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giggly-toybox · 5 months

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now that you're writing for One Piece, if you don't mind, u could share some general tickling thoughts/headcanons on the series? (hcs of characters, scenarios between them etc) if this is too broad u can feel free to ignore, thanks!

HI OKAY SO!!!! I was literally so excited to make this bc this show has absolutely taken over my brain AAAAA

But here we go! For now, we’ll only be doing MY personal favorite characters! If you want a character that isn’t on here, let me know when requests open up again!

Also note: I am in the middle of the Marineford arc (and might have cried a little bit) meaning I am nowhere near up to date with some of the newer stuff!

Basil Hawkins:

EASILY my favorite character. Me and my mutual have been rambling about him for days. So far he’s only had like eight minutes of screen time so don’t know why I like him so much, I just do. My silly babygirl. My borblo Right off the bat, he’s feather ticklish

Like, really. Feathers affect him more than actual fingers

I think he has a very gentle and soft laugh most of the time, but it can get loud if you hit a bad spot

I think his worst spots are his belly, neck, and chin

If you use a feather on any of those spots he will die

EXTREMELY squirmy. He will buck, kick, shove, squirm, whatever he has to do to get away

He’s a really gentle ler most of the time

He’ll just hold you close with an arm while he mindlessly traces his finger on your belly, reading his cards like nothings happening

If you want to get away he’ll let you

But if you tickle him first, that gentleness is thrown out the window and he immediately targets your death spots, scribbling his gloved fingers all over your squirming figure

He doesn’t do it for long tho, and he’s nice enough to get you some water afterwards :)

Perona:

MY GIRLLLL! I love her so so much she’s easily my favorite female character! I just love her style sm, I need her outfit! I love her little ghosts and her aesthetic as a whole, she’s just so pretty!

Persona just oozes sister vibes, both big and little. So I would say she’s an even 50/50 switch

She’s probably ticklish all over, but I would say her worst spot is her belly, specifically her belly button

She doesn’t shut up when being tickled. She’ll scream, beg, plead, complain, or try to distract you

Either that or she’ll send her ghosts to make you depressed

She would be such a brat after being tickled tbh 😭

She would pout and scold you before eventually moving on and floating away

She only tickles things she deems cute, so if you’re not cute in her book, you’re safe

But once she has you in her sights, she’ll playfully tackle you and absolutely wreck you

She likes your cute laugher :3

Crocodile:

My boy Crocodile! Gosh he’s just so cool. I didn’t like him too much in the Alabasta arc, but he got a lot better in Impel Down and Marineford! I just really love the way he looks, and his sand powers :3

Yeah…In all honesty I don’t think this guys really ticklish at all

As much as it pains me to admit

The only spot that could really make him laugh is his neck

Even then all you would get are a few chuckles

He’s not sensitive enough to wreck sorry 😔

He doesn’t really participate in tickling either

He thinks it’s childish

Nico Robin:

The best Strawhat. I do not take criticism. She is my girl and I love her so much. Her “I want to live” made my heart ache! And she easily has my favorite devil fruit

We love a canon ler

Gosh her ability is so well for tickling as we’ve seen in the show twice!

Like she can summon two arms to hold yours and then two to tickle you silly

She’s a nice ler most of the time tho, she won’t torture you for too long

As a lee I think she’s one of those people that are ticklish on most of their body, but not too ticklish

Like no matter where you tickle her, tummy, neck, feet, she’ll giggle but that’s about it

As I’ve said before I think her worst spot are her sides so that’s where you’ll get the most reaction

She’s a bit louder but other than that there’s not really a lot of difference

She had a lovely laugh though <3

Jewelry Bonney:

Another supernova! I really like Bonney, I find her devil fruit really interesting! I can’t wait to see more of her Ticklish thighs. I don’t take criticism she’s definitely weak there

She also has pretty sensitive armpits, but her thighs are a bit worse

Her laugher is kinda rough, and she definitely snorts

If you’re really close to her, she doesn’t mind being ticked by you

But if not you’re getting kicked in the face

Since she’s a big foodie, I see her favorite tickling methods to be things like nibbling or raspberries

I would say licking too but I’m super uncomfortable with licking tickles

X Drake:

X Drake! I love him so much, my dinosaur boy. He easily has the best animal devil fruit so far (I forget what the type is called)

While I do think he’s ticklish, I think he has a lot of tolerance for those kind of things

I mean he used to be a rear admiral he definitely has some endurance

He doesn’t actually squirm around that much. He’ll flinch and shove a bit, maybe kick his legs a few times, but for the most part he just takes it

But he does have one weakness: raspberries

If you blow one right on his belly, like on the middle of the bottom of the huge X on his torso, he’ll laugh louder then the sea

He’s definitely more of a ler. I see him tickling people in his dinosaur form

Like he’s carrying them like a doll and tickling them all over

Or holding them by the ankles and wrecking their soles

Human or dinosaur form, if he’s tickling you you’re not escaping until he lets you go

#one piece #one piece tickle #basil hawkins #perona #sir crocodile #nico robin #jewelry bonney #x drake #honorable mention: bon clay #i love him so so so much!#i just…couldnt think of any hcs for him 🥲#forgive me #this took an embarrassingly long time to finish 😭#but im so happy with it!#i hope you all like them :)

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onepieceanimals · 6 months

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#one piece #alabasta saga #alabasta #ch 187 #honorable mention #human #sanji #nami #mr 2 bon clay

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sanjisblackasswife · 1 year

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Hiii ok so if you had too choose who would you make your best friend in one piece either in their world or our world

Hiiii

Ngl…Buggy seems so fun to be best friends w I would bully tf out of him.

Like my first choice would be Luffy ofc duh he’s like the ultimate best friend, but Buggy seems so much fun to annoy :(((

Also Law I would annoy him like how the Strawhats do

I want only problems no peace

#Bon Clay is also an honorable mention #I DIDNT choose the other obvious answer because he is my lover ofc🤨

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strangefellows · 8 months

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OH RIGHT

I didn't mention here but earlier this month I watched the live action One Piece - I'd been excited for it for MONTHS because while I'd read some OP like a decade ago (back when the US had monthly SJ) I'd only gotten to Skypiea and then the next thing I remember reading is the Sabo flashback after Marineford; at the time the comedy aspects and the art style put me off so I'd never gotten Into It Properly, stuck with Naruto and Bleach - and uh.

I may have binged the entire manga in the span of 8 days. All 1092 chapters. (Well its 1093 now but that's my first caught-up chapter lmao.)

