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helgaw321 · 4 years

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Takeru’s 155 Q&A

To start off things, let me share (again) one of my most satisfying works from last year, that is Takeru’s Q&A section from his 30th birthday anniversary book. Looking back, I think I worked on this one for almost one week, and It felt really satisfying to finish it on Takeru’s 31th birthday ❤️

Once again, enjoy!

(Disclaimer: All translations are done by myself, pls don’t repost without permission, thank you!)

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These are the questions sent by fans through Takeru's official LINE account. Thank you for all of your participation!!

1. Is there anything you would like to do or achieve in 2019? I'd like to do anything good for my body

2. If there is one day you're not Satou Takeru anymore, what will you do? Go to sauna

3. If there is one day you become a girl, what will you do? Sing Sheena Ringo's songs in the original key

4. If you can travel back in time, when would you go? Middle high school

5. If you are being reborn, do you want to be yourself again? Not really

6. If there is an "Anywhere Door", where would you like to go? The world's best views

7. Do you think aliens exist? Not in this solar system I think

8. 10 years from now, what kind of father do you want to be? I want to avoid using weird emoji

9. If you move abroad, which country would you choose? Maybe America or Canada

10. If you got the chance to direct a film, what kind of film and who are the casts? Horror. Because it seems difficult to explain, I'll do it myself.

11. If you have to become one of the characters you've played before, who will you choose? Shishigami Hiro

12. Among of the movies created in the past, is there any movie you like to have acted in? (Anything from) Ghibli

13. Who would you like to meet the most right now? And what will you ask him/her? Hanyu (Yuzuru)-kun. "Do you want to join Amuse (Takeru's agency)?"

14. Anything you want to overcome in this year? Coughing out when sleeping

15. If you can go with your mom on a trip, where would you like to go? I don't know. I'll go where she would want to go

16. When you see food with the name you see for the first time, do you dare try? Or you tend to play safe? I tend to take the challenge.

17. If you can meet your 20-year-old self, what would you like to say? Nothing in particular

18. What kind of present you would like to receive in last year of Heisei-era? Speakers that can be used in bathroom

19. Where would you like to go on honeymoon? The world's best views

20. What would you like to do in your last day of your life? I don't want to know that day is the end of my life

21. If you can take a long holiday, what would you like to do? Watch movies. Escape room games.

22. I love Takeru-kun's singing voice. If someday you get to sing in your next project, do you want to do it? I don't mind

23. If you weren't in the entertainment world, what would you do? I imagined myself to study something related to science-field in university, but I don't know what to do next

24. What else you like in sushi other than Kohada (gizzard shad)? Between tuna and salmon, which one do you like? Tuna. I also like squid and uni (sea urchin). And also button shrimp

25. If you become an invisible person, what would you want to do? State secrets investigation

26. Favorite movie? Kimi no Na wa (Your name)

27. Do you like sweets? I like it but I rarely snacking

28. Favorite smell? Morning forest

29. What do you like in osechi (traditional Japanese new year food)? Kamaboko (fish cake)

30. Favorite manga? Tenshi na Konamaiki (Cheeky Angel) (note: he said in Yakai before that his first love is the heroine from this manga XD)

31. Do you like to go to onsen? Yes

32. If you have your own favorite/most disliked body parts, please tell us! I won't say because it's embarassing

33. Favorite color? Navy blue

34. Favorite kind of noodles? Cold soba

35. Favorite season? Winter

36. Do you like horumon (cuisine made from pork or beef offal)? I like it more than average people

37. You went to lots of places during filming or doing promotion for movies, do you have favorite region? Also please tell us if you have a must-eat food there! Hitsumabushi in Nagoya

38. If i remembered correctly, you've said that you like your home, is there any other place you like? I also like hotel

39. Any recommendation for foreign drama? Friends

40. Favorite novel? Shigatsu ni nareba Kanojo wa (also titled April Girlfriend - by Kawamura Genki)

41. What do you usually add when you eat medamayaki (fried egg)? Salt and pepper or Shoyu

42. What do you usually add when you eat freshly cooked white rice? Karashi (spicy) mentaiko

43. Please tell us your order of eating sushi! Omakase (literally meaning "I'll leave it up to you", a special course when the customer leaves it up to the chef to serve)

44. What are your memories of doing Kamen Rider? Commuting in a crowded train

45. Please tell us a happy episode from filming Den-O! We sometimes would go to Jojoen near Oizumi Studio

46. Who is your favorite Imajin from Den-O? Ura(taros)

47. If you act as (Nogami) Ryoutarou right now, what kind of person you think he will be? I think people will not change that much

48. If you have a child, what name will you give him/her? I think 2 letters would be nice

49. Among the actors-actresses you haven't co-starred with, who would you want to work together with? Fukatsu (Eri)-san

50. Among all of your projects, which role is the most fun/memorable? Rookies was fun

51. Do you still continue to learn English? Yes

52. Among all of roles you've played, was there a moment when you think it resembles yourself? Probably no

53. Is there any place inside Japan you want to go? Never-visited islands

54. Is there anything you want to learn right now? I want to learn to dance

55. When you first meet a person, what is the first thing you will look at? I got this question a lot and until now I don't know the answer. I wonder what I will look at first

56. What role you want to try this year? As a runaway child

57. Among all of your projects, is there anything you wouldn't want to watch? Basically I don't want to watch it. I don't watch most of it.

58. If you can do a sequel, is there a work you want to do? Rurouni, Kanouso, Gibomusu

59. Is there any villain role from movie/drama/manga/novel that you want to do? I'd like to if there's any (interesting roles)

60. Before you do a crying scene, how do you usually spend your time? Depends on the scene

61. What is your description of "Kakkoii"? Taking the initiative in what people hate, and don't show off your action

62. You said that you didn't like saba no misoni (mackerel with miso), was it because you didn't like mackerel itself? When I saw "saba no misoni" in school lunch menu, I would be very dissapointed. I like mackarel though.

63. If you got an offer for main cast in Taiga drama, will you take it? I like that kind of question where you don't think "If it's the main cast for Taiga I'll definitely do it"

64. Something to do to keep you healthy? Sleep 12 hours

65. Do you have any actor friends? Everyone that gave their comments in this book

66. How do you feel when you work in Rurouni Kenshin kiri (` ・ω・‘) (note: this is the actual answer (i only changed hiragana to romaji/alphabet), kiri/kiru is to cut/slash in japanese, so maybe he just felt like slashing ppl all the time XDD)

67. Something that makes you feel "I can die peacefully after doing this"? Become Ajin

68. What is the scariest thing in the world? Please see video original version of "Ju-on"

69. Have you seen Aurora? No

70. When you take a bath, what part of the body you washed first? Head

71. In what moment do you usually can be yourself the most? I am myself mostly everytime

72. If fans reach out to you in your private time, how far can we go e.g handshake/photograph? It'll be embarassing to take a photo, so only handshake is good

73. We always see Takeru-san in the acting side, do you ever think of creating a movie? If I create a movie, I also want to act in that movie

74. You showed us for a short moment in Horoyoi ads, but I want to hear more of your singing voice! Recently, is there any song that you will definitely sing in karaoke? Marigold, no I'm lying. I don't have such song.

75. You always give your best during promotions for dramas/movies, but was there any tough times? Ehh you're so kind.

76. You said that you want to take a break in this year because you've worked hard in last year, did that feeling change? It's not like I want to take break, but I think my exposure level is decreasing compared to last year

77. In Kanouso, during the moment when you weren't supposed to cry but tears suddenly fell down, how to control such emotion? I looked at her (Riko) face

78. Is there any actor/actress you admire? If I tell you, you will be more aware of that person, so because I don't want you to have such thought, I won't tell you.

79. How did you spend your time during 2019 new year? I watched Unnatural with my family at home

80. What is your special skill? Othello

81. Do you use perfume? I don't usually use it but because we're making it (as anniversary goods) this time so I'm using that.

82. When thinking about Takeru-kun, your image is strongly tied with solving riddles, how did you get into it? Also how much time did you spend in 1 day? My first time was when my friends invited me to play escape games. As long as time allows me to do it, I can do it all day.

83. Among all of Hanbun, Aoi cast, who is your best friend? Kan-chan (Suzume's daughter)

84. If you meet a person that you want to befriend, are you the type who reach out to him/her, or wait? Reach out

85. Regardless of gender, what kind of person you're not good at? People who makes mistakes

86. What is your decisive factor when choosing a project? Whether I want or I don't want to do it

87. By any chance, is Takeru-san the type of genius person with photographic memory? I'm not that kind of person

88. What do you sing when you go to karaoke? Radwimps

89. Do you do any muscle training? I do but depends on the timing

90. When you go out with somebody you like on a date, in what situation do you like? Autumn leaves

91. Has anybody said to you that you resemble someone (in entertainment world)? Shouhei's wife (Kiritani Mirei) (note: why he won't say her name directly XDD)

92. Do you have any age restriction for marriage? I'd like to do it in my 30s if I can

93. Why do you become "a man lost in love"? What a good word to express it. Love is not something you experience several times, isn't it?

94. What kind of hair type do you like for girl? I like natural, not shaped ones

95. In what moment do you think girls are cute? When you see they are excited when I choose her in SUGAR

96. When you found a girl you like, do you actively "attack" her? Of course if I like her

97. Do you like a woman who will casually do body touch, doing upward gaze, and sort of the aggresive type? I don't like it at all

98. In what moment you think you can't help but liking a girl? When she casually do body touch, do upward gaze (note: so which one do you actually like LOL -- refer to Q97)

99. Between older and younger woman, which one do you like? I like both

100. What kind of girl do you like? Girls with narrow "strike zone"

101. What is the minimum requirement for your partner to marry you? I no longer have such requirement

102. As a man, what do you think of a man who keeps looking at his phone, keeps looking at the clock when dating a woman? It's not a good thing to do, it's like he doesn't care about his partner.

103. What do you think about a fun and easygoing girl? Girls with good sense of humor are good

104. When you have a girlfriend, what kind of homemade food will you make for her? Miso soup

105. What kind of make up do you like for girls? As long as she doesn't overdo it

106. I have a person I can't forget even after so many years, Does Takeru-kun have that kind of experience? Yes for a few years, but I don't know what will happen for 10+ years

107. I called my nephews and nieces with nicknames. Does Takeru-kun have any nicknames you want to be called with? I like Takeru-san rather than Takeru-kun

108. What sound do you use as your alarm ringtone? Default settings

109. You have a really beautiful skin. Do you have any advice for it? Moisturizing

110. Any activities you've been into lately? Alternate baths (also called contrast bath therapy) (note: a kind of bath therapy where you alternate between hot and cold baths.)

111. Where do you usually go? Most recent is gym

112. Do you still hate caterpillars? Sorry, but yes

113. Do you cook? Do you have any specialities? Nope

114. Where and how you usually memorize your script? I usually memorize it with my costars moments before shooting in the set

115. For Takeru-san who loves reading, how do you usually choose books to read? I'd usually pick friends' recommendation

116. When you sleep do you prefer to turn on or off the lights? Turn off. I can't stand even the lights from humidifier

117. In what moment do you think it's nice being an actor? When people are being nice to you

118. Things like clothes, bags, shoes, is there anything that you have to make sure it's in good quality before you buy? Towel

119. If you have one full day with your beloved cats, what will you do? Cuddling its cheek

120. If you are being reborn as a cat, who do you want to take care of you? Do you want to play together with Kochirou and Puchirou in Satou's family house? Yes. (note: Kochirou and Puchirou are his beloved cats currently living in his parents' house)

121. If you can have one more cat, what name will you give? At least not names in katakana

122. Are you a dog person? Cat person? Cat

123. As a cat-lover, which part of a cat do you like? Face

124. What is your favorite Kochirou and Puchirou's pose? When they become rounded like a ball

125. If you can have a dog, what kind of dog do you like? Shiba-inu

126. Beside cat, do you have any other animals you'd like to have? Dolphin

127. Where do you want to live? Shiodome maybe

128. Have you give your mom presents from home bakery? Yes. I think you can also make mochi with those

129. If you're doing a solo trip, where will you go? Canada

130. How do you get along with Nobu-san (from Chidori)? We were working together in a variety show and I ask for his phone number

131. You were famous among the older people from long ago, what do you think about that? I don't really care about the age as long as I still got the "waa" and "kyaa"

132. In what moment do you feel happy? When I solved a riddle

133. What is your favorite song from Takahashi Yuu-kun? Hachigatsu Muika (August 6) (note: he sang this song in his 30th birthday event)

134. If you have to give a score for your acting career up until now, how many points out of 100? 60

135. In the future, can you create an event where fans can meet you directly? Yes

136. You've said before that because you can't tidy your room up so your mom had to visit your house to tidy things up, is it still the same now? I've become independent now

137. I'm still a kid, an elementary school student. When I talk about Kamen Rider, there are some kids who get along with me, but there also kids who call me weird. Is it alright that I still love Kamen Rider? Please tell me. I was also called weird by my friends in my school days so it will be alright

138. Do you plan to go to Kyoto in this year? I already go there few times

139. In what moment do you feel the happiest? I can't decide between the moment when I saw at Ruroken's (sales) performance or when I managed to clear an escape game challenge, or when I was in elementary school when I got into Yu-Gi-Oh, I got Summoned Skull from a booster pack.

