselves being strictly literal renderings of what the entries in the Nampō Roku actually say).

¹²In-kane [陰カネ].

    The vertical black (dashed) lines represent the yin kane.

¹³Yō-kane [陽カネ].

    The vertical red (dashed) lines represent the yang kane.