Oops?

IN ANY CASE: Rambling about thoughts under the cut:

Fav character wise, tied for first place favorite are Sanji and Zoro, but honestly Sanji wins if I had to choose one; on top of the fact that cooks are a weakness of mine, WCI came directly for my throat. Outside of the Straw Hats, though, I adore Sabo (which I'd already decided a decade ago solely off the flashback that destroyed me even back then with no context) but Law is my absolute favorite from the rest of the cast oh my god Dressrosa ALSO came for my throat with Law.

Honorable mentions are Shanks (Hot Dad coded and a redhead!), Buggy (the OPLA did wonders for that but he's a glorious disaster anyway), and Crocodile (don't @ me it's 80% because of That One Theory). Also Luffy is probably my top favorite Straw Hat after the Idiot Duo because it's impossible not to like him once you get used to him. I like almost everyone though.

Obligatory list of ships: ZoSan (my one weakness, couple that bickers constantly but would also kill/die for each other), Lawffy (LawLu?), Frobin, NamiVivi, Usopp/Kaya because OPLA, Buggy/Shanks [it's Cid/Nero FFXIV coded okay they're divorced as hell], and Kid/Killer (Wano....Wano got to me...)

Favorite arcs are definitely Thriller Bark and Impel Down pre timeskip, but post timeskip Dressrosa and WCI are pretty evenly tied.

Uh. IDK what else. I can't wait for OPLA S2 please I need to see live action Ace and Smoker and Bon Clay (#CastADragQueenForMr2) and Crocodile.

OH RIGHT I also watched movies 11-15 and I can rank them easy:

Film: Red (UTA....MY DAUGHTER...I was a bawling wreck...the music fucked too)

Film Z (ALSO GOT ME VERY EMOTIONAL, that song they kept singing ended me)

Stampede (the massive ensemble guest stars slapped and Bullet was legitimately terrifying)

Film: Gold (I liked meeting Nami's ex-girlfriend and A+ Final Fight Scene)

Strong World (Shiki for someone who's like the only solidly canon movie boss you were very underwhelming dude)

I have a few theories that I like/etc but we won't throw that onto the fire here lmao. So excited to see where the final saga goes.

#onepieceblogging #it gets a tag now send help

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fxllingout · 1 year

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Cait who do you think your favorite character(s) in one piece are? And which ones do you hate? I went down a rabbit hole earlier and did one of those tier lists of the top 100 characters in one piece and need to know everyone’s opinions lol

okay I will try and keep my favourites list short, ummmm, okay well zoro is my number one, and then the rest of the list not in any order is luffy, law, robin, bon clay, and sabo (I'm sorry they're all basic answers). and then for most hated KIZARU I FUCKING HATE HIM sorry I have so much hate in my heart for him something about the way he speaks and acts angers me. honorable mentions for hatred are buggy (i dont hate him per say but something about the way he has fails upwards both amuses and angers me), caribou cause i need him fucking GONE from the story why is he still around, and foxy

#because i have him next to me rn you also get maxs fave and most hated characters #<- fave is law and chopper and hated is mohji and yasopp but specifically when he has the forehead tattoo #he has also said uta as hated because 'her stupid motives pissed me off' and 'because of the uggo ass cgi car she uses'#he has now also said to add bartolomeo to his favourites and that the going luffy (the ship) is his absolute favourite character #he has now also added hordy jones to the hated as he is 'uggo'#sorry he just kept giving answers 😭#cait.ask

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capisback · 2 years

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Top 5 one piece side characters go

1. Yamato

2. Makino

3. Koala

4. Bon Clay

5. Perona

honorable mentions: Moda and Aisa

#this one was hard bc one piece has SO many good side characters #bc technically Sabo and Ace are very very much side characters but they are not side characters in my heart <3 #and what counts as side characters can differ from person to person #I was like is Law a side character?#but then I deleted him from the list because I liked the others better for some reason lmaoo #tbh the characters on this list can move around they're kinda close #Bon Clay is 👌#the way he was there for Luffy and he's just such a fun character #Makino is wonderful like if I had to pick a woman from one piece to have a family with she's my go-to #yeah anyway all of these characters are good characters #Moda appeared like twice but I love her #she saved Ace in his side story and then also beat someone up with the revs #I want her to appear more #cap talks #cap answers #anon #top 5 anything ask game #one piece #op

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shrimp-sanji · 2 years

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My darling bean,

Top five One Piece Chars?

1. Sanji (who would have guessed)

2. Bon Clay

3. Usopp

4. Vivi

5. Ace

this was difficult af so here are some honorable mentions: Nami, Izo, Thatch, Franky, Brook, Corazón, Hancock and Ivankov

#gamba ask

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seraphiixa · 4 years

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Questions for the mun. @kingofdesert asked: 3. Are there any particular aus or plots that you’d really like to write? 13. Who are five of your favorite characters? (In the rp community or otherwise)

3. Are there any particular aus or plots that you’d really like to write?

I’ve been toying with the idea of an au where Lyra takes her battleship to defect and become NOT a pirate, but a sort of maritime vigilante. She wouldn’t call herself a pirate and she wouldn’t raise a black flag, but she would be sailing without orders, challenging crews that bring harm to people, and trying to bring islands and towns under her dedicated protection in a way that she can’t do as a Marine (she would effectively be a pirate, because illegally sailing makes you a pirate however you wanna slice it, but she wouldn’t want to use the word because of old prejudices).

However... I just can’t see Lyra ever leaving the Navy. The way she sees it, the only way to fix the corruption in the Navy is to stay in long enough to fix it yourself by either advancing in rank high enough to effect change through regulation and law, or by training and producing generations of Marines under her with the same values as her own.

As for plots... it could be fun to write her encountering the Beasts pirates because as far as I know, don’t they collect Zoans? She’s a Mythical Zoan and I could see that bringing conflict about. I’d also really like to explore her worsening reputation among the Navy with other Marine writers, but we are few and far between. She’s a bit of a black sheep in the Navy in the post-Time Skip because of the limitations of her Fruit, so I wouldn’t mind writing that out a bit with someone who actually does treat her like a black sheep. Also, Lyra was trained by Vice Admiral Tsuru and sailed under her for the first fourteen years of her career, so a Tsuru or a Doflamingo/Donquixote Pirate to plot and develop a writing relationship with would be great, since she would logically have been close to Tsuru under her mentorship and she would have encountered and clashed with the Donquixotes numerous times because that’s who Tsuru chased. Come get you a hateship or a mentorship. : ).