140. Was there a moment when you cried while watching a movie? Usually I cried watching touching movies

141. Between the roles you've played almost simultaneously, such as Ritsu in Hanbun, Aoi, Mugita in Gibomusu, and Kazuo in Oku Otoko, which one is the most difficult to play? Kazuo

142. Recently, is there a moment when you laughed so hard? I was hitting my knees laughing while watching Aiseki Shokudou (Chidori's show) at home

143. Please tell us an episode from Kouhaku! When I hesitated to wave my penlight, but then I saw Nomura Mansai-san was waving his so I decided to follow

144. Please tell us your recommended places to visit from "Rurouni-hon Kumamoto e". Nature is always recommended. Negative ions are good for the body. (note: "Rurouni-hon Kumamoto e" was a book about Takeru doing a trip in Kumamoto, promoting places especially those which were affected by Kumamoto earthquake. A portion of the sales were donated to support Kumamoto recovery)

145. You said in the past that you couldn't sleep for a long time, how is it now? Hm it's complex but I think my internal body clock feels off

146. When telling our thoughts about your movies/dramas, do you have any preferred ways that makes you happy? When you shared it in the internet

147. My son is telling me that he wants to be a voice actor and wants to go to a vocational school. As a parent, should I support him? Did Takeru-kun get your parents' support when you want to be an actor? My parents had no objection at that time. It didn't cost me any money. By the way, do professional voice actors learn in vocational schools? I support him to become a voice actor, but I'm not sure if it's the right decision to enroll in a vocational school to become a voice actor.

148. Among all the places you've visited during your work or private trips, do you have any recommendation for us? Salar de Uyuni (note: he went to this place for X photobook)

149. When you watch a movie, do you prefer to read the original story first or straight to the movie? If I want to enjoy the movie, I'd watch the movie first. If I want to enjoy the book, I'd read the book first.

150. Can I hug you when I meet you? Maybe no

151. Do you use washing machine for drying your clothes? What will happen to your clothes after that? Wrinkled

152. What is the most important thing or person to you? People who put their faith in me

153. Are you looking forward to expand your career overseas? Rather than wanting to work in a Hollywood movie, I prefer to think more on how to make Japanese movies more visible to the world.

154. Is there anything you'd like to do in your 30s, any target or resolution? I have a few in mind, but I'll tell you when I manage to accomplish them

155. Please tell us about your vision of living your life from now on! I hope I can do more of what I want to do.

(pic: https://satohtakeru.amuseblog.jp/blog/2019/03/30th-anniversar-1c47.html)

#Q&A #can-we-have-more-of-this-pleasee #30th-anniversary-book #photobook #佐藤健

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chanoyu-to-wa · 5 years

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Nampō Roku, Book 2 (31): (1587) Fourth Month, First Day, Night.

31) The same day; at night¹.

◦ Two-mat room².

◦ [Guest:] Terumoto [輝元], alone³.

Sho [初]⁴.

﹆ Mokuan [牧庵]⁵: Kanzan [and] Shutoku [寒山拾得], [both the] painting and colophon by himself⁶.

◦ Kake-tōdai [カケ燈臺]⁷.

◦ On the tana: ◦ kōgō suzume [香合スヽメ]⁸; ◦ habōki [羽帚].

◦ Furo ・ kama: the same as in the morning⁹.

▵ Shiru tsuru [汁鶴]¹⁰.

▵ Namasu [ナマス]¹¹.

▵ Kuro-me [黒メ]¹².

▵ Okoshi-mai ・ kawa-take [ヲコシ米・川茸]¹³.

Go [後]¹⁴.

◦ In a large basket, unohana [卯花]¹⁵.

◦ On the tana: hishaku ・ hikkiri [引切]¹⁶.

◦ Mizusashi Shigaraki [水指シカラキ]¹⁷.

﹆ Chaire Shiri-bukura [茶入尻フクラ]¹⁸.

Su [ス]¹⁹.

◦ Chawan Kuro-suji [茶碗黒筋]²⁰.

◦ Monsasu-koboshi [モンサスコホシ]²¹.

_________________________

¹Dō-jitsu, yoru [同日、夜].

This chakai was held in the evening of the first day of the Fourth Month of Tenshō 15 [天正十五年] -- May 8, 1587 in the Gregorian calendar.

²Nijō shiki [二疊敷].

This was the two-mat room in Rikyū's official residence within Hideyoshi's complex in Ōsaka.

Notice that the furo is placed above the part of the mat where the mukō-ro was cut in winter: the furo must never be placed under the tsuri-dana.

³Terumoto hitori [輝元一人].

This was Mōri Terumoto [毛利輝元; 1553 ~ 1625], daimyō-nobleman (as gon-chūnaigon [権中納言], supernumerary middle-counselor, he eventually rose to the Third Rank), and a member of Hideyoshi’s Council of the Five Great Elders [go-tairō [五大老]). At the time of this chakai, however, he was still rather young -- though he was well on his way to becoming one of Hideyoshi’s most trusted vassals.

Terumoto seems to have also been one of Rikyū's personal tea friends (his name is one of the most frequently found in the guest lists of Rikyū's surviving kaiki); and (since he was frequently received alone), it appears that he was an intimate friend, and a disciple as well.

⁴Sho [初].

The shoza.

This was a fairly standard sort of chakai*: with respect to the kane-wari:

- the tokonoma contained a painting as the kakemono, with a te-shoku [手燭] (a long-handled candlestick)† resting on the floor between the painting and the toko-bashira, and so was chō [調];

- the room had the ko-ita furo [小板風爐]‡, making it han [半];

- and the tana held the kōgō and habōki, with the habōki and kōgō each contacting different kane, making the tana chō [調].

Chō + han + chō is han. This is appropriate for the shoza of a chakai held after dark**. __________ *Which is precisely the sort of gathering that a teacher would stage for the edification of one of his students.

†Notice that the handle of the te-shoku extends on a diagonal toward the right.

‡This expression means a large furo arranged on a ko-ita (a shiki-ita that measures 9-sun 5-bu square).

**The night becomes increasingly yin as it deepens. Thus, the shoza is -- relatively speaking -- “more yang” than the goza.

⁵Mokuan [牧庵].

Rikyū has mistaken the first kanji of this artist's name. This refers to the Japanese monk-artist Mokuan Rei-en [黙庵霊淵; ? ~ c 1345*]. He was tonsured as a monk in Kamakura (his biographies do not identify the temple) sometime before 1323, and traveled to China in 1327. He became a renowned Zen painter, working in the sui-boku [水墨] medium†, and a number of his paintings bear colophons by some of the eminent Chinese Chán monks of the day‡. A number of these were brought back to Japan by other travelers, where they were especially treasured. Mokuan died in China around 1345.

In the Kun-dai Kan Sa-u Chō-ki [君臺観左右帳記], the dōbō Nōami [能阿彌; 1397 ~ 1471] considers Mokuan to be a Chinese (Yuan period) painter**. __________ *He was active (albeit in China) during the period that corresponds to the late Kamakura and early Muromachi periods in Japan, so there is necessarily a degree of ambiguity surrounding his personal details. Some Japanese sources claim that he died around 1345 (in China), but this is based on the fact that it was around that time that his name disappears from contemporary records.

†Sui-boku [水墨] are black-ink sketches that are “colored” using gray-ink washes.

‡The significance of these colophons has been a subject of debate in Japan. Some argue that they show approval and acceptance of Mokuan as a fully-recognized monk and artist (in the Chinese tradition), while others suggest that these jottings imply ownership (the Chinese monk, taking pleasure in the painting, wrote some words on it for his own amusement); or even that, having received the original paintings from Mokuan, visiting Japanese monks later asked other Chinese monks to write some words on them to commemorate their meeting (this suggests the possibility that there was no real connection between Mokuan and the Chinese monks who added the colophon at all).

**Suggesting that, in Nōami's view, saying that Mokuan was a Japanese artist would amount to something akin to cultural appropriation.

That said, the arrival of Mokuan's paintings in Japan was one of the great forces behind the development of the Zen style of painting in Japan.

⁶Ji-ga ji-san Kanzan Jittoku [自畫自讃寒山拾得].

Ji-ga ji-san [自畫自讃] means that both the painting (ga [畫]) and the colophon (san [讃]) were done by Mokuan himself*.

This is the painting usually known as Shì-shuì tú [四睡圖] (in Japanese, Shi-sui zu: “Picture of the Four Sleepers†”), shown below.

As the three monks and their tiger (who represents their Chán energy) are sleeping out of doors, the picture suggests both intimacy, confident repose, and the warming season. This chakai was held during the evening of the first day of summer.

Hánshān [寒山], Shí-dé [拾得], and Fēng-gān [豐干] were all renowned Tang period monk-poets, who were often referred to as the Tiāntái sān-shèng [天臺三聖] -- the three [poetic] sages of Tiāntái (Mountain)‡.

Rikyū marked this entry with a red spot, indicating that the painting was the featured utensil during the shoza. Perhaps his intention was to show his comfortable affection for Terumoto. __________ *This is one of the few paintings by Mokuan that bear his own colophon. Many of his other compositions have colophons written afterward by several of the important Chinese Chán monks who were his contemporaries.

†The four are Hánshān [寒山], Shí-dé [拾得], Fēng-gān [豐干], and his tiger.

‡The three are also known as the Guó-qīng sān-yǐn [國淸三隱], the three recluses of Guó-qīng [temple].

⁷Kake-tōdai [カケ燈臺].

A hanging support for an oil-lamp, primarily used (for the main source of illumination) in the small room*.

During the shoza, the kake-todai was suspended on the pillar near the far end of the utensil mat -- where its primary purpose was to throw light into the interior of the furo, to aid the host’s arrangement of the charcoal.

It was moved to the toko-bashira during the naka-dachi, and remained hanging there throughout the goza, providing illumination both to the room and to the interior of the tokonoma. ___________ *Since ancient times, a kake-tōdai had traditionally been hung on the toko-bashira (even in large rooms), to provide light for viewing the scroll (specifically, the signature and seals of the artist, which were always supposed to be closest to the toko-bashira).

However, in the small room, it replaces the tankei or free-standing tōdai (because of the lack of floor-space on which these kinds of lamp stands could be set up), and this is the purpose for which Rikyū mentions it here.

⁸Tana ni kōgō suzume ・ habōki [棚ニ香合スヽメ・羽帚].

The kōgō and go-sun-hane were arranged so that each of them would contact a different kane, as shown below.

⁹Furo ・ kama asa dōzen [風爐・釜朝同前].

In other words, this was the same furo and kama that had been used at the morning's chakai:

◦ the large iron kimen-buro that had belonged to Ashikaga Yoshimasa (and, later, was owned by Oda Nobunaga);

◦ and the (first) small unryū-gama, with a beaten copper lid and kimen kan-tsuki.

¹⁰Shiru tsuru [汁鶴].

This was a clear soup made by boiling the flesh and bones of a wild crane (probably provided to Rikyū by Hideyoshi's hawkers), together with pieces of daikon.

Some of the meat would have been mashed into a paste and formed into balls that were cooked (in the broth) as dango [團子] (meatballs). These, along with pieces of daikon and chopped leeks (and perhaps other seasonal vegetables), were served in the soup.

¹¹Namasu [ナマス].

Namasu [膾] is a sort of raw salad, made from julienned daikon and carrot, dressed with a mixture of rice vinegar, sake, mirin, and soy sauce.

¹²Kuro-me [黒メ].

Kuro-me [黒布] is a type of seaweed, typically served raw, with a dressing composed of rice vinegar, sesame oil, soy sauce, sugar, salt, and ginger juice.

The general lightness of the kaiseki suggests that Terumoto had already taken the evening meal with Hideyoshi (whom he doubtless had met immediately after arriving from the west country -- probably he had traveled to Sakai by ship in the company of Kobayakawa Takakage [小早川隆景] and Yoshikawa Kurando [吉川蔵人], Rikyū's guests at the morning's chakai; though Terumoto had probably gone on immediately to Ōsaka, while Rikyū kept his traveling companions occupied until Hideyoshi was ready to receive them later in the day). __________ *Though he had become a vassal of Hideyoshi only several years before, Mōri Terumoto would prove to be one of the important players in Hideyoshi's upcoming campaign to subjugate Kyūshū.

¹³Okoshi-mai ・ kawa-take [ヲコシ米・川茸].

The kashi.

Okoshi-mai are made from parched rice (and sometimes other parched grains as well) mixed with honey, and either formed into “hito-kuchi” [一口] sized balls*, or pressed into a sheet and then cut into squares. While okoshi-mai can be prepared at home, it was more common to procure it from a specialty shop. Since it was a common gift to bring when visiting someone, perhaps Mōri Terumoto had purchased a box of fancy okoshi-mai to give to Rikyū when he came to visit, and Rikyū decided to serve some as one of the kashi.

Kawa-take [川茸] is a kind of fresh-water seaweed. While available anytime the streams where it grows are not frozen, it was usually served only in the early winter or early spring, when the danger of enteric infections caused by raw sewage seeping into the watercourses was at a minimum. Perhaps Rikyū had a special source of this seaweed that guaranteed its cleanliness; or possibly this entry was a miscopying for shiitake [椎茸], lightly salted mushrooms grilled over charcoal, which was one of Rikyū's preferred kashi. ___________ *Hito-kuchi [一口] means “one bite” or “bite-sized” -- one kashi of this size can be placed in the mouth without having to bite it in half. (The Japanese and Koreans dislike watching someone put something to their mouth, bite off part, and then lower the rest away from the mouth.)

¹⁴Go [後].

The goza.

As for the kane-wari:

- the tokonoma had the chabana, arranged in a large basket that was standing on the floor of the tokonoma, and so was han [半]*;

- the room held the ko-ita furo, along with the mizusashi placed to its left (partly below the tana), with bon-chaire arranged in front of it, and so was chō [調];

- and the tana had the hishaku and futaoki, with the hishaku placed diagonally and the futaoki in front of it (and toward the left), and so was han [半].