13. Who are five of your favorite characters? (In the rp community or otherwise)

I’ll keep this to One Piece. I can’t possibly rank them, so this is in no particular order.

1. Smoker. Listen. Obviously, I am very biased towards Marines. I love that he fiercely loves and protects his redneck Marines (as a friend put it once). He executes the mission but he also knows when to call bullshit on unlawful orders and when to let people go. He was beaten to a bloody pulp by Doflamingo to let the Straw Hats and Law get away. He fought Vergo until he couldn’t move anymore because the guy betrayed the trust of his Marines and he was pissed. He can put aside his personal pride when it comes to the greater good. Smoker has an awesome moral compass but still does his damn job, and I love that. (Also, Vice Admiral Momonga and that female Marine on the Giant Squad get honorable mentions. I love that Momonga is one of the most formidable Marines as far as we know, he’s just a swordsman with no Devil Fruit. And that female Giant Marine gave 0 shits and attacked Oars Jr. head-on; she is fearless and I love her. )

2. Sir Crocodile. I’m a sucker for a mafia boss. Listen. Crocodile is just so cool. I love his attitude, his design, his laugh, the way he talks down to EVERYONE, his awesome sand powers, the fact that his own arrogance was his downfall, not necessarily the power of his opponent, and just... Every time Crocodile’s on the screen, I’m grinning ear to ear, loving everything that comes out of his mouth. I used to write Crocodile and I miss it. He’s a bad bitch and I love him so much. I hope he’s doing well in the New World; I believe in him.

3. Doflamingo. If you can’t tell, I love villains. I love villains with vast underground criminal empires and surrogate mob families and long eerie laughs. I love that Doflamingo is unquestionably evil. His background, his actions, his perspectives --- he has incredibly few redeemable qualities and the series doesn’t try to sugarcoat it. Even when he’s kind to his Family, you know it’s just because he’s using them. After all, he says he won’t forgive anyone who hurts his family, but he also asks them to kill themselves for him. He is straight up terrifying when he is angry, with those veins in his forehead and giant grin on his face. I love that his power of strings could have been so unassuming but he made it so insanely powerful. I stan (1) puppet-master. God save the rightful King of Dressrosa.

4. Warden Magellan. Listen up. I feel like people forget how unbelievably awesome Warden Magellan is. He was an absolute nightmare for Luffy. The only reason Luffy got out of there alive is because of Ivankov, just by a fluke chance, being there to save him from the poison, and Bon Clay, by fluke chance, giving them the escape from the prison by opening the Gates. Magellan, considering his power, could very well be one of the most powerful people in One Piece that no one remembers. He can literally wash hundreds of people away in a tide of poison and they will die from it so long as they don’t have special poison resistance and you can’t touch him or you’ll get poisoned, too. More important than his incredibly underrated power, when everything in Impel Down was going to Hell and everyone was freaking out because of multiple crises occurring on multiple levels, he maintained his composure and demonstrated INCREDIBLE LEADERSHIP for subordinates by giving concise and clear directions for them to follow and then taking the lead on challenging the most dangerous threat to them. He also imprisoned Shiryu because he was being cruel to prisoners, stating that the prisoners are just there to be held, they’re not to be toyed with. He has a heart, he‘s a good guy just doing his job of keeping the worst of the worst behind bars so everyone else can be safe. I love Magellan so much. I hate that he stepped down from his position as Warden because he literally did the best he could with the circumstances he was given; no one could have done better. I hope he returns to the series.

5. King of Wildfire. I’ve known of King’s existence for all of four days and I already love him. I’ve seen (1) clip of him and I read his Wikipedia. That’s it. I’m not that far in the anime at all, but the clip I saw... just showed me that he’s my kind of person. Something was happening so he went and fucking handled it. And they played heavy metal in the background while he did it. I’m all in on King. ALL IN.

AND OBVIOUSLY SHANKS. WHO DOESN’T LOVE SHANKS. THE MAN’S A LEGEND.

#x. ... ooc.#x. ... thank you for sending this!

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makeyourownmyth · 4 years

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best heard in 2019.

As usual, same caveats apply as for other categories, and as in past years, but less so with music, because it’s the only thing that I’m still decently up with. That being said, there are some oldies here, and I reserve that right.

Songs

Honorable Mentions: Lil Nas X - “Old Town Road,” Pop Smoke - “Welcome to the Party,” and Drake (ft. Rick Ross) “Money in the Grave.”

They were both huge, and I listened to them plenty, I just don’t happen to think they’re very GOOD.

Anti: I try not to shit on any music that’s put out too much, but the second (?) single from Taylor Swift’s album (which is overall quite good!) “Me!” is terrible.

6. Taylor Swift - “Lover” - I love a lot of this album, but this song can get me feeling terribly emotional.

5. Yola - “Ride Out In the Country” - I forget where I even found this song, but it’s such a jam, such a vibe.

4. Rocket Summer - “Shatter Us” - A band that I got from a middle school kid almost a decade ago comes back with a “mature” album that had some decent cuts, but none that hit as hard as this. It’s true, and powerful, and something that I never would have appreciated at the time when I loved the band way more than I do now.

3. Grimes - “We Appreciate Power” - She’s crazy, but this is her at her best.

2. Local Natives - “When Am I Gonna Lose You” - Loved the album, loved this song the most. Put it on a mix.

1. Tyler and ASAP Rocky - “Potato Salad” - My favorite song of the year, and also, I think, the best song of the year. These guys are 2 of the best right now, and this found them just having fun. We could use more rap like this.

Albums

Anti: Again, not trying to talk shit on albums that people loved, taste is subjective, yadda yadda yadda, but these were not for me. Thom Yorke’s Anima, Slowthai’s Nothing Great About Britain, Weyes Blood Titanic Rising, and Bon Iver’s i, i. Nothing more to say about them for me, they just weren’t to my taste. I don’t wanna talk about anything Ye-related.

Honorable Mentions

Helado Negro - This Is How You Smile - This is an incredibly fun time. It’s not on your list and I think it’s right up your alley.

Cautious Clay - Blood Type - The type of album I’d like to listen to more and more. The type of album I think you’ll really like. A weird mish-mash of styles that we never would have thought worked when we were young, but that tends to dominate my lists nowadays. (Steve Lacy-esque?)

Local Natives - Violet Street - Like I said above, I quite like the album, but I didn’t find myself going back to it.

Harry Styles - Fine Line - Just came out, has one of my favorite songs of the year on it, but I’m not ready to commit to it yet.