Han + chō + han is chō, which is proper for the goza of a gathering held at night. ___________ *The te-shoku [手燭] would have been removed before the chabana was arranged in the toko, since the kake-tōdai, hanging on the toko-bashira, would provide a more natural illumination for the chabana (this is also why the basket would have been placed on the floor -- so that the light would fall on the flowers from a more natural direction).

¹⁵Ōkago ni unohana [大籠ニ卯花].

Probably Rikyū's ahiru-kago*, which was his largest kago-hanaire.

Since it was night, and the kake-todai would have now been hung on the toko-bashira, the basked was placed on the floor of the toko so the light would illuminate the chabana from above.

While flowers were usually not arranged at night, the present chakai presents an exception: as mentioned in the previous post, branches of unohana [卯の花] were traditionally hung in every possible place on this, the first day of the summer season, and left in place until the end of the day. It was in deference to this ancient precedent that Rikyū displayed the unohana as his chabana on this occasion. __________ *Most of the utensils used during this gathering were the same as the things that Rikyū used in the morning.

¹⁶Tana ni hishaku ・ hikkiri [棚ニヒシヤク・引切].

The futaoki was one of Rikyū's take-wa [竹輪].

The hishaku was oriented on a diagonal, with the hikkiri in front of it (and toward the left of center). This way, the futaoki could be picked up with the left hand, and then the hishaku with the right, and both lowered to the mat in one motion.

It also allowed the hishaku and futaoki to be counted together as a single unit for the purpose of kane-wari.

¹⁷Mizusashi Shigaraki [水指シカラキ].

This was Rikyū's Shigaraki mizusashi.

¹⁸Chaire Shiri-bukura [茶入尻フクラ].

The Shiri-bukura chaire [尻膨茶入] was one of Rikyū's personal treasures. It was also the first chaire to be used on a small chaire-bon of the sort that became associated with Rikyū’s name and teachings.

Using this chaire showed his affectionate respect for Terumoto, as well as illustrating his teachings to his disciple -- and, to indicate the importance of the bon-chaire, Rikyū marked the entry with a red spot.

Though the tray is not mentioned, Rikyū probably used it together with its tray, again out of respect for his guest.

Unlike during the morning's gathering, the chawan was not arranged next to the chaire -- because the Shima-suji-kuro [嶋筋黒] chawan that he used during this chakai was too large to be placed beside the bon-chaire (while still adhering to the appropriate kane relationships).

Though not mentioned, Rikyū would have used an ori-tame [折撓], of his own making, as the chashaku.

The chashaku would have been made to match the bon-chaire (that is, when the bend in the bowl -- the point at which the chaire touched the face of the tray -- was aligned with the back side of the chaire, the handle would extend 4-bu beyond the front rim of the tray).

¹⁹Su [ス].

The things that follow were brought out from the katte at the beginning of the koicha-temae.

²⁰Chawan Kuro-suji [茶碗黒筋].

This was probably the chawan that Rikyū previously referred to as the “Shima-suji-kuro” [嶋筋黒]* in this kaiki.

This chawan (which closely resembled the bowl shown above†) seems to have been another of Furuta Sōshitsu's hiki-dashi-kuro [引き出し黒] bowls. __________ *This corruption of the name is consistent with other lapses that are found in this kaiki -- suggesting either that Rikyū was in a hurry, or perhaps that (after hosting two chakai in the same day) he was very tired when he finally got around to recording the details in his diary.

This chawan is also known as the “Tenshō-kuro” [天正黒]; and it was, at the time of this chakai, in Hideyoshi’s personal collection (apparently having been presented to Hideyoshi directly by Oribe). In other words, Rikyū had borrowed the chawan from Hideyoshi for use during this chakai.

†The chawan shown in the photo (which closely resembles all of the contemporary, and later, descriptions of the Shima-suji-kuro bowl) seems to have been made at the same time as the Shima-suji-kuro bowl (of which no photos are known to have been made).

The Shima-suji-kuro chawan itself has not been seen since the Meiji period, when it was taken into a private collection. It is not known if the bowl is still in existence.

²¹Monsasu-koboshi [モンサスコホシ].

This was a Namban [南蠻] piece*, that seems to have been presented to Rikyū by Shimai Sōshitsu [嶋井宗叱; 1539 ~ 1615], one of the major merchant-traders based in Hakata.

__________ *Usually said to have been from Southeast Asia, low-fired, unglazed ware of this sort was also being fired on the Korean peninsula, in rough open-pit-kilns, at this time.

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asterisquebloomed · 6 years

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Reiko Icon Credits | Part II

The icons I use were all cropped by me. So please DO NOT steal them. Artist credits are as follows:

Mochizuki Jun, author of Pandora Hearts and The Case Study of Vanitas

Kusakanmuri (久坂んむり) — https://www.pixiv.net/member.php?id=379942

Kuronohana (黒瀬いつか) — https://www.pixiv.net/member.php?id=1720546

Shimana (嶋名) — Source Deleted

Suzume Miku (すずめみく) — https://www.pixiv.net/member.php?id=18484

Vento — https://www.pixiv.net/member.php?id=1764342

Shijiu / Ikemeru19 (十九) — https://www.pixiv.net/member.php?id=7057787

Kitayuki Kajika (キタユキ) — https://www.pixiv.net/member.php?id=199411

Ideolo — https://www.pixiv.net/member.php?id=61513

Ogipote (荻pote) — https://www.pixiv.net/member.php?id=2131660

Navio — https://www.pixiv.net/member.php?id=585267

Cinkai — https://www.pixiv.net/member.php?id=1462076

Sunatoshi / Sato (サトー) — https://www.pixiv.net/member.php?id=213193

Neetsr — https://www.pixiv.net/member.php?id=13509629

Toutenkou (東天紅) — https://www.pixiv.net/member.php?id=3757061

Kutsuki Kai (紅月カイ) — https://www.pixiv.net/member.php?id=43927

Hichiko (ひちこ) — Source Deleted

Tokoya (とこや) — https://www.pixiv.net/member.php?id=4450994

Uruu Gekka (閏月戈) — https://www.pixiv.net/member.php?id=204061

Jeno / Zeno (是乃) — https://www.pixiv.net/member.php?id=25527

Uousa-ou (魚ウサ王) — https://www.pixiv.net/member.php?id=21530

YuJup (ゆじゅぴー) — https://www.pixiv.net/member.php?id=424411

Ogino (オギノ) — https://www.pixiv.net/member.php?id=6637740

Ku-ba (くーば) — https://www.pixiv.net/member.php?id=154980

Momopoppo — Source Deleted

Oukasirayami / Momiji (もみじ) — https://www.pixiv.net/member.php?id=1418111

Koohee (こへ) — https://twitter.com/karinopass

Greave (グリーヴ) — https://www.pixiv.net/member.php?id=86217

Givuchoko / Gibuchoko (ぎヴちょこ) — https://www.pixiv.net/member.php?id=745461

Asuzemu (あすぜむ) — https://www.pixiv.net/member.php?id=3215783

Nekonekocha (どげざ) — https://www.pixiv.net/member.php?id=1581695

NGA — https://www.pixiv.net/member.php?id=16585793

Niwa (煮わ師) — https://www.pixiv.net/member.php?id=372173

Yasato (八里) — https://www.pixiv.net/member.php?id=7569861

Kan (かん) — https://www.pixiv.net/member.php?id=14601125

Ainy (あいに) — https://www.pixiv.net/member.php?id=1513922

Orita Enpitsu / Nishimon (にしもん) — https://www.pixiv.net/member.php?id=202286

Koissa — https://www.pixiv.net/member.php?id=2845504

LDL — https://www.pixiv.net/member.php?id=5069047

Fujimori Tonkatsu (不死森トンカツ) — https://www.pixiv.net/member.php?id=3628020

Kanechi — https://www.pixiv.net/member.php?id=408215

Rindou (りんどう) — https://www.pixiv.net/member.php?id=173578

Janne Cherry / ZYANNA — https://www.pixiv.net/member.php?id=3860956

Thkani — https://www.pixiv.net/member.php?id=13134696

Yuha (ゆは) — https://www.pixiv.net/member.php?id=748684

SH — https://www.pixiv.net/member.php?id=2865617

Hijiwryyyyy / Byakuren (白蓮) — https://www.pixiv.net/member.php?id=3215821

Oiun / Yuja — https://www.pixiv.net/member.php?id=525286

Kozakura (こざくら) — https://www.pixiv.net/member.php?id=675534

Isa (伊佐) — https://www.pixiv.net/member.php?id=109171

Tegaki no Yuu (虎雀) — https://www.pixiv.net/member.php?id=2602603

Otokuyou (お徳用) — https://www.pixiv.net/member.php?id=7609394

Ponkotsu (醐味屑) — https://www.pixiv.net/member.php?id=1815189

Nicutoka — https://www.pixiv.net/member.php?id=3624291

Touya / 18 (十夜) — https://www.pixiv.net/member.php?id=2984

Mumulatte (ムムラテ) — https://www.pixiv.net/member.php?id=193002

Tatetsuki (タテツキ) — https://www.pixiv.net/member.php?id=2721019

Judo Fuu (樹土風) — https://www.pixiv.net/member.php?id=1820471

Makie Fujiyuki (まきえふじゆき) — https://www.pixiv.net/member.php?id=7434

y z n — https://www.pixiv.net/member.php?id=576202

Ginko (銀児) — https://www.pixiv.net/member.php?id=1043393

Kezune — https://www.pixiv.net/member.php?id=8773

Hinomaru (ひのまる) — https://www.pixiv.net/member.php?id=371243

Itou Yuuji (イトウゆーじ) — https://www.pixiv.net/member.php?id=14192

Iseki (伊関) — https://www.pixiv.net/member.php?id=4655

Goma Azarasi (ごま) — https://www.pixiv.net/member.php?id=924742

Raito (私期) — https://www.pixiv.net/member.php?id=3626004

Asagi — https://www.pixiv.net/member.php?id=12732125

Manasseh (真瀬) — https://www.pixiv.net/member.php?id=280930

Yukizen (幸善) — https://www.pixiv.net/member.php?id=31564

Citron (柑柚) — https://www.pixiv.net/member.php?id=1182517

Totteri (あめろ) — https://www.pixiv.net/member.php?id=37336

Moneti (もねてぃ) — https://www.pixiv.net/member.php?id=3066815

Akasata (赤坂択) — https://www.pixiv.net/member.php?id=1665412

Noko — Source Deleted

AwkwardKuroki / Kue — https://www.pixiv.net/member.php?id=139798

Shirayuki Mutsumi (白雪睦月) — https://www.pixiv.net/member.php?id=20799

Kazeharu — https://www.pixiv.net/member.php?id=462335

Tro — https://www.pixiv.net/member.php?id=52449

Sadomochi — Source Deleted

Kagu (星野) — https://www.pixiv.net/member.php?id=3538617

Yukama (ゆか魔) — https://www.pixiv.net/member.php?id=12632281

Kakueki-Teisha / Rito (理都) — https://www.pixiv.net/member.php?id=1179501

Michii Yuki / N (ん) — https://www.pixiv.net/member.php?id=134827

Moketto (モケット) — https://www.pixiv.net/member.php?id=189358

Nokishita (軒) — https://www.pixiv.net/member.php?id=1125478

Shinoi (しのい) — https://www.pixiv.net/member.php?id=459136

Myaaco — https://www.pixiv.net/member.php?id=141026

Ayatyaan (イカナマズ) — Source Deleted

Asa Inu (朝戌) — https://www.pixiv.net/member.php?id=62192

Kabocha Torute (南瓜とるて) — https://www.pixiv.net/member.php?id=319735

Mickey Dunn — https://www.pixiv.net/member.php?id=438012

Ootsuki Wataru (大月渉) — https://www.pixiv.net/member.php?id=286190

Yagi / Yagi Plus (やぎぷらす) — https://www.pixiv.net/member.php?id=249266

Irohara Mitabi (色原みたび) — https://www.pixiv.net/member.php?id=1444045

Yashimaru (やし丸) — https://www.pixiv.net/member.php?id=1767452

Asskiler (ちょんちょん) — https://www.pixiv.net/member.php?id=741835

Shokushu no Iru Seikatsu (触手の居る生活) — https://www.pixiv.net/member.php?id=111394

Duca — https://www.pixiv.net/member.php?id=103606

Yunomi Chawan — Source Deleted

#Icon Credits; Reiko #Credits #Icon Credits #Resources

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heraniyertania-blog · 4 years

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5 Andil Takeru Satoh Jadi Orang Biasa

Takeru Sato, aktor Jepang berumur 30 tahun ini diketahui kerap melakoni pribadi manusia super. Sebagaimana pada serial sentai Kamen Pembalap Den-O, film Inuyashiki, ataupun live action dari manga tekenal Rurouni Kenshin yang mengorbitkan namanya. Tetapi, tidak hanya melakoni pribadi pahlawan hebat yang miliki kebolehan super maupun kapabilitas bela diri, pastinya dia sempat juga bertindak untuk manusia biasa.

Nah, berikut ini ada lima drama maupun film dari Takeru Sato waktu dia melakoni manusia biasa, tidak kalah bagus serta pastinya dapat buat kesengsem!

1. 8 Nen Goshi no Hanayome

Film yang menurut novel autobiografi " 8 Nen Goshi no Hanayome Kimi no Me gak Sametanara " tampil di Jepang pada 16 Desember 2017. Ceritakan mengenai Tao Tsuchiya untuk Mai yang mendadak tak sadar diri serta koma, tiga bulan sebelum upacara pernikahannya dengan Hisashi yang diaktori oleh Takeru Sato. Hisashi tidak sudah pernah menyerah dapat Mai, waktu koma sekian tahun ataupun selesai dia sadar serta kehilangan daya ingat.

Sampai satu waktu ia mesti menetapkan pergi dari kehidupan Mai, lantaran bikin dia ingatlah kembali kian jadi memperburuk situasi badan gadis itu yang tetap lemah. Sisi epic-nya, saat Mai pergi ke satu gedung yang mana itu merupakan tempat mereka dapat langsungkan pernikahan. Pekerja disana masih mengingatnya serta bercerita kalau Hisashi senantiasa mengupdate reservasinya tiap tahun dengan tanggal yang sama ialah 17 Maret.

Peristiwa itu selanjutnya bikin Mai menjumpai Hisashi . Ia menuturkan ; meskipun tidak ingat, namun dia masih ingin menikah dengan Hisashi. Film ini menyuguhkan kejadian cinta yang mengagumkan. Pengorbanan Hisashi pasti bikin siapapun dapat terangkut keadaan. Ditambah lagi didukung dengan akting Takeru Sato serta Tao Tsuchiya, pasti akan bikin banjir air mata.

2. Kanojo wa Uso o Aishisugiteru

Di film ini Takeru Sato bermain untuk Aki Ogasawara sebagai satu orang komposer musik genius berumur 25 tahun. Ia dahulu merupakan anggota band Crude Play yang tenar, namun keluar pas sebelum band itu lakukan mayor kiprahnya. Tetapi, ia terus berikan musiknya pada band itu serta nama produser Soichiro.

Lalu Aki bersua dengan Riko Koeda yang diaktori oleh Sakurako Ohara. Satu orang gadis SMA berusia 16 tahun yang miliki nada merdu. Mereka lalu berkencan. Satu hari Riko yang punyai band dengan rekan waktu kecilnya serta dapat dibina oleh produser Soichiro. Yang selanjutnya bikin Riko serta Aki berpisah lantaran faktor profesi.

Film sebagai live action dari manga dengan judul yang sama karya Kotomi Aoki ini launching di Jepang pada 14 Desember 2013. Tidak hanya menyuguhkan kejadian beda usia, film ini mnceritakan bagaimana kondisi di balik monitor dunia permusikan yang penuh dengan perebutan. Pun mengenai keteguhan Aki dalam menggenggam prinsip bermusiknya. Satu , di sini kita dapat memandang Takeru Sato main alat musik, lo. Pastinya jadi buat kesengsem 'kan?

3. Hitoyo

Hitoyo atau barangkali One Night, menceritakan satu keluarga dengan tiga orang anak yang keadaannya berganti mendadak dalam tadi malam lantaran ibunya membunuh sang ayah dengan faktor selamatkan mereka bertiga. Lima belas tahun berlalu serta ibunya sudah dibebaskan dari penjara serta keluarga itu kembali bergabung, tetapi itu tidak berubah menjadi reuni yang menyenangkan.

Yuji Inamura yang diaktori Takeru Sato, anak ke-2 dari tiga bersaudara belum juga mengampuni ibunya. Dia malahan ingin memakai kondisi itu untuk keuntungan pribadinya untuk satu orang penulis terlepas. Dan itu yang bawa soal besar dari film ini. Film yang tampil di bioskop Jepang pada 8 November 2019 ini menyediakan tampilan Takeru Sato punyai kumis tipis. Nah, apa kamu pengen melihat Takeru Sato berkumis?

Artikel Terkait : 4 Film dengan “ Plot Twist ” Ganda Terpilih yang Perlu Kamu Saksikan

4. Hanbun, Aoi

Hanbun Aoi atau bisa juga dikatakan Half Blue Sky. Drama ini tampil di TV Jepang pada tahun 2018 diawalnya bulan April sampai akhir September. Film ini bercerita satu orang gadis namanya Suzume Nireno yang diaktori oleh Mei Nagano, dia punyai dambaan jadi mangaka. Maka dari itu selesai lulus sekolah dia rubah ke Tokyo. Namun, meskipun sudah mengupayakan keras dia terus tidak sukses, sampai selanjutnya dia menikah serta punyai putri.

Selesai bercerai dengan suaminya, Suzume Nireno kembali lagi Gifu Prefecture serta bersua dengan Ritsu Hagio, rekan waktu kecilnya yang diaktori oleh Takeru Sato. Di sini mereka kembali mengawali project bersama-sama bikin kipas yang dapat keluarkan angin dengan cara alami. Sampai perasaan yang dahulu sudah pernah terpendam balik lagi dengan cara perlahan-lahan. Yang dapat bikin baper merupakan saat Takeru alias Ritsu menuturkan apabila maksudnya lahir merupakan membuat perlindungan Suzume.

Ini lantaran mereka lahir di waktu serta rumah sakit yang sama. Jadi ingin lahir di waktu yang sama juga dengan Takeru deh, eh?

5. Koi wa Tsuzuku yo Dokomade mo

Koi wa Tsuzuku yo Dokomade mo atau bisa pula dikatakan dengan judul Love Lasts Forever baru tampil di Jepang kisaran bulan Januari tempo hari. Drama sebagai penyesuaian dari manga karya Maki Enjoji dengan judul yang sama ini bercerita mengenai satu orang suster magang namanya Sakura Nanase, diaktori oleh Mone Kamishiraishi.

Lima tahun yang silam, Sakura sudah pernah bersua dengan Dokter Kairi Tendo, diaktori Takeru Sato, serta langsung sayang pada pandangan pertama. Setelah itu biar dia dapat bersua , Sakura mengupayakan berubah menjadi suster serta magang dalam rumah sakit tempat Kairi Tendo kerja. Tetapi, selesai bersua, sifat Dokter Tendo tidak pas ekspektasinya. Kairi Tendo benar-benar dingin, bahkan juga sampai mendapatkan sapaan iblis oleh beberapa koleganya.

Walau begitu Sakura tidak menyerah serta malahan mendapatkan support dari beberapa perawat dengan menyebutnya pahlawan yang dapat menaklukkan si iblis. Drama romance-comedy bertopik dokter ini benar-benar menarik. Tidak hanya dari akting bagus Takeru Sato sebagai dokter dingin dengan ekspresi datar, drama ini memperkenalkan kita mengenai beberapa model penyakit jantung.

Nah, itu barusan lima drama maupun film dari Takeru Sato waktu dia bertindak bukan untuk super hero serta pakar bela diri. Masih kelihatan benar-benar bagus, 'kan?

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tanuki-kimono · 1 year

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Perfect seasonal themed outfit, pairing suzume (sparrow) and sasa (bamboo). Kansuzume (lit. cold sparrow, sometimes drawn as little fluff balls/fukura suzume), is a beloved Winter motif which is found in classical litterature and art alike.

The subdued kimono as lovely urushi (lacquered thread) pattern, and I just love the dye work on the bamboo leaves!

#japan #fashion #kimono #obi #suzume #sparrow #kan suzume #fukura suzume #puffed sparrow #winter in japan #urushi #lacquered thread #帯 #着物

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tanuki-kimono · 1 year

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Lovely retro outfit, pairing a beautiful kimono with diagonal lines, with a black satin obi with a seasonal scenery of kansuzume (lit. cold sparrow) fluttering in take (bamboo)

#japan #fashion #kimono #obi #winter in japan #kan suzume #suzume #cold sparrow #sparrow #take #bamboo #shusu silk #black satin #着物 #帯

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chanoyu-to-wa · 5 years

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Nampō Roku, Book 2 (30): (1587) Fourth Month, First Day, Morning.

30) Fourth Month, First Day; Morning¹.

◦ Three-mat room².

◦ [Guests:] Kobayakawa Takakage [小早川隆景]³, Yoshikawa Kurando [吉川蔵人]⁴.

Sho [初]⁵.

﹆ The ahiru-kago [アヒル籠] was hung up [in the toko]⁶, [in which were arranged sprays of] unohana [卯花]⁷.

◦ On a ko-ita [小板], the furo [風爐]⁸.

◦ Kama unryū [釜雲龍]⁹.

◦ On the tana: kōgō [香合] ・ habōki [羽帚]¹⁰.

▵ Shiru imo-gara ・ sasage [汁イモカラ・サヽケ]¹¹.

▵ Uzura senba-iri [鶉センハイリ]¹².

▵ Kuro-me [黒メ]¹³.

▵ Ae-mono [アヘモノ]¹⁴.

▵ Iri-kaya ・ kawa-take [イリカヤ・川茸]¹⁵.

Go [後]¹⁶.

﹆ Yoku-ryō-an [欲了庵]¹⁷.

﹆ Shiri-bukura [尻フクラ], on [its] tray¹⁸.

◦ Chawan shin-Seto [茶碗新瀬戸]¹⁹.

◦ Mizusashi Shigaraki [水指シカラキ]²⁰.

◦ On the tana: hishaku ・ futaoki [ヒシヤク・蓋置]²¹.

Su [ス]²².

◦ Koboshi gōsu [コホシ合子]²³.

_________________________

¹Shigatsu tsuitachi, asa [四月朔日、朝].

The Gregorian date was May 8, 1587.

The Fourth Lunar Month, which was classically known as U-zuki [卯月] (the month of U [卯] (Deutzia), which is a rather large shrub that flowers in great sprays of white, or pale-pink, blossoms at this time of year), marked the beginning of Summer, and Rikyū appropriately welcomes in the season during this chakai.

The guests were two important samurai, and it seems that Rikyū had traveled to Sakai to meet them upon their arrival from Kyūshū (where both of them were based) -- Sakai being the port at which larger vessels traveling from the west would berth. Though it is not known whether their ship docked that morning, or the previous evening, this chakai would, in either case, give these important guests time to rest and compose their minds before their upcoming meetings with Hideyoshi and his counselors.

Not wishing to receive such people in his private home*, Rikyū gave them chanoyu in the Shū-un-an [集雲庵], which he would have borrowed from Nambō Sōkei for the occasion. He probably escorted them to Hideyoshi's compound afterward (where he entertained their lord, Mōri Terumoto [毛利輝元], at a night gathering on the same day). ___________ *In East Asian cultures, important people were usually not entertained in ones private home; a more appropriate venue was always secured whenever possible.

²Sanjō shiki [三疊敷].

As mentioned above, this was (once again) Nambō Sōkei's Shū-un-an [集雲庵], with the mats changed for the furo season.

As always, when a tsuri-dana is present, the furo was placed on the opposite side of the mat (and so on the right, as shown in the sketch).

³Kobayakawa Takakage [小早川隆景].

Kobayakawa Takakage [1533 ~ 1597] was a daimyō and nobleman, who attained the position of chūnagon [中納言] (Middle Counselor to the Emperor), and the Junior grade of the Third Rank, through Hideyoshi's patronage. He was also the uncle of Mōri Terumoto [毛利輝元], being the third son of Mōri Motonari's [毛利元就; 1497 ~ 1571] principal wife (while Terumoto's father had been Motonari's eldest son) -- though Takakage had been adopted by the Kobayakawa family, becoming their 14th clan head.

He was probably visiting the capital (along with Yoshikawa Kurando and Mōri Terumoto himself) to converse with Hideyoshi about the upcoming Kyūshū campaign.

⁴Yoshikawa Kurando [吉川蔵人].

Yoshikawa Kurando [吉川蔵人; ? ~ 1617] was a samurai, and senior administrator* to the Fuchū Clan (Fuchū Han [府中藩]) of Tsushima [對馬]. Tsushima is the large island located between Kyūshū and the Korean peninsula, and the cooperation and assistance of Fuchū Clan would have been a desirable asset for Hideyoshi’s Kyūshū campaign to unify the Japanese islands, since troops would have to be sent by ship through waters controlled by the Lord of Tsushima, and any animosity could result in their passage being harried or obstructed. __________ *Kuni-garō [國家老], a high-level retainer who functioned essentially as the civil administrator of his daimyō’s province.

⁵Sho [初].

The shoza.

With respect to the kane-wari:

- the toko held the chabana, suspended on the back wall, and so was han [半]*;

- the room had the furo, resting on a ko-ita, and so was han [半];

- and the tana had the kōgō and habōki, arranged side-by-side, with each of them coming into contact with a different kane, meaning it was chō [調].

Han + han + chō is chō, which is appropriate for a chakai held during the daylight hours. __________ *Both Tanaka Sensho and Shibayama Fugen go into a discussion of why -- or whether it is possible -- to invert the order of displaying the chabana and the scroll during the daytime, without stopping to consider the meaning of the flowers that Rikyū used as his chabana.

The fact that the Enkaku-ji manuscript shows the chabana marked with a red spot clearly indicates that Rikyū wished to emphasize the arrival of the new season, and this is why he would have displayed the flowers first (since the bokuseki that he chose as the kakemono says nothing about the season at all).

Rikyū was a chajin par excellence, who expressed his heart through chanoyu; he was not an automaton who mindlessly imitated rigid forms. And on this occasion, the guests would have set sail from Kyūshū a day or two before (in other words, during the last days of the winter season); so Rikyū wished to emphasize that the season had changed while they were on their journey, and it now was summer. (Court robes, for example, were changed to the summer style from this day.)

⁶Ahiru-kago kakete [アヒル籠カケテ].

This was Rikyū's large basket hanaire.

His use of such a relatively large basket suggests that the chabana consisted of a number of long branches of unohana, which he arranged so that they would flood the tokonoma with their pristine blossoms.

In the Enkaku-ji manuscript, this entry is marked with a red spot, indicating that the chabana was one of the “special features” of the chakai. This, in turn, suggests that likely a profusion of unohana were arranged, since the idea would have been to emphasize the change of season.

⁷Unohana [卯花].

Unohana [卯の花] is the Japanese name of the shrub known botanically as Deutzia crenata. In early May this shrub is smothered with masses of white or pale-pink blossoms.