Freddie Gibbs and Madlib - Bandana - Not as good as their last album, but very good example of older person rap done very well.

J. Robbins - Unbecoming - More people need to listen to this album. It’s awesome, and small, and deserves more pub.

Solange - When I Get Home - Almost made the cut to the real list, but that’s just due to peer pressure. I liked it a lot, but I didn’t find myself thinking about it incessantly like some of the albums that I place above it.

Steve Lacy - Apollo XXI - Really, really, really good. I wish more music like this existed and that it was more popular. It feels exceptionally well crafted, like someone who really knows what they’re doing took a lot of time, and did it well. That being said, very little of it STANDS OUT.

Marvin Gaye - You’re The Man - I actually think this is where my best of list starts, but I feel like I’d be too much of a poser if I put this on there. I listened to this non-stop and I feel like it’s a really good album that not enough people knew even came out, much less listened to. The backstory of it surely plays into that for me, too, but it stands on its own.

The National - I Am Easy to Find - Genuinely one of my favorite albums of the year from one of my bands of the decade. I’m aghast that it’s not in my top ten, but I had to limit it to ten to make it some sort of real exercise, otherwise it would have just been a random number, which I’ve definitely done in the past, but hate to do when it’s MORE than ten. Less is fine, but more feels like a cheat. I love this album, though.

Best of the Year

10. Taylor Swift - Lover - Half of it feels like a pure repudiation of Kanye, but half of it is me knowing that I put 1989 on a list in genuine taste, and knowing that this album is full of pop goodness. It’s fun. There are some significant missteps, like “London Boy” and the “Me!” single that sounds even MORE out of place on the album, but overall, it’s really a sign that she knows what she’s doing.

9. Danny Brown - U Know What I’m Sayin? - He’s done with his childish stuff, he’s making incredible music, and he’s still one of our greatest rappers. Danny Brown feels like the coolest secret that I somehow know a small bit about, but then I’ll see some mainstream pub on him, too, and I’m like, oh, dope, this guy is SUPER well known, like he should be.

8. Lana Del Rey - Norman Fucking Rockwell! It’s a solid album. I’m shocked at the number of people who are saying it’s the album of the year, but I’ll honestly say, too, that somewhere around the 3 minute mark on “Venice Beach,” when I was first listening, it gets so fucking good that my jaw literally dropped and I was like, oh, I guess LDR is a real musician now. And from that point on, the album continued in a way that pleased and surprised me.

7. Clairo - Immunity - This was another one that I thought was AOTY material, but stuff just edged it out, so when I said I thought this was a weak year musically, I guess I was wrong. If I’d had a physical copy of this album, I would have WORN IT OUT. It’s probably my most-listened to album of the year, and I love it the way I loved Alex Lahey’s last album, which means I’ll be slavishly following Clairo for years and years now. No regrets. I think she’s got a HELL of a career ahead of her. Just hearing the first chords of “Alewife” gets me hella choked up.

6. Jenny Lewis - On the Line - I really think if you kick back with this album you’ll find so much to love. The single was really really bad, but it’s the opposite of Taylor Swift: when it arrives on the album, the sequencing honestly makes it seem as though it fits quite well.

5. Alex Lahey - The Best of Luck Club - This is my token placement, but also a genuine love letter to how huge I think she’s going to be. (Or maybe how huge I think she should be, but never will be?) I mean, the songs are heartfelt, and it’s that’s so much of what I want nowadays that I had to put her in the Top 5.

4. Tyler the Creator - Igor - I actually thought this was my AOTY, so making this list it surprised me how far down it fell, but I think that’s a testament to the others as opposed to a knock on this one? I mean, it’s clearly the best album Tyler’s ever made, and the production on it is even better than could have been expected. The fact that he’s changed so much, but is still operating in the wheelhouse that he created for himself (while it’s still evolving!) is proof of the early genius we saw.

3. Jamila Woods - Legacy! Legacy! This is a killer album. I think it’s the best one, that you’re most likely to enjoy, that you’re least likely to have listened to.

2. DJ Shadow - Our Pathetic Age - I disagree with all the critics who call it overlong and a slog to get through the first half to get to the better second half. I think the second half is clearly superior, but I quite like the instrumental side.

1. Billie Eilish - When We All Fall Asleep, Where Do We Go? I knew it’d be my favorite when it dropped and that hasn’t changed as the year has progressed. It’s a weird, weird, weird album, especially when I listen to her old stuff and try to reconcile who she is with who she was and who she will be. But I’m cool with that. I mean, shit, she’s 17 and she’s making great art. Keep it coming!

#billie eilish #dj shadow #eoy #best of #lists #music #2019 #jamila woods #tyler the creator #alex lahey #the best of luck club #igor #legacy #our pathetic age #when we all fall asleep where do we go

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momasarah · 2 years

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Petit bon Ange or "little soul doll".Getting to know yourself is a very important part of spiritual journeys. Often, honoring our ancestors and guides reveals much about ourselves-that's where this type of item comes in. This is not a 100% completely traditional little soul doll. However, if you can't or don't want to make one, this doll will work well. Little soul dolls are an extension of you and are used to enhance your intuition and subconscious in order to manifest your desires. They help you listen to the truth you already know-this is your subconscious. Tradition says that "if a practitioner's house caught fire they would grab their child and little soul doll first." You treat it as you would treat yourself; make it comfortable, do not leave it alone for extended periods of time, keep it clean and feed it with offerings. Give it light to see by way of candle. Give her perfume, put some money by her, give her jewelry and beautifulthings-be good to yourself! This doll contains coral for the brain, a cowrie for the heart, Ethiopian clay for the body, high john for courage, lodestone for magnetism, mojo beans for organs, among other items that represent aspects of the body, soul, and a fortunate life. She will be happy to fit in the palm of your hand as you pray. Traditionally, once you have your doll you would have a little party with your spiritual friends to introduce your doll. Give your doll a place on your altar-or make one specifically for her-and talk to her about your problems. As I mentioned above, you treat this doll as you would yourself as it is an extension of you. You give it whatever you need; if you need money give her cash and ask that it be multiplied, if you need a home, build it a little cardboard house, if you need a job pin a picture to her of something involved with your ideal job. Don't be surprised if she starts talking to you, moving or visiting your dreams. This is sympathetic magic in it's most powerful form. When we choose to affect the root, OURSELVES, with our own power. AVAILABLE HERE; https://shop.conjuredcardea.com/searchquick-submit.sc?keywords=Petit Source; Luisa Teish https://www.instagram.com/p/CQWOm_gHKXB/?utm_medium=tumblr

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onepieceanimals · 8 months

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Swanda!! The male and female swans!! BON-CHAN!!