Since ancient times, the Fourth Month has commonly been referred to as U-zuki [卯月] -- the Month when Deutzia blossoms; and since ancient times the Japanese have traditionally gone quite mad over this shrub (when in bloom), festooning homes, public buildings, and even conveyances, with flowering boughs of Deutzia in every conceivable place they can be wedged -- since the arrival of this flower means that Summer is beginning.

⁸Ko-ita ni furo [小板ニ風爐].

This was probably the large Temmyō kimen-buro that had belonged to Yoshimasa, arranged on the ko-ita [小板] that Jōō had created for it.

When arranged in this kind of room (due to the location of the ro, the utensil mat was treated as if it were a daime -- albeit one without a sode-kabe -- even during the furo season), the ko-ita* is placed 2-sun back from the yū-yo [有余]†, and 9-me (4-sun 5-bu) from the heri, as shown in the following sketch.

Many modern schools teach that the ko-ita should be centered between the back wall and the naka-bashira, but that is not really correct -- at least insofar as the classical teachings are concerned‡. __________ *As has been mentioned before, the original rule was that only the large furo (which is the only kind of furo that is supposed to be placed on a ko-ita [小板] -- this is why Rikyū did not need to say anything about the furo) could be used in the small room. While this dictum seems to have been relaxed by Rikyū's day, the rules for placement were laid down with regard to the ko-ita, and this is what I am discussing here.

†A yū-yo [有余] is a part of the mat on which nothing should be placed. The 2-sun at the front of the daime-gamae (which corresponded to the diameter of the naka-bashira) was yū-yo.

In the case of a room with a mukō-ro, the 2-sun in front of the front edge of the ro was yū-yo.

And, in both cases, when the utensil mat was a maru-jō [丸疊] (a full-length tatami, rather than a daime-tatami), the lower 1-shaku 5-sun (the space in front of the host's entrance) was also yū-yo.

‡Of course, the rise of modern chanoyu in the Edo period came about precisely because the classical teachings had either been lost, or were being ignored in light of (government sponsored) contemporary preferences.

⁹Kama unryū [釜雲龍].

It seems that this was probably the original small unryū-gama that Rikyū had created for use with the large Temmyō kimen-buro.

As mentioned before, this kama had a lid made from a piece of sheet copper (which was imported for use as a roofing material) beaten into shape, which resembled bronze as it oxidized on exposure to heat. It also had kimen kan-tsuki, to match the furo with which it was used.

Rikyū had given both the furo and this kama to Hideyoshi, and he had probably brought them to Sakai to use for this chakai.

¹⁰Tana ni kōgō ・ habōki [棚ニ香合・羽帚].

Since Rikyū does not state otherwise*, the kōgō was probably his ruri suzume [瑠璃雀], which was his “ordinary kōgō†.”

The feathers from which the habōki was made are not known, though it would have been a go-sun-hane [五寸羽], as always in the small room. __________ *Rikyū usually carefully recorded those occasions when he used his lacquered guri-guri kōgō [グリグリ香合].

Furthermore, the use of this lacquered kōgō (which was a Higashiyama go-motsu [東山御物] piece, and so a meibutsu kōgō) would have required the habōki to be placed horizontally in front of it, which would then change the tana from chō to han, and so disrupt the kane-wari.

†Strictly adhering to the rule of lacquered kōgō in summer, and ceramic kōgō in winter was a practice advocated by Jōō -- as it conformed (more or less) to the conventions of kōdō [香道] (from the ranks of which practitioners most of his earliest followers came). Rikyū, on the other hand, preferred to view this matter in terms of practicality: a ceramic kōgō was easy to clean, while a lacquered one could be easily damaged by the incense (including the lacquer being infiltrated by the aromatics of whatever sort of incense was placed in it), and so he felt it should be used only on special occasions.

¹¹Shiru imo-gara ・ sasage [汁イモカラ・サヽケ].

Imo-gara [芋茎 or 芋莖]* are the petioles (leaf-stems) of either the taro or the sweet potato.

Sasage [大角豆] is the black-eyed pea (also known as the cowpea). This bean has extremely elongated pods, while the individual beans are white with a black spot encircling the hilum (the scar where the seed was attached to the ovary).

This was a sort of miso-shiru. __________ *The word can also be written imo-gara [芋幹], which means sun-dried potato (taro or sweet potato) stems, and this is the meaning generally given to “imo-gara” today. However, this processed food is generally associated with autumn, while here Rikyū is hosting a chakai on the first day of summer. While he could have used dried stems, it seems more logical that he would have used fresh, green produce. Potato stems provide a sort of crispness that people of that time appear to have appreciated.

¹²Uzura senba-iri [鶉センハイリ].

Uzura [鶉] is the quail. And senba-iri [船場煎り] -- where small birds were roasted on spits over a wood fire (while being basted with a sauce made of soy sauce, sake, mirin, sesame oil, and crushed garlic) -- was one of the special tastes of Sakai. This food was popularly sold at the food stalls that lined the wharves.

¹³Kuro-me [黒メ].

Kuro-me [黒布] is a kind of edible seaweed. It is usually served raw (either fresh, or reconstituted by soaking the dried kuro-me in water until soft) as a salad course, dressed with a mixture of rice vinegar, sesame oil, soy sauce, sugar, salt, and ginger juice.

¹⁴Ae-mono [アヘモノ].

Ae-mono [和え物] is a kind of mixed salad (chopped vegetables, hard fruits or things like yuzu-rind, and sometimes even raw fish), dressed with a soy-based sauce of some sort. Since Rikyū does not give any additional details, it is impossible to speculate on what the ae-mono might have contained.

¹⁵Iri-kaya ・ kawa-take [イリカヤ・川茸].

The kashi.

Iri-kaya [煎り榧] are the roasted nuts of the Japanese allspice tree (also known, in English, as the Japanese nutmeg-yew, Torreya nucifera).

Kawa-take [川茸]* is a kind of freshwater seaweed that grows in flowing water. It can be eaten raw (sometimes with vinegar), or it can be cooked. However, because it is harvested from fresh water streams, it was usually eaten only during the colder months (when the dangers of enteric infection caused by contaminated river water will be at the minimum). Perhaps this was a miscopying of shiitake [椎茸] -- lightly salted charcoal-grilled shiitake mushrooms -- due to deterioration of the original Shū-un-an manuscript? __________ *Tanaka Senshō's version gives the name as kawa-take [河茸].

¹⁶Go [後].

The goza.

With respect to the kane-wari:

- the kakemono was hung in the toko, making it han [半];

- the ko-ita furo remained as it was, with the mizusashi (with the bon-chaire and chawan arranged in front of it*) at its side†, and so was chō [調];

- and the hishaku and futaoki were arranged side by side on the tana, making the tana chō [調].

Han + chō + chō is han, which is appropriate for a chakai held during the daytime. ___________ *This arrangement is possible because of the small size of the chawan and chaire: the Unohana-gaki chawan is 3-sun 8-bu in diameter, while Rikyū’s Shiri-bukura chaire is 2-sun 2-bu in diameter. If the chawan or chaire were larger, arranging the chawan next to the bon-chaire like this would be difficult.

†I removed the tana from the sketch to make it clearer -- since the mizusashi sits largely beneath the tana during the furo season.

¹⁷Yoku-ryō-an [欲了庵].

Yoku-ryō-an [欲了庵] was the name by which Rikyū referred to this scroll -- which was perhaps one of his most prized possessions* -- and he indicates its importance with a red spot in the kaiki.

The scroll was written by the Yuan period Chán monk Liǎo-ān Qīng-yù [了庵清欲; 1288 ~ 1363].

___________ *The hon-shi [本紙] of this scroll can be opened to its full size at the following link: https://ja.wikipedia.org/wiki/%E3%83%95%E3%82%A1%E3%82%A4%E3%83%AB:Hogo_Liaoan_Qingyu.jpg

¹⁸Shiri-bukura bon ni [尻フクラ盆ニ].

This was Rikyū's prized karamono chaire, which he used on the red-lacquered Chinese tray that is shown in the photo. It, likewise, is marked with a red spot in the Enkaku-ji manuscript, indicating that this was another of the featured utensils at this chakai.

Historically speaking, this was the first chaire to be used with a small chaire-bon*, and it established the precedent for Rikyū's teaching on this matter.

Though not mentioned, Rikyū would have used an ori-tame [折撓]† chashaku of his own making, carved to match this particular bon-chaire. __________ *One which is only 2-sun larger than the chaire on all four sides.

†Ori-tame [折撓] literally means "[a branch] bent under the weight [of fruit]," and was Rikyū's term to refer to these chashaku that were bent at the node in the middle of the handle (as if weighed down by the matcha that would be scooped up with them).

¹⁹Chawan shin-Seto [茶碗新瀬戸].

Shin-Seto [新瀬戸]* was Rikyū's term for white-glazed pottery fired at the Seto kilns, and almost certainly refers to a bowl made by Furuta Sōshitsu†.

The bowl shown above and below, known as Unohana-gaki [卯花墻], is probably one of the most famous “Shino” chawan -- though, curiously, nothing is known about its maker or transmission before it is mentioned as being in the collection of Katagiri Sadamasa (Sekishū). Sekishū, of course, spent the last part of his lifetime studying the chanoyu of Jōō and Rikyū, and his collection of tea utensils featured a number of pieces that are known to have been associated with one or the other of these two masters.

A bowl used by Rikyū (if only several times) would certainly have fit comfortably into his collection. Meanwhile, the box, rather than hako-gaki, has a small shikishi [色紙] pasted to the inside of the lid, on which Sadamasa wrote the poem yama-zato no unohana-gaki no Nakatsu-michi, yuki-fumi-wakeshi kokochi-koso sure [やまさとのうのはなかきのなかつみち、ゆきふみわけしここちこそすれ]‡.

It is not possible to be completely certain that this was the chawan that Rikyū used on this occasion. That said, both the poetic association and the bowl itself seem ideally suited to this chakai**. ___________ *This white-glazed ware, known as Shino [志野] pottery today, does not seem to have acquired this moniker until the Edo period.

Scholars are divided over whether this name was a corruption of the word for white (shiro [白]); or whether it refers to a (Korean) white chawan owned by Shino Sōshin [志野宗信; 1441 ~ 1522], which this ware resembled, or to the type of chawan favored by one of the later masters of that school (the first three generations consisted of the original Korean family, while the present school descends from a Japanese disciple of the third generation, and the latter reference would appear to mean one of these Edo period masters).

“Shino” [シノ] might also simply be another “accidental contraction” of Rikyū’s expression “shin-Seto” [シンセト] resulting from deterioration in one of his memoranda -- such as we have seen from time to time while studying his manuscripts.

†The prototypes of many (if not most) of the original “Shino” pieces seem to have been made by Oribe; and only afterward (perhaps not until the Edo period) imitated by the professional potters working at that kiln -- when demand for pieces similar to the originals began to rise.

‡“In a mountain village, the unohana [cascades] over the walls [that line] the Nakatsu-michi: [the road, like] the trampled-down snow that divides [a snow-covered field in two], gives [the traveler] a feeling of comfort.”

While unohana-gaki [卯の花墻] is usually translated as “a bamboo fence over which unohana trails” (which is probably a direct reference to the underglaze iron oxide design on the chawan), kaki [墻] actually means an earthen wall (the lines represent the wooden supports for the mud-plaster structure). The Nakatsu-michi [中ツ道] was an ancient thoroughfare in Yamato province (in present-day Nara Prefecture) frequently used in poetry. The verse means that the blooming branches of the Deutzia cascading over the walls on both sides of the road, as it passes through a mountain village, remind the poet of a path that has been trampled down across a snow-covered field; and walking along this path (the “trampled-down path” is the actual Nakatsu-michi itself between the banks of unohana on both sides of the road), gives him a feeling of security and comfort (a path that has been trampled down across a field provides the traveler with sure footing -- since large stones or holes will not be lurking to cause him to stumble as they might under untouched snow).

The author or other particulars associated with this “old poem” have not been identified clearly (indeed, the diction does not appear to be all that “old”); and, in fact, it seems that this verse is unknown to precisely those poetic specialists who should be able to provide us with clarity on these points. Perhaps Sadamasa composed the poem himself? Or perhaps the poem dates back to Oribe -- who may have given this chawan its name? In either case, the phrase “yamazato” [山里] gives it a potentially suspicious connection with the chajin of the mid-sixteenth century (and after).

**This would also explain why Rikyū decided to arrange the unohana during the shoza -- so that the image of unohana could be spread across the entire chakai, and the chabana would not conflict directly with the chawan.

²⁰Mizusashi Shigaraki [水指シカラキ].

This was Rikyū's Shigaraki mizusashi.

²¹Tana ni hishaku ・ futaoki [棚ニヒシヤク・蓋置].

The futaoki most likely was one of Rikyū's take-wa [竹輪], since that was the most appropriate futaoki for the small room.

²²Su [ス].

This odd kana seems to have been a (perhaps intentional) miswriting of the kanji “mata” [又], meaning “and again.” It indicates that the utensil or utensils that follow were brought out from the katte (rather than being displayed in the room prior to the beginning of the koicha-temae).

²³Koboshi gōsu [コホシ合子].

A gōsu [合子] is a ritual vessel, made of bronze or sawari [四分一]*, provided with a lid, that was made for use when making offerings of cooked rice to the Ancestral Spirits in Korean jesa [제사 = 祭祀] ceremonies.

While the gōsu shown above has oxidized to a deep green color, it is said that Rikyū's gōsu was nearly black. While Furuta Sōshitsu used the gōsu with its lid†, it is not certain whether Rikyū used his in this way (or simply used it without the lid much like an ordinary koboshi). __________ *Sawari [四分一] is a Korean bronze alloy that contains a certain percentage of silver (sawari [四分一] means “one part of four” or 25%). The silver kept the metal from oxidizing brown (like bronze): apparently the Koreans in the early fifteenth century (which is when this kind of alloy was produced) preferred these ritual vessels to remain a pale golden-yellow color, rather than turning brown. When sawari is very old, it eventually turns a deep black color (and this is the color that was preferred by Rikyū).

†When used with its lid, a hishaku of cold water was supposed to be placed inside before the gōsu was brought out into the tearoom, and the host had to be sure to carry it carefully with both hands.

The lid was left on the gōsu until it was time to empty the chawan into it, at which time the lid was lifted off, the lower edge was brushed with the fingers of the left hand above the bowl (to allow any drops of water to fall into the bowl rather than on the mat or on the ji-ita of the daisu), and then leaned against the side of the bowl (with the handle facing forward).

At the end of the temae the lid was closed again; and it was carried out of the room using both hands.

When using the daisu (or naga-ita), at the end of the temae it was taken back to the mizuya and emptied, and then returned to the daisu containing a hishaku of cold water.

The modern schools’ daisu-temae where the koboshi remains on the ji-ita throughout the temae actually derive from the original use of the gōsu (other sorts of koboshi were lowered to the mat and placed beside the host’s hip on the katte-side of the utensil mat: because of its lid, the gōsu should always contain some water, and because it contains cold water at the beginning of the temae, it does not get hot enough to damage the lacquer of the ji-ita when hot water is discarded into it during the temae; but because all other sorts of koboshi are empty, pouring hot water into them could theoretically heat the lacquer underneath to the point where, over time, the ji-ita could be damaged, hence they are moved onto the mat to protect the daisu).

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chanoyu-to-wa · 5 years

Text

Nampō Roku, Book 2 (17): (1587) First Month, New Year’s Morning.

17) New Year's Morning¹.

◦ There were no guests².

◦ In the 4.5-mat [room], tea was prepared with the water drawn at dawn, as an offering for happiness and blessings for the New Year³.

◦ Mokkei Ju-rō-jin [牧溪　壽老人]⁴.

◦ Kama unryū [釜　雲龍]⁵.

◦ [Kiji-]tsurube, with the shime[-nawa] drawn around it⁶.

◦ Chaire Shiri-bukura [茶入尻フクラ], on a tray⁷.

◦ Yakushi-dō temmoku [藥師堂天目] dai [臺]⁸.

◦ Hanaire tsurukubi [花入　鶴首] ume [梅]⁹.

◦ The charcoal was [contained] in a te-fukube [手フクへ]¹⁰.

_________________________

¹Shōgatsu gantan [正月元旦].

Gantan [元旦] literally means the original dawn. That is, not just the day, but the year is beginning at this time.

The date was February 8*, 1587. __________ *Because the Lunar Year (of which this is New Year's Day) does not match the Solar Year (according to which Risshun [立春], which is usually on February 4th, is calculated), the first day of Spring is almost always not the same as the First Day of the New Year (even though this correspondence was originally intended).

²Kyaku nashi [客なし].

There were no guests. Rikyū is preparing tea for a purpose greater than simply serving refreshments to guests.

³Yojō-han ni te ō-buku-iwai [四疊半ニて大フク祝].

This chakai was being staged in the 4.5-mat room in Rikyū's Ima-ichi machi [今市町] residence (a short distance from the main gate of the Nanshū-ji [南宗寺]) in Sakai.

Ō-buku [大福] means to prepare tea with the water drawn at dawn on the first day of the year.

Iwai [祝] is usually translated as “festival” or “celebration;” but the actual meaning is to offer a pray for happiness or blessings.

Thus, the act of preparing tea with the dawn water on New Year's morning is, itself, a prayer for blessings in the New Year. Rikyū is using the expression with this sense.

On an occasion such as this, there was no shoza or goza. The kakemono and chabana were both displayed in the toko together, and from the start*.

Rikyū probably began with nothing but a layer of hot embers in the ro, and after arranging the charcoal on top of them he went out to the mizuya and brought back the wet kama, filled with the most special of dawn water -- the epitome of the sei-ka-sui [井華水] (see footnote 6 for more on this).

Then he would have brought out the bon-chaire and dai-temmoku and arranged these in front of the mizusashi (with the bon-chaire sharing the mizusashi‘s central kane, while the dai-temmoku occupied its own kane on the left*).

When the water began to boil, he would have brought out the hishaku and koboshi (most likely a mentsū) -- with a take-wa resting inside of the koboshi -- and so proceeded to make tea which, after offering to the Divine Spirit of the New Year, he drank himself. ___________ *Irrespective of the way Rikyū has recorded the details of this chakai (as if the chabana were added later), which seems to have been an example of his usual sort of lapse.

The toko contained both the kakemono and the chabana, and so was chō [調]; the room contained only the tsurube (with the kōgō -- Rikyū's ruri-suzume -- resting on its lid), since the ro was empty, and so was han [半] -- resulting in the total for the beginning of the session being han.

Adding the kama (during the sumi-temae), and then the bon-chaire and dai-temmoku (as shown in the sketch, above), the arrangement evolved into an even stronger han during the pause (equivalent to a brief naka-dachi) while Rikyū waited for the kama to come to a boil.

According to Book Six of the Nampō Roku, on an occasion such as this (i.e., when performing chanoyu as an offering), everything should be arranged on yang-kane, and the whole should be han.

⁴Mokkei Ju-rō-jin [牧溪　壽老人].

Mokkei [牧溪] refers to Mùxī Fǎcháng (牧溪法常; 1210? ~ 1269?), a Chán monk who lived during the Southern Song Dynasty, and who was arguably one of the greatest Chán painters in all of Chinese history. His works, indeed, are frequently used to define the essence of the medium.

Fǎcháng generally limited his efforts to paintings of the famous monks of antiquity, and themes from nature. Among his surviving portraits is one that is said to be of Lao-tzu [老子] (this is the painting shown above), the ancient Chinese philosopher. Perhaps the actual subject of this painting was not clear to Rikyū, and he took it to be a more generic portrait of an old man (or of a sort of god of long-life, which is what ju-rō-jin usually means).

It is, of course, also possible that this refers to another of Fǎcháng’s paintings -- possibly a portrait that has been lost.

⁵Kama unryū [釜　雲龍].

This was the second small unryū-gama.

The kama would not have been present when Rikyū commenced his service. It was brought out during the sumi-temae, when it was suspended over the ro on a bamboo jizai, using Rikyū's bronze kan and tsuru.

As Shibayama Fugen points out, even though no guests were present, Rikyū performed his temae as if there were. This is the spirit in which we should always approach chanoyu.

⁶Tsurube shime hikite [ツルベ　シメ引テ].

This was the kiji-tsurube in which the dawn water had been brought from the well.

Shime hikite [注連引て]: the word shime [シメ] refers to shime-nawa [注連縄], the straw rope, with folded paper streamers, that is festooned on Shintō shrines. A miniature version of this shime-nawa was tied onto the tsurube, turning the tsurube into a sort of shrine (for the God that is the Sei-ka-sui [井華水]*).

The verb hiku [引く]† means to pull [the shime-nawa] on, draw [the shime-nawa] around [the tsurube], and so forth. __________ *Sei-ka-sui [井華水], which can be translated “flower of the well,” is the name given to water drawn at dawn. If this water is special, then that drawn at dawn on New Year's Morning is the most special of the whole year. It is the essence of the sei-ka-sui, and so Rikyū reveres it as the kami [神] of the pure water.

†Hikite [引きて] is past tense -- the shime-nawa was tied onto the tsurube immediately after it was brought from the well and placed on the utensil mat, as an indication that it contained the essence of the God of the Pure Water.

⁷Chaire Shiri-bukura bon ni [茶入　尻フクラ　盆ニ].

The Shiri-bukura chaire [尻膨茶入] was Rikyū's best chaire.

⁸Yakushi-dō temmoku dai [藥師堂天目　臺].

This was a white Seto chawan*, originally owned by Jōō. After Jōō’s death this temmoku-chawan came into the possession of the monk-physician Yaku-in Zensō [施藥院全宗; 1525 ~ 1599], and from him it was passed on to Rikyū.

It was used with a black-lacquered Chinese temmoku-dai† known as the Hotta-dai [堀田臺].

The chakin and chasen would have been arranged in the Yakushi-dō temmoku, with the chashaku that Rikyū made to be used with the bon-chaire (shown below) resting across the hane of the dai (facing upward) on the right side of the temmoku.

While most commentators state that the dai-temmoku was brought out from the katte at the beginning of the temae, according to the Enkaku-ji version of the Nampō Roku, Rikyū has specifically marked both the bon-chaire and the dai-temmoku with a red mark -- indicating that something “special” was done with both of them: and this, in turn, suggests that both were displayed on the utensil mat‡. __________ *An early precursor of Shino-yaki [志野焼].

†Originally one of the so-called kazu-no-dai [数の臺]. The identity of this Hotta (it is a surname), by whose name this temmoku-dai was known, has not been determined.

‡This was possible because of Rikyū's small chaire-bon: when the bon-chaire was placed squarely on the central kane (which it shared with the kiji-tsurube), placing the dai-temmoku immediately to its left resulted in the temmoku becoming associated with the next kane. This, in turn, allowed the kane-wari to remain yang (han), as it is supposed to on ceremonial occasions such as this.

If the dai-temmoku were not displayed on the utensil mat, then the kane-wari would turn to chō after the kama was lowered in the ro; and arranging the bon-chaire in front of the mizusashi would not have any impact on that count (since the mizusashi and bon-chaire share the same kane). Displaying the temmoku next to the bon-chaire allows the host to incorporate an additional yang element into the arrangement, with the result being that the total returns to han.

⁹Hanaire tsurukubi ume [花入　鶴首　梅].

This was probably the bronze hanaire known variously as Tsuru-no-hashi [鶴ノ波子] (from the decoration of the foot*), and Tsuru-no-hito-koe [鶴ノ一聲] (from an fortuitous incident† that took place once when Rikyū used this hanaire at a night gathering).

This tsuru-kubi hanaire was one of the few things that remained from Rikyū's original collection of tea utensils, from when he was a youth. It remained one of his treasures throughout his lifetime.

With respect to the chabana, a single small twig of plum blossoms would have been arranged in the hanaire. Though mentioned here (rather as an afterthought), the chabana was present in the tokonoma from the start of the session. __________ *The conical foot bears a design of waves in bas-relief -- since the crane feeds by wading into a river and catching the small fish that its feet disturb, the design suggests the waves that are thus raised.

†On one occasion, at a night gathering that Rikyū gave during the rainy season, he used this hanaire with a spray of the night-flowering gibōshi [擬宝珠] (the white plantain lily, Hosta plantaginea) arranged in it. As the guests returned from the naka-dachi, they approached the toko, and just then the lowest bud on the gibōshi opened with a soft pop, and just at that moment a crane called from the sky overhead. ��When Rikyū entered for the koicha-temae, the guests related this incident to him, and thereafter this hanaire was known as Tsuru-no-hito-koe [鶴の一聲] (first call of the crane).

¹⁰Te-fukube ni te sumi [手フクへニテ炭].

Because the kan were used to suspend the kama from the tsuru, they were not available to keep the hibashi from rolling off the sumi-tori when it was brought out into the room*. So, when a tsuri-gama was being used, a te-fukube (or, later, a te-kago [手籠]) -- a sumi-tori with a handle -- was used, since the handle will prevent the hibashi from rolling off the mouth. __________ *The use of a hanging kama (tsuri-gama [釣釜]) dates from the beginning of the time when Jōō first started to use the ro (the gotoku did not appear until later). Thus, the te-fukube was actually the original kind of sumi-tori that was made from a dried gourd.

When the handle was no longer necessary (after the kama came to be rested on a gotoku), it was removed -- since the presence of the handle does make it more difficult to transfer the charcoal into the ro.

And, while not mentioned, Rikyū would have used a take-wa [竹輪] as the futaoki, and a mentsū [面桶] as his koboshi.

1 note · View note

chanoyu-to-wa · 5 years

Text

Nampō Roku, Book 2 (46): (1587) Eighth Month, Second Day, Morning.

46) Eighth Month, Second Day; Morning¹.

◦ Two-mat room².

◦ [Guests:] Yazō [彌三]³, Sōkei [宗惠]⁴.

Sho [初]⁵.

◦ Kokei saiji [古溪細字]⁶.

◦ Unryū [雲龍], [arranged] in a small furo [小風爐]⁷.

◦ On the tana, habōki ・ kōgō [羽帚・香合]⁸.

▵ Shiru saku-saku [汁サク〰]⁹.

▵ Mosso [モツソ]¹⁰.

▵ Haya [鰷]¹¹.

▵ Nimono matsu-dake [煮物松茸]¹².

▵ Senbei ・ kuri [センヘイ・クリ]¹³.

[Go [後]¹⁴.]

◦ Take-zutsu [竹筒]¹⁵.

◦ On the tana, Rinzai futaoki [臨濟蓋置], by itself¹⁶.

◦ Chaire ko-natsume [茶入小ナツメ]¹⁷.

◦ Chawan Hikigi-no-saya [茶碗引木ノサヤ]¹⁸ -- the chawan was carried out [at the beginning of the temae]¹⁹.

◦ Mizusashi Shigaraki [水指シカラキ], on top of which was [placed] the hishaku [ヒシヤク]²⁰.

_________________________

¹Hachi-gatsu futsu-ka, asa [八月二��、朝].

According to the corresponding date in the Gregorian calendar, this chakai took place on September 4, 1587.

The purpose of this chakai was probably to encourage the support of the Sakai tea community* for the upcoming Kitano ō-cha-no-e [北野大茶の會]. __________ *Because Hideyoshi had a reputation for asking for famous tea utensils, it seems that there was reluctance to participate in certain quarters: in order to preserve their reputations, the chajin would have had to use their best things; so fear of loosing them to Hideyoshi's avarice may have had a dampening effect on their enthusiasm.