Also shoutout to the dude with the little wings on his head, I respect him a lot

#one piece #alabasta saga #little garden #ch 129 #creacher thing #ships #swanda #birds #swan #honorable mention #human #akumai #is his name apparently (thank you almighty op wiki)#mr 2 bon clay

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chanoyu-to-wa · 6 years

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Nampō Roku, Book 2 (4): (1586) Tenth Month, Fifth Day, Evening; Fu-ji [不時].

4) Tenth Month, Fifth Day, Evening¹; fu-ji [不時]².

◦ 4.5-mat [room]³.

◦ [Guests:] Amano Hikosuke [天野彥右]⁴, Ueda Hayato [上田準人]⁵.

Sho [初]⁶.

﹆ From Lord Hino [I received] a chrysanthemum from today's Court Banquet, to which was tied a tanzaku. This was arranged in a basket and hung up in the toko just as it was⁷.

◦ Kama ・ unryū [suspended over the ro on a bamboo] jizai [釜・雲龍　自在]⁸.

◦ On the fukuro-dana [袋棚]⁹:

◦ kōgō ・ Chōjirō kaki [香合・長二郎カキ]¹⁰;

◦ habōki [羽箒]¹¹;

◦ mizusashi ・ Shigaraki [水サシ・シカラキ]¹².

Su [ス]

◦ The charcoal [was brought out] in a na-kago [菜籠]¹³.

▵ Charcoal-roasted hoshi-sakana [干肴]¹⁴, [accompanied by] two rounds of sake¹⁵.

▵ Mizu-kuri [水栗]¹⁶.

Go [後]¹⁷.

◦ The toko was left just as it was.

◦ On the fukuro-dana:

﹆ chaire ・ nasubi [茶入・ナスヒ]¹⁸, temmoku [天目]¹⁹, these two things, on a naka-bon [中盆]²⁰;

◦ hishaku [ヒシヤク];

◦ futaoki ・ in [蓋置・印]²¹;

◦ mizusashi ・ the same as before.

Su [ス]

◦ Kae-chawan ・ e [カヘ茶碗・繪]²²;

◦ chashaku ・ ori-tame [茶杓・折タメ]²³;

◦ koboshi ・ Bizen [コホシ・備前]²⁴.

_________________________

¹Jū-gatsu itsuka, yū [十月五日、夕].

The date was November 14, 1586 in the Gregorian calendar.

Yū [夕] means evening, dusk. As this was an impromptu gathering (apparently given to honor the chrysanthemum that Rikyū received from Hino Terusuke [日野輝資] as a souvenir of the Imperial Court Banquet that was held earlier that day), it seems likely that Rikyū invited the two guests to his home as they were leaving Hideyoshi’s audience chamber.

²Fu-ji [不時].

Fu-ji [不時] means unplanned, impromptu. Due to its having been completely unscheduled, the refreshments are minimal, with the host making use of the kinds of things that would likely be on hand to serve his guests.

³Yojō-han [四疊半].

This was the 4.5-mat room in Rikyū’s residence.

⁴Amano Hikosuke [天野彥右].

Though he is also mentioned as a guest in the Rikyū Hyakkai Ki [利休百會記], Amano Hikosuke has not been identified with any certainty.

⁵Ueda Hayato [上田準人].

This seems to refer to the bushō [武将] (military man) Tsuda Hayato [津田準人; ? ~ 1593]. It appears that Rikyū confused him, or at least his surname, with Ueda Satarō [上田左太郎].

Tsuda Hayato was a relative of Oda Nobunaga. Originally he served as a member of Nobunaga's cavalry (he held the position of sa-ma no suke [左馬允], third officer of the cavalry's left division), eventually rising to be the protector (or guardian) of Nobunaga's puppet-shōgun Ashikaga Yoshiaki [足利義昭; 1537 ~ 97]*. After Nobunaga's death, he served Hideyoshi in various capacities.

Tsuda Hayato was also actively involved with chanoyu. __________ *Yoshiaki was the fifteenth and last shōgun of the Ashikaga family. He was essentially deposed by Nobunaga in 1573, by being driven out of Kyōto, though he never officially relinquished his title. Thereafter he shaved his head and took the Buddhist name Shōzan Dōkyū [昌山道休].

Some time after Nobunaga's death, Hideyoshi invited Yoshiaki to return to the throne -- on the condition that he adopt Hideyoshi as his heir (so Hideyoshi could become the sixteenth Ashikaga shōgun), but Yoshiaki refused.

⁶Sho [初].

The details of the sho-za [初座] begin here.

⁷Hino-dono yori kyō [no] gyoen no kiku to te, o-tanzaku musubite dasare sōrō wo, kago ni te toko kakeoki-sōrō sono mama [日野殿ヨリ今日御宴ノ菊トテ、御短尺ムスヒテ被下候ヲ、籠ニテ床ニカケ置候其儘].

Rikyū received a chrysanthemum (with a tanzaku* tied to it) as a gift from Lord Hino†. In order to display it so that the guests could also read the poem without difficulty, Rikyū decided to arrange the flower in a hanging basket hanaire.

Rikyū's Katsura-kawa kago [桂川籠], which he used as a kake-hanaire, is shown above.

Kakeoki-sōrō sono mama [カケ置候其儘]: Rikyū just put the chrysanthemum in the hanging basket, without manipulating it in any way: he was not “arranging” the flower; he was simply displaying it as it was received from Lord Hino. ___________ *At court banquets, it was the custom for the high noblemen to compose congratulatory poems, which were written on tanzaku (a piece of paper 2-sun wide and 1-shaku 2-sun long, that had a hole in the center near the upper edge, by means of which they were tied to a seasonally auspicious floral offering -- in this case, a chrysanthemum -- and so presented to the Emperor; the flowers were arranged in front of his seat, and after the conclusion of the banquet the authors were apparently allowed to reclaim their flower and poem as a souvenir).

†Hino dono [日野殿] refers to Lord Hino Terusuke [日野輝資; 1555 ~ 1623], a kuge [公家] (a court noble -- a hereditary nobleman, rather than someone who had been elevated to the rank of courtier from the military caste), who was the Gon-dainagon [権大納言] or (supernumerary) Chief Counselor of State (senior grade of the Second Rank).

⁸Kama ・ unryū jizai [釜・雲龍　自在].

This was the second small unryū-gama [小雲龍釜] with matsu-kasa kantsuki [松笠鐶付] (shown below) and an iron lid, that Rikyū had ordered from Yoshirō after presenting the original kama (along with the large Temmyō kimen-buro) to Hideyoshi, for use in the Yamazato-maru tearoom in the boathouse of Ōsaka castle.

This small kama* was suspended over the ro on Rikyū’s abura-dake jizai [油竹自在]†, using his bronze kan [鐶] and tsuru [弦] (both of which are shown below).

___________ *Rikyū used the small unryū-gama because it would boil quickly. This was an impromptu chakai, and using this kama would allow Rikyū to prepare fresh water for the tea (rather than using water that had been boiling all day, or else changing the water in the large ro-gama and then waiting for it to come to a boil -- with nothing to distract the guests, since preparing a full kaiseki without prior notice would have been impossible).

†Abura-dake [油竹], which means “oily bamboo” (oil-stained bamboo) is usually called susu-dake [煤竹] (smoky-bamboo; smoke-stained bamboo) today. Both names refer to the 1-sun diameter bamboo poles taken from the underside of a farmhouse kitchen when the building was repaired or rebuilt, that have been stained by exposure to years of oil-filled cooking smoke. As a result, the bamboo becomes a dark brown-purple in color (though the color is mottled, rather than being uniform as in the case of artificially dyed bamboo).

⁹Fukuro-dana ni [袋棚ニ].

This refers to the fukuro-dana that was created by Jōō (shown below), based on the similar tana that was used by the Shino family at their incense and tea gatherings.

The Shino-dana [志野棚] has a pair of hinged doors, with a locking mechanism (to keep the host’s collection of kyara [伽羅] incense wood, that was stored in the ji-fukuro, safe); Jōō replaced the pair of locking doors with a single lift-out door -- and he also changed the procedures so that the guests were encouraged to open the ji-fukuro to inspect its contents each time they entered the tearoom (the shōkyaku was responsible for opening the door, while the last guest was charged with closing it again before the host entered for the temae).

Jōō’s famous Daikoku-an poem refers to this fukuro-dana.

◎ While Jōō originally taught that the fukuro-dana should be placed on the right side of the mat (so that its right edge sat on top of the right heri of the utensil-mat), after Rikyū entered Hideyoshi’s service (if not before) he began to center the fukuro-dana on the utensil mat (just as is done with all of the other oki-dana [置棚] during the ro season).

◎ At the beginning of the sho-za, the habōki and kōgō were arranged together on the naka-dana (the shelf above the mizusashi), with the mizusashi below.

¹⁰Kōgō・ Chōjirō kaki [香合・長二郎カキ].

There appears to be an error in this entry. All of the manuscripts of the Nampō Roku (apparently including Jitsuzan’s original version which he copied with the original Shū-un-an documents in front of himself) -- with the exception of the presentation copy that Tachibana Jitsuzan gave to the Enkaku-ji -- read kōgō ・ Chōjirō-yaki [香合・長二郎ヤキ]*. Only the Enkaku-ji version reads kōgō ・ Chōjirō kaki [香合・長二郎カキ].

The issue can best be addressed in this way. Chōjirō [長次郎] (to use the currently accepted representation of his name) had been employed by Hideyoshi to create the (unglazed) sculptures that would decorate the roofs of his Juraku-tei [聚樂第] palace (which entered the initial stages of construction earlier the same year -- 1586). Making glazed pottery for Rikyū was a side-job, almost more like a hobby. Chōjirō appears to have been familiar with the basic technology (which was similar to pottery techniques used in the kilns at Masan, in Korea -- though in that case they coated the raw clay with white slip before glazing, while Chojiro was using a slip colored with red iron-oxide), though it seems that he had never used it before in his own craft. Since he was not a professional potter who worked with glazes, he was still in the experimental stage in the autumn and winter of 1586, thus his bowls and other pieces from this early period are generally very simple and regular in shape (since he was still learning how the clay body interacts with glaze, and how both respond to the heat in the kiln). Chōjirō, as a professional sculptor, would certainly have been capable of modeling a kōgō that resembled a persimmon (or, indeed, an even more elaborate shape); but the other pieces fired at this time suggest that he did not do so because he was still learning how to make glazed pottery.

The error likely crept in because the katakana for ka [カ] is similar to the katakana for ya [ヤ] -- and the similarity may be even more pronounced in handwritten documents (and especially if the writing was done quickly, as appears to have been the case when Jitsuzan copied the Shū-un-an documents -- since he was apparently given only limited access to them). When Jitsuzan got around to writing out the presentation copy, he may have forgotten what he had originally seen, and interpreted his notes through contemporary knowledge -- that the pottery was referred to as Raku-yaki (not Chōjirō-yaki), even when speaking about pieces made by Chōjirō; and because the Raku family was, in his day, making kōgō in all sorts of shapes, including persimmons, copied from the so-called “katamono kōgō” [型物香合] that had been imported from the continent†.

The cube-shaped kōgō shown above was made by Chōjirō during the early part of his career as a Raku potter‡. Indeed, this seems to be the earliest kōgō-like piece associated with his name. Thus, it may either be the kōgō that Rikyū used on this occasion**, or a sibling fired around the same time. ___________ *Some second-generation manuscripts, which were copied from the earlier versions, unambiguously read Chōjirō-yaki [長二郎燒] -- meaning that this word is being used as the name for the early Raku-ware created for Rikyū by Chōjirō [長次郎].

†As an example, here is a modern Korean copy of a classical Korean container (used as a seal-ink case), and a modern Raku kaki-kōgō.

The latter was clearly inspired by the prototype of the former, even if it was not copied directly.

‡Both the unstable quality of the glaze, and the fact that the piece had partly collapsed from the heat of firing attest to its early date.

**The imperfect quality of this piece (which mirrors the same sort of imperfection in both glaze and shape seen in Chōjirō’s mizusashi that was used during the first two chakai described in this kaiki from 1586~7) seems to be just the sort of thing that Rikyū appreciated; and its use on the (finely crafted) fukuro-dana would have been characteristic of his tastes as well.

¹¹Habōki [羽箒].

Rikyū does not mention the kind of feathers used for this habōki -- probably because habōki were replaced frequently*, and so did not demand special notice.

Because Rikyū is using an o-dana [大棚] in a 4.5-mat room, the habōki is of the larger size (with feathers around 9-sun long) -- the kind most commonly seen today†.