Then, too, since Rikyū was obviously at least partly to blame for giving Hideyoshi this idea, the faction that was beginning to resent his growing influence over Hideyoshi may have also started to give voice to their reluctance to participate -- since a successful event would only redound to Rikyū's credit.

Thus Rikyū had to make a concerted effort to move the leaders of the tea community toward participating -- since once their spots were reserved, it would be much easier to cajole the others into joining the event, too.

²Nijō shiki [二疊敷].

This was the two-mat tearoom in Rikyū's official residence.

³Yazō [彌三].

Yazō [小西彌三]* appears to be a childhood nickname (both this man and Rikyū were from Sakai). This entry probably refers to Konishi Ryūsa [小西隆佐; ? ~ 1592], a wealthy merchant from Sakai who was a vassal of Toyotomi Hideyoshi -- who appointed him Governor of Izumi (Izumi no kami [和泉守]). Ryūsa, then, was both a daimyō and a nobleman (since provincial governors held the junior grade of the Fifth Court Rank). He was also a Christian; and while Konishi Ryūsa died in the Ninth Month of 1592†, his son Yukinaga participated in Hideyoshi's first invasion of the continent.

That said, Hisamatsu Shin-ichi sensei states in his comments that this refers to someone called Mozu-ya Yazō [萬代屋彌三; his dates are unknown]‡, who -- he says -- was a chajin from Sakai**. The name is not otherwise known, and both Tanaka Senshō and Shibayama Fugen subscribe to the notion that this refers to Konishi Ryūsa, based on their several (independent) sources. __________ *This is how the name is written in the kaiki. There is some confusion over who this person might be: some scholars have suggested the name Konishi Yasaburō [小西彌三郎], though that name is not found in the Konishi family genealogy. Yakurō [彌九郎] (not Yasaburō [彌三郎]) was the childhood name of Konishi Ryūsa.

†Perhaps on account of his age, experience (he had been a wealthy merchant before entering Hideyoshi’s service), and administrative abilities, Konishi Ryūsa was assigned the job of financial commissioner at Nagoya Castle in Hizen (western Kyūshū), where he was charged with overseeing the financial aspects of the expedition; but was taken sick and returned to Kyōto (traveling by sea, by way of Sakai), where he died. He bequeathed 2000 ryō of gold (around 84 kilograms) to the Catholic Church in Kyōto.

‡It does not seem that this person can be identified with Rikyū's life-long friend (and husband of one of his daughters) Mozu-ya Sōan [萬代屋宗安; ? ~ 1594] -- though Sōan is mentioned under several different names in the contemporary records, Yazō does not appear to be one of them.

**“Yazō Sakai no chajin. Mozuya.” [彌三堺の茶人。万代屋。] This is the entirety of Hisamatsu sensei’s comment.

It is impossible to guess what his source for proposing this identification (if any) may have been.

⁴Sōkei [宗惠].

This refers to Mizuochi Sōkei [水落宗惠; dates of birth and death unknown], who was another respected machi-shū chajin from Sakai*.

Mizuochi Sōkei was also the father of one of Rikyū's sons-in-law, Sen no Jōji [千紹二]†. __________ *Some suggest that he was also one of Rikyū's disciples (though it is more likely that he was a member of the group that formed around Rikyū in the years after Jōō’s death -- given Sōkei’s contemporary reputation as a chajin -- and that Sōkei had actually been initiated by Jōō).

†Sōkei's son is commonly known as Sen no Jōji because Rikyū adopted him into the Sen family upon his marriage to Rikyū's daughter (Rikyū having only one biological son -- which, for a member of the merchant class, was akin to putting all of ones eggs in one basket).

⁵Sho [初].

The shoza.

With respect to the kane-wari:

- the toko held the scroll, and so was han [半];

- the room had the ō-ita furo, and so was han [半] as well;

- and the tana supported both the habōki and the kōgō, arranged so that each of them contacted a different kane, making the tana consequently chō [調].

Han + han + chō is chō, which is appropriate for the shoza of a chakai that is being held during the daytime.

⁶Kokei saiji [古溪細字].

This refers to the scroll -- a hōgo [法語], written by Kokei oshō -- shown below. The text is addressed to “Sōeki [宗易] of Sen-nan [泉南]” (the part of Izumi Province where the city-state of Sakai was located) -- hence, it contains Kokei’s words to Rikyū.

⁷Unryū ko-furo ni [雲龍小風爐ニ]*.

This was the second small unryū-gama, with an iron lid and matsu-gasa kan-tsuki, shown below.

The expression “ko-furo” [小風爐] was generally used, during this period, to mean a furo made of metal. Thus, this entry probably refers to the small Chōsen-buro [小朝鮮風爐] that had formerly belonged to Jōō.

A “small furo” was always placed on an ō-ita [大板]. ___________ *In the version of the manuscript to which Shibayama Fugen referred, the space between the words unryū [雲龍] and ko-furo [小風爐] was apparently missing. Thus he interpreted this entry to be unryū-ko-furo ni [雲龍小風爐ニ], meaning “on the small unryū-furo.” This “unryū-furo” [雲龍風爐] is the same lacquered clay furo that Rikyū referred to as the yuen-buro [油煙風爐]. This interpretation means that the kama is no longer named -- which Fugen dispenses with using the comment “naturally the kama was the unryū-gama.”

The problem with this is that the name “unryū-furo” does not seem to have been used until the Edo period; certainly it was not used by Rikyū (who, as indicated above, called this furo his yuen-buro).

Tanaka Senshō‘s manuscript included the space, so his interpretation matches what I have given above in the body of the footnote.

⁸Tana ni habōki ・ kōgō [棚ニ羽帚・香合].

This most probably refers to Rikyū's ruri-suzume kōgō [瑠璃雀香合], since that was the kōgō that he used on ordinary occasions, and a go-sun-hane [五寸羽].

As usual, it is not possible to say what kind of feathers were used for the habōki.

⁹Shiru saku-saku [汁サク〰].

This was miso-shiru containing coarsely chopped greens from the kitchen-garden.

The fresh greens were put into the soup just before it was served, so they would still be crisp and crunchy when eaten.

¹⁰Mosso [モツソ].

This appears to be a miscopying (by Tachibana Jitsuzan*). A mossō [物相]† is an object, usually resembling an oversized cookie cutter (with a wooden plunger that exactly fits its inner shape) used to measure rice (originally in the temple setting, so that each monk would get precisely the same portion of rice at each meal). A mossō cannot be used to serve rice (it is not in any way a variety of hanki [飯器] -- a large lidded vessel in which cooked rice is offered to the guests so that they can help themselves to more); and there is no reason that such an object would be brought out into the tearoom (even though Rikyū used a mossō to measure out the portion of rice offered to each of the guests‡).

According to both Shibayama Fugen and Tanaka Senshō, the word should be mozuku [モツク = モヅク = 海蘊]**, which is the name of a kind of free-floating seaweed (Cladosiphon okamuranus): this seaweed is filamentous, and green in color. Though it can be cooked, it is often served as a su-no-mono [酢の物] (that is raw and dressed with rice vinegar†† -- sometimes with sliced cucumbers -- and garnished with grated ginger); and it seems most likely that Rikyū offered it to his guests in this way, as a sort of salad course. ___________ *The entry in the Enkaku-ji version of the text clearly reads mo-tsu-so [モツソ], which is the way Rikyū would have “spelled” the word mosso (= mossō). Jitsuzan apparently misread the final kana ku [ク] to be so [ソ] (through the loss of the horizontal part of the second stroke of ku).

The same error is found in the kaiki of several other gatherings.

†The interpretation of these three kana as mossō [物相], however, is suggested only by Hisamatsu Shinichi [久松真一; 1889 ~ 1980], the editor of the Sadō Ko-ten Zen-shu [茶道古典全集] version of the text (who includes that word, written in kanji so there can be no doubt about his meaning, in his notes). And, in every case, it appears that Hisamatsu Shin-ichi sensei is arguing that Rikyū was (for some unexplained reason) bringing out a mossō [物相] -- a measuring device that is used (in the kitchen) to portion out the rice.

‡Even if cooked rice was brought out in a hanki so that the guests could help themselves to more (a practice, acknowledged by Rikyū in his densho, but for which there is no evidence that Rikyū himself ever put into practice in his own chakai), the idea would be that they help themselves to as much rice as they need to satisfy their hunger. Thus, to also give them a measuring device at the same time (which was intended to restrict the size of the portion so measured) would be nonsense, if not actually insulting.

**Shibayama Fugen and Tanaka Senshō had access to different manuscripts of the Nampō Roku -- Tanaka Senshō, worked from Jitsuzan’s original copy (the copy made from the original Shū-un-an papers, from which Jitsuzan subsequently recopied the text into the notebooks that he presented to the Enkaku-ji; making this version closer to the original Shū-un-an documents); while Shibayama Fugen had recourse to copies made by contemporaries of Tachibana Jitsuzan (some of whom were still alive when he began his studies, so that he was able to question them directly) who had been present during the discussions on the manuscript that followed Jitsuzan’s presentation of the work to the Enkaku-ji (however, since it was a rule that nothing could be written down while in the Enkaku-ji, these copies were made from memory once the person had gotten outside the gate: still, the accuracy, when compared with the Enkaku-ji manuscript, is often quite surprising). In questions like these, their sources should sometimes be considered definitive -- especially when they are in agreement, yet together differ from the Enkaku-ji version of the text on a given point.

††Usually “flavored” (and diluted) by the addition of sake and mirin.

¹¹Haya* [鰷].

Both Shibayama Fugen and Tanaka Sensho give ayu [鮎].

Ayu, which is sometimes called the sweetfish (Plecoglossus altivelis), is usually roasted on a skewer over a charcoal fire, while being basted with salted water. Ayu was “in season” at this time.

Haya [鰷] means the minnow; it is unclear how this kind of fish might have been served. __________ *Hisamatsu Shin-ichi [久松真一] sensei, gives the (uncommon) reading of hae [鰷] for this kanji.

¹²Nimono matsu-take [煮物松茸].

Matsu-take [松茸], the pine mushroom, is in season from late August to early October. The Japanese consider the matsu-take to be the king of the mushrooms -- and, when used for modern-day kaiseki ryōri, different parts of the mushroom are used for several different courses.

This mushroom must be used as soon after being gathered as possible, since it starts to loose its fragrance after a day. This is part of the reason why it is considered such a rare delicacy.

¹³Senbei ・ kuri [センヘイ・クリ].

These were the kashi.

Senbei [煎餅] are rice crackers*; and kuri [栗] probably refers to yaki-guri [焼き栗], roast chestnuts. __________ *They were usually procured from a specialty shop, rather than being made at home.

¹⁴The word go [後], referring to the goza, does not appear in the Enkaku-ji manuscript version of this kaiki. It is, however, implied by the context.

As for the kane-wari for the goza:

- the tokonoma contained the chabana*, arranged in a bamboo vase that was standing on an usu-ita on the floor of the toko, and so was han [半];

- the room contained the ō-ita furo, as well as the mizusashi (with the ko-natsume placed on the mat in front of it, and the hishaku resting on top), and so was chō [調];

- and the tana contained the meibutsu Rinzai-in futaoki [臨濟印蓋置], placed in the exact center of the tana, meaning that the tana was chō [調] (since the futaoki will not contact any of the kane when arranged in this way†).

Han + chō + chō is han, which is correct for the goza of a gathering that is held during the daytime. __________ *While Rikyū does not mention a flower, surely one would have been arranged in the take-zutsu. Prior to the siege of Odawara, all take-zutsu were oki-zutsu [置き筒] -- that is, they were stood on the floor of the tokonoma. The first hanging bamboo hanaire (the ichi-jū-giri [一重切] and ni-jū-giri [二重切]) were created, from Nirayama [韮山] bamboo, for use at an all-night flower-arranging competition that Hideyoshi organized to pass the time while waiting for news from the front.

†The meibutsu futaoki was placed in the exact center of the tsuri-dana. Because the tana partakes of the kane associated with the fukuro-dana (from which it was derived), as shown in the above sketch, a futaoki placed in the center of the tana will not contact any of the kane. Thus, the tana would be chō.

This sketch will be referred to again below.

¹⁵Take-zutsu [竹筒].

This was an oki-zutsu [置き筒], a bamboo hanaire intended to be stood on the floor of the toko (resting on an usu-ita*).

While the hanaire is mentioned, Rikyū failed to say what kind of flower was arranged in it†. This was possibly a negligence caused by his preoccupation with the plans for the upcoming Kitano ō-cha-no-e (and perhaps the comments that his plans elicited from the guests). __________ *As always, the usu-ita was of the type now referred to as the yahazu-ita [矢筈板]. The usu-ita was based on the copy of a meibutsu nagabon made by Haneda Gorō, so the edge is not an “arrow notch” (as it is usually described), but alluded to the rim and foot of the nagabon (which is why one of them -- the upper one representing the rim of the tray -- is wider than the other).

It measured 1-shaku 3-sun 6-bu from side to side, and 9-sun 6-bu from front to back, and was painted with shin-nuri. This was the only usu-ita that Rikyū used

†Nevertheless, we can be certain that Rikyū did arrange some sort of flower in it. Perhaps he used one (or several) autumn grasses whose name(s) he did not know (or the names were too many to write out, or remember). At any rate, since the hanaire was placed on the floor of the toko, the flower(s) would have been something that naturally blooms below eye-level.

While Rikyū is said to have displayed his meibutsu bronze Tsuru no hito-koe [鶴の一聲] hanaire (which was also known as Tsuru no hashi [鶴の波子]) without a flower on one occasion during his earlier period (albeit filled with water, so the guests would not be tempted to pick it up), a bamboo hanaire (which was usually used only once, and certainly never an object of appreciation in any case) would never have been handled in this manner.