Because the chakai was taking place at night, it seems logical that he would have used some sort of light-colored feathers, such as those from a swan (haku-chō [白鳥]), shown above.

Rikyū seems to have gotten his feathers from the birds taken by Hideyoshi’s hawkers, and a quick glance back at the Rikyū Hyakkai Ki will give the reader an idea of the possibilities. ___________ *Some people during his period actually used them only once -- which is why we have very few authentic examples of habōki from Rikyū’s day.

†Because they were changed frequently, few habōki survived from Rikyū’s day (or before) into the Edo period. And, curiously, those that did were all habōki made from especially beautiful feathers from the earlier period (when a 4.5-mat room was always used -- in a room of 4.5-mats and larger, the “utensil mat” is considered to be a maru-jō, a full-sized mat; thus a larger habōki was used to clean it).

Lacking (or perhaps closing their eyes to) other examples, the machi-shū schools argued that the surviving habōki with feathers that average 9-sun in length were the only kind that were acceptable for use -- even in the small room, and even on the daime (and so directly opposed to Rikyū’s own teachings on the matter).

This is why the go-sun-hane [五寸羽] that were preferred by Rikyū for use in the small room (where the utensil mat is always considered to be a daime -- whether it is actually a daime-tatami or a full-length mat) are rarely seen and almost unknown today.

¹²Mizusashi ・ Shigaraki [水サシ・シカラキ].

This was Rikyū’s Shigaraki mizusashi, the same one he used during the chakai recorded in the Rikyū Hyakkai Ki.

In the sixteenth century (as had always been the case), the potters were primarily making things for home and commercial use, not for chanoyu. For the most part, they made tea utensils only on commission -- though it was from around this time (the last quarter of the sixteenth century) that some potters did occasionally make things that could be used for chanoyu without their being pre-ordered, and fired them when there was space in the kiln.

While some pieces were fired only once (like this one), others -- such as the hanaire and mizusashi that were heavily encrusted with natural ash deposits that were favored by Oribe -- usually went through multiple firings (it seems these pieces were simply left in the kiln when the utilitarian objects were removed for sale, in accordance with the feedback that the potters had received from people like Rikyū and Sōshitsu).

Because of the still relative rarity of such things, when a chajin acquired a piece that fulfilled his needs (aesthetic as well as practical), he was unlikely to think about replacing it.

¹³Na-kago [菜籠].

The original na-kago [菜籠]* were shallower than this sumi-tori, made with a square bottom and somewhat flaring, circular mouth, and intended to display produce in the wet market (generally the price quoted by the merchant was for the contents of one basket).

This kago was made for Rikyū, probably to his design, and intended to be used as a sumi-tori†. The kind of bamboo that was used was referred to as abura-dake [油竹] (oily bamboo) in Rikyū’s period‡, and was salvaged from the underside of the roofs of farmhouses when they were rebuilt. Rikyū liked this kind of bamboo because of its mellow, aged appearance. Because the bamboo that was used to line the roofs was usually just 1-sun in diameter (this kind of bamboo was commonly available everywhere in Japan), with thin walls, it was suitable only for use when making something like a jizai [自在], for the so-called “purple” chasen and chashaku, or split and used in basketry, as here. ___________ *The kanji can also be pronounced sai-ro [菜籠].

†While Jōō‘s rule was that basket sumi-tori were to be used with the furo, and fukube sumi-tori were to be used with the ro, Rikyū occasionally used a basket with the ro. Aside from aesthetics, Rikyū’s usage may simply reflect the fact that tea utensils were increasingly being made specifically for use in chanoyu (and thus something like a basket could be made whatever size the person ordering it preferred), whereas in Jōō’s day people used pre-existing things that they found in the market (and na-kago, as the usual way to display produce, were both ubiquitous, and of a uniform size -- and that size was too small to hold a whole day’s supply of charcoal the way a fukube could), and so their preferences were limited to what they could find. In fact, this was how it had been since the beginning of chanoyu. Making things specifically for chanoyu was really a revolutionary idea, one that began with Furuta Sōshitsu -- and it was one of Oribe’s greatest contributions to the way that chanoyu evolved thereafter.

‡It is usually called susu-dake [煤竹] (smoke-stained bamboo) today, probably because the word abura-dake (especially when thinking about chasen) makes people think that it will damage the taste of the tea.

¹⁴Hoshi-sakana aburite [干肴アフリテ].

Hoshi-sakana [干し肴] means “dried fish;” aburu [炙る] means to roast or char over a charcoal fire. Hoshi-sakana aburite is shown below.

The most common fish served in this way is the ma-iwashi [真鰯] (Sardinops melanostictus), known as the Japanese pilchard (a kind of “sardine”). It is also known in Japanese as nanatsu-boshi [七つ星] (”seven stars”), which name was explained as being a reference to the fact that usually seven of the dried fish (which are silver-gray in color) are tied together with a rice straw cord, and so sold in the market (the above photo, perhaps coincidentally, shows seven fish). Usually fish between 5- and 6-sun in length that were air-dried are served in this way.

This kind of food is a typical side-dish served together with sake [酒] -- even today.

¹⁵Sake ni kaeshi [酒二返].

Kaesu [返す] means to come back, return. In the traditional drinking custom, the host drinks with each guest (he pours for the guest, and then the guest returns the sakazuki [盃] to the host, and pours him a drink of sake).

¹⁶Mizu-kuri [水栗].

The “water chestnut” (the English name is a translation of one of its Chinese kanji names) is the corm of the sedge known as shiro-guwai [白慈姑] (Eleocharis dulcis) in Japan. While often sweetened today by boiling the corms for a short time in honeyed water, they can also be grilled over charcoal, or even eaten raw. It is not clear from the kaiki how Rikyū prepared the mizu-kuri on this occasion.

However, both Tanaka Senshō and Shibayama Fugen quote a different explanation: according to their source, raw chestnuts are shelled, and then the pellicle (the thin, brown “skin” that covers the creamy-white flesh) is scraped away from one half of each fruit in a comma-like shape (”,”), so that each fruit resembled a 3-dimensonal futatsu-tomoe [二つ巴] (the “Yin-Yang” symbol). Because the pellicle is extremely bitter, the fruit must then be soaked in water for several hours to leech out the bitterness, after which the mizu-kuri can be served.

While their information is surely historically accurate, so far as this way of preparing raw chestnuts is concerned, the problem with their idea is that this was a fu-ji [不時] -- impromptu -- chakai. If Rikyū had sufficient forewarning to prepare a snack that required several hours of soaking, he would have had adequate time to cook and serve a kaiseki.

¹⁷Go [後].

This refers to the go-za [後座], the description of the arrangements for which follows.

◎ At the beginning of the go-za, the, the chaire and chawan were arranged together on a naka-bon [中盆], displayed on the tei-ita of the fukuro-dana, and the meibutsu futaoki was displayed alone on the naka-dana (the shelf above the mizusashi). The mizusashi remained as it was during the sho-za.

¹⁸Chaire ・ nasubi [茶入・ナスヒ].

This seems to be the nasu chaire now known as the Rikyū ko-nasu [利休小茄子] -- because the other “nasu-chaire” associated with Rikyū -- the Konoha-zaru [木ノ葉猿] -- would be too large to be arranged on a naka-bon together with Rikyū’s temmoku. The Rikyū ko-nasu is between 1-sun 9-bu and 2-sun in diameter; the Konoha-zaru chaire is 2-sun 5-bu in diameter.

Rikyū is said to have presented this chaire to Hideyoshi sometime after the present chakai.

This chaire is rarely seen today -- indeed, the above photo from the beginning of the 20th century, is the only one I could find. This chaire is considered to be a kan-saku karamono [カン作唐物 = 韓作唐物], which means it was made in Korea during the first half of the fifteenth century.

The small size means that it can only hold enough tea for two guests* (if both koicha and usucha will be served). ___________ *This is, in fact, usual with respect to the ko-tsubo chaire. In the old days, ko-tsubo were used when serving tea to a nobleman (originally, to the image of the Buddha). Thus only a single bowl of koicha would be made during the temae (the fact that the chaire held more than enough tea was a precaution; and filling the chaire fully also helped to protect the tea from contact with the air, which would cause it to degrade).

¹⁹Temmoku [天目].

This was Rikyu’s temmoku chawan, which he sometimes referred to as an ake-temmoku [朱天目], which is a sub-variety of the nogime-temmoku [禾目天目] that has an especially reddish-toned glaze. It appears that this chawan was actually produced at the Seto kilns; though what Rikyū knew or believed about its origins is unclear from the records that he left*.

This chawan measures 4-sun in diameter.

On this occasion, the (empty) temmoku was displayed on the naka-bon without its shifuku†. The temmoku-dai (if one was used‡) would have been put inside the ji-fukuro prior to the temae. ___________ *Rikyū clearly seems to have handled it as if it were a karamono temmoku.

†Rikyū actually seems to have disliked this classical practice, considering that the cloth of the shifuku would trap dust, which could fall into the chawan as lint, and make it dirty. He preferred to rinse the chawan in the mizuya, and then leave it without a covering -- whether or not the chakin, chasen, and chashaku were placed in it (though the absence of the shifuku is an invitation for the host to do this, too).

‡Nothing is said in the kaiki regarding this point. The temmoku-chawan could not have been displayed on the naka-bon together with the chaire if it were resting on its dai: the naka-bon is too small for this kind of arrangement.

Rikyū generally seems to have felt that a dai should be used only when serving a nobleman (what the modern schools usually call kijin-date [貴人立て, or 貴人點] today). And while it could be argued that Hosokawa Yūsai might be so treated, because this gathering was taking place at night (when it is generally more difficult to do things), the setting itself would argue against its use.

²⁰Naka-bon [中盆].

While both Shibayama Fugen and Tanaka Senshō say this refers to the round naka-maru-bon [中丸盆] that was one of the six meibutsu trays that were used with the daisu, the larger size of that tray would have made it more difficult to manage at night, when the room was dark. Consequently, the square naka-bon seems more likely.

The shi-hō naka-bon [四方中盆] was not one of the original six meibutsu trays that were used with the daisu. Nevertheless, its use dates at least from the fifteenth century. It is also described in Book Six (“Sumi-biki” [墨引き]) of the Nampō Roku (along with the other six trays).

This shi-hō naka-bon measures 1-shaku square. ___________ *Rikyū’s personal preference for smaller trays also argues for the 1-shaku square shi-hō naka-bon. Also, Rikyū preferred square trays to round ones -- since square trays can be oriented with greater accuracy.

The naka-maru-bon measures 1-shaku 2-sun 3-bu in diameter -- slightly larger than the space available in front of the fukuro-dana. Something else that would have chafed on Rikyū’s sense of propriety.

²¹Futaoki ・ in [蓋置・印].

This was the meibutsu Rinzai-in [臨濟印] (a square bronze name-seal, purportedly made by order of the Emperor of China, that was used by the Tang period Chán monk Línjì Yìxuán [臨濟義玄; ? ~ 866]).

This name-seal had formerly belonged to the great dōbō [同朋] Nōami [能阿彌; 1397 ~ 1471]; and its use as a futaoki is generally credited to him.

Rikyū follows Nōami’s precedent at this chakai.

The Rinzai-in would have been displayed in the middle of the naka-dana (the shelf above the mizusashi) of the fukuro-dana, with the hishaku placed on the kō-dana (the shelf that forms the roof of the ji-fukuro).

²²Kae-chawan ・ e [カヘ茶碗・繪].

This chawan dates to the middle of the Ming dynasty, and was probably imported from the continent around the middle of the sixteenth century.

The bowl seems to have been made as an ordinary rice bowl, rather than for any special purpose.

This chawan is now known by the name of Ki-mi-i-dera [紀三井寺], which is a (perhaps fanciful) reference to the painting that decorates the face of the bowl; it is also said to have been one of the first sometsuke [染付] bowls to be used as a chawan in Japan.

The chakin, chasen, and chashaku were brought into the room arranged in the kae-chawan. It may also have been used to help facilitate the serving of usucha afterward.

²³Chashaku ・ ori-tame [茶杓・折タメ].

This would have been a chashaku that Rikyū made to be used with the ko-nasu chaire [小茄子] that is shown above -- albeit in consideration of the fact that it would be rested on a naka-bon (which means that the chashaku had to be longer than if the chaire were being used with a smaller chaire-bon).

²⁴Koboshi ・ Bizen [コホシ・備前].

The Bizen-yaki koboshi shown below was apparently recovered from the site of Rikyū’s former residence (in the Ima-ichi area of Sakai, near the entrance to the Nanshū-ji). The irregular coloring is due to the fact that it was recovered in fragments, and the missing pieces were replaced without attempting to obscure the fact.

This piece may be the actual Bizen koboshi that Rikyū used during this chakai.

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