¹⁶Tana ni Rinzai futaoki hitotsu [棚ニ臨濟蓋置一ツ].

This was the meibutsu Rinzai-in [臨濟印] -- the bronze name-seal that had been presented to the great Chán monk Linji Yixuan [臨濟義玄; ? ~ 866] by the Emperor of China -- that had been first used as a futaoki by Nōami. It has apparently been lost.

Hitotsu [一ツ] is an abbreviation of hitotsu-mono [一つ物], meaning that the futaoki was placed in the exact center of the tana (which, consequently, meant that it would not contact any of the kane).

¹⁷Chaire ko-natsume [茶入小ナツメ].

This was a plain, black-lacquered ko-natsume*.

It would have been tied in a shifuku, to protect the tea†.

The above sketch shows the kazari, but adding an explanation might make the readers better aware of what they are seeing. The natsume is placed 2-sun away from the front of the mizusashi, and rests with the “foot” (the point where the natsume touches the mat) immediately to the right of the line that bisects the exact center of the mizusashi. Practically speaking, this means that the natsume “overlaps” this line by one-third. The hishaku was placed on top of the mizusashi, with its handle to the right of the knob of the lid. Interestingly -- it is a consequence of the sizes of the utensils -- the handle of the hishaku passes just to the right of the right side of the natsume, and the end of the handle lies exactly on the second kane, and so indicates the kane clearly to the host.

Therefore, when the chawan is brought out at the beginning of the koicha-temae, it is temporarily rested on the left side of the mat. Then the natsume is moved forward (to the near-side of the yū-yo [有余] -- the near side of this space is represented by the heavy dashed horizontal line), and placed immediately to the right of the handle of the hishaku (which, thus, associates it properly with its kane). Then the chawan is moved to stand to the left of the natsume, separated from it by a distance of 2-sun.

Then the futaoki would be taken down carefully from the tana using both hands, and rested on the mat near the front right corner of the ō-ita, and finally the hishaku was lifted off the mizusashi and rested on the futoki. Followed by the sō-rei.

◎ And, as a reminder, even when nothing was displayed on the ō-ita (except for the kama-furo), the chakin, the chashaku, and the lid of the chaire, should always be placed on the ita during the temae. __________ *Rikyū’s ko-natsume measures 1-sun 9-bu in diameter.

†The purpose of the shifuku is to protect the tea by pressing the lid tightly against the mouth of the tea container. This is true whether the container is ceramic, or lacquerware.

¹⁸Chawan Hikigi-no-saya [茶碗引木ノサヤ].

This was the Korean tsutsu-chawan shown below.

Use of this deep bowl allowed Rikyū to make the koicha as cool as necessary*, while insuring that it would not cool further before it was drunk.

Though not mentioned, Rikyū would have used an ori-tame [折撓]†, of his own making, as the chashaku. __________ *Once the year begins to warm enough to make the change to the furo necessary, the leaf tea stored in the cha-tsubo begins to degrade more and more each time the lid of the jar is opened. By early September, the remaining tea would be so weak that the water would have to be nearly tepid, otherwise the remaining flavor would dissipate as soon as the hot water was poured over the matcha.

†The word ori-tame [折撓] means a bent-branch. It refers to a chashaku, carved so that the node is located at the center of balance, with a slight bend at the node. The name is an humorous reference to a branch that is bent downward under the weight of the fruit it bears. (The scoop end of the chashaku seems to be bent downward under the weight of the matcha that is scooped up with it.)

¹⁹Chawan ha hakobu [茶碗ハハコブ].

In other words, the chawan was carried out from the katte at the beginning of the koicha-temae, rather than being displayed in the room (as was often the case during this period).

It seems that Rikyū may have originally intended to display it, and then decided not to do so (perhaps out of consideration for the kane-wari).

Usually, in this kaiki, when something (such as the chawan) is going to be brought out later, the entry is prefaced by the katakana su [ス] (which, in turn, is supposed to imply mata [又], “and again”).

²⁰Mizusashi Shigaraki, ue ni hishaku [水指シカラキ、上ニヒシヤク].

This was Rikyū's Shigaraki mizusashi.

As mentioned above, the hishaku was rested on top of the mizusashi (with the cup facing downward), and with its handle ending exactly at the second kane. The end of the handle, thus, showed the host precisely where to place the natsume when it was moved forward at the beginning of the temae.

And, in addition to the things mentioned above, Rikyū would have used a mentsū [面桶] as his mizu-koboshi -- since this is the most appropriate koboshi for use in the small room.

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chanoyu-to-wa · 5 years

Text

Nampō Roku, Book 2 (35): (1587) Fourth Month, Twenty-seventh Day, Midday.

35) Fourth Month, Twenty-seventh Day; Midday¹.

◦ Two-mat room².

◦ [Guest:] Sōmu [宗無], alone³.

Sho [初]⁴.

◦ Kokei [古溪], ichi-gyō-mono [一行物]⁵.

◦ On the tana: ◦ suzume kōgō [スヽメ香合一ツ置], placed by itself⁶.

◦ Habōki [羽帚]⁷.

◦ On a ko-ita [小板], furo ・ kiri ko-gama [風爐・桐小釜]⁸.

▵ Shiru saku-saku [汁サク〰]⁹.

▵ Kawarake uzura ・ sanshō [カハラケ鶉・サンシヤウ]¹⁰.

▵ Shunkan [シユンカン]¹¹.

▵ Senbei ・ kuro-mame [センヘイ・黒豆]¹².

[Go [後]¹³.]

◦ In a basket [hanaire], botan [牡丹]. However, [the chabana] was arranged by Sōmu¹⁴.

◦ Chaire kuro [茶入黒]¹⁵.

◦ Chawan Mishima-zutsu [茶碗三嶋筒]¹⁶.

◦ Mizusashi Shigaraki [水指シカラキ]¹⁷.

_________________________

¹Shi-gatsu nijū-nana nichi, hiru [四月廿七日、晝].

The date was June 3, 1587, in the Gregorian calendar.

This is another one of the group of chakai that are not mentioned in Kumakura Isao’s Nampō Roku wo Yomu [南方録を読む] (ISBN4-473-00852-5 C1070 P3605E) -- the “modern Japanese” version of the text on which most (maybe all) foreign-language translations are based. ___________ *Perhaps because the school with which Kumakura sensei is affiliated -- Urasenke -- does not sanction the use of either a ceramic kōgō, or a deep chawan, during the furo season.

²Nijō shiki [二疊敷].

This was most likely the small room in his Ima-ichi machi residence in Sakai*, since Rikyū would, at this time, have been busy overseeing the departures of Hideyoshi’s courtiers and generals for Kyūshū.

___________ *Though it could also have been the 2-mat room in Rikyū’s official residence in Hideyoshi’s Ōsaka castle complex.

³Sōmu hitori [宗無一人].

This refers to Okayama Hisanaga [山岡久永; 1534 ~ 1603*], who was also known as Sumiyoshi-ya Sōmu [住吉屋宗無]. He was a wealthy townsman from Sakai, and a highly respected chajin†, who also served as one of Hideyoshi’s Eight Masters of Tea (sadō hachi-nin-shū [茶頭八人衆]). He was also one of Rikyū’s oldest “tea friends” (according to Shibayama Fugen’s commentary).

Sōmu was among the chajin present at Hideyoshi’s large tea gathering at the Hakozaki Shrine near Hakata (in modern-day Fukuoka City), and (along with Tsuda Sōkyū [津田宗及]) participated in the fusube-no-chanoyu [フスベ茶ノ湯] held in the pine barrens at Hakozaki‡. It may have been for the purpose of discussing the plans for these gatherings that Sōmu met with Rikyū on the present occasion. ___________ *Certain accounts suggest that Sōmu may have died in 1595, at the time when Sakai was razed on Hideyoshi’s orders (as a punishment for the city-state’s opposition to his invasion of Korea).

†Sōmu is said to have first studied chanoyu under Jōō, and then later with Rikyū (though, given his high standing with both Nobunaga and Hideyoshi, this latter assertion might be a revisionist opinion popularized by the Sen family during the Edo period).

He studied Zen under Shunoku Sōen [春屋宗園; ? ~ 1611], from whom he received the name Sōmu [宗無] -- which he used as his professional name thereafter.

‡Fusube-no-chanoyu [燻べの茶の湯] means a “smoky” chanoyu.

As the gathering was held in the pine barrens between the Hakozaki-gu [筥崎宮] (Hakozaki Shrine) and the shore, Rikyū and the others used the abundance of pine-needles that had carpeted the ground for centuries to heat their kama, rather than charcoal (or, perhaps, pine-needles were added to the charcoal fire to produce a similar effect -- needles, in and of themselves, would burn out too quickly to bring a kama to a boil efficiently, let alone keep it boiling for the length of time necessary). The effect was charming -- and fragrant (the resin in the dried needles making incense unnecessary) -- but also rather smokey, hence the name.

The black pines near the coast were ancient, growing in wonderful and contorted shapes (many having horizontal trunks that made suspending a kama from them both easy and seemingly natural -- portions of the pine barren are still preserved intact to this day), and the fusube-no-chanoyu was a celebration of the setting.

This gathering is said to have been the inspiration for the Kitano Ō-chanoe [北野大茶會], held in Kyōto from the first day of the Tenth Month of that same year (1587).

⁴Sho [初].

The shoza.

With respect to the kane-wari count for the shoza:

- the toko contained the kakemono, and so was han [半];

- the room held the ko-ita furo, and also the habōki (a go-sun-hane, placed on the mat, overlapping the left-most of the five yang-kane), and so was chō [調];

- and the kōgō was placed on the tana by itself, making the tana han [半].

Han + chō + han is chō, which is the correct count for the shoza of a gathering being held during the daytime.

⁵Kokei ichi-gyō-mono [古溪一行物].

This was the ichi-gyō-mono [一行物] reading Shun-fu ichi-jin [春風一陣], written for Rikyū by his Zen master, Kokei Sōchin [古渓宗陳; 1532 ~ 1597]. The writing was, perhaps, a sort of certification of attainment.

This scroll seems to have been destroyed, on Hideyoshi's orders, shortly after Rikyū's seppuku., because Rikyū’s repeated display of this scroll when entertaining Hideyoshi’s officials was part of the provocation that drew down Hideyoshi’s anger.

On the present occasion, Sōmu may have asked Rikyū to let him see this writing.

⁶Suzume kōgō hitotsu-oki [スヽメ香合一ツ置].

This was Rikyū's ruri-suzume kōgō [瑠璃雀香合], which he displayed by itself on the tsuri-dana.

⁷Habōki [羽帚].

This was a go-sun-hane [五寸羽], which is what Rikyū always used in the small room*.

According to the way the kaiki is represented in Book Two of the Nampō Roku, the habōki was apparently not placed on the tana together with the kōgō*. However, since it is mentioned in the list of utensils that were displayed in the room, it must have been present in the tearoom when Sōmu entered for the shoza† -- and the only other place it could be put would have been on the mat below the tana.

Since the kane-wari demanded that the habōki was associated with a yang-kane, Rikyū must have arranged it so that it overlapped the first kane on the left side of the mat slightly, as shown above. ___________ *In some Edo period (“second-” or “third-generation”) manuscripts, the phrase hitotsu-oki [一ツ置] (which, in the Nampō Roku version of this kaiki, follows the word kōgō) is found after the word habōki, perhaps to emphasize that it was placed apart from the kōgō. Tanaka Senshō (whose own manuscript -- the original copy that Jitsuzan took from the Shū-un-an documents -- agreed with the Enkaku-ji version) interprets this variant text to mean that the habōki was placed on the lower tana of a tsuri-dana that had two shelves.

However, since there is no evidence that Rikyū ever used a ni-jū tsuri-dana [二重釣棚] (a tsuri-dana with two shelves: this was another creation of Furuta Sōshitsu, who derived the two shelves from both the naka-dana [中棚] -- the source of Rikyū’s single-shelved tsuri-dana -- and the kō-dana [香棚], the tana on the left side, of the fukuro-dana), and certainly not when the tsuri-dana was located on the left side of the utensil mat (even Oribe employed this configuration only when it was associated with a sode-kabe), his arguments here must be discounted as anachronistic. Rikyū’s prototype for the tsuri-dana (in the Tai-an [待庵] tearoom) is shown above, with the far wall digitally restored to its original proportions (the room was modified in the early Edo period to match the Fushin-an [不審庵] of Sen no Sōtan -- in an effort to make Sōtan’s room appear to be a legitimate descendant of Rikyū’s chashitsu). Here, of course, the tsuri-dana is associated with the sode-kabe (on the right), while in Rikyū’s two mat room (that was used for the present gathering) the tana was found on the left side of the mat (imitating the orientation of the tsuri-dana in Nambō Sōkei’s Shū-un-an residence).

†In fact, the go-sun-hane is too small to rest on top of the sumi-tori. Thus it must always be placed somewhere in the room, so the question is only whether it is then associated with one of the yang-kane, or not.

⁸Ko-ita ni furo ・ kiri ko-gama [小板ニ風爐・桐小釜].

The furo was probably made of lacquered clay, and was most likely the one (shown below) that Rikyū designed to accompany this kama*.

This furo was the prototype of what came to be known as the “Rikyū mentori-buro” [利休面取風爐]*. Though made for what had originally been a kiri-kake gama [切り掛け釜], the kama could not rest on the rim of the furo (due to the way it had been repaired). Thus, while imitating the general shape of a small kimen-buro, the diameter was increased so that the mouth of the furo was about 4-sun wider than the diameter of the kama (making the furo fall within the “large furo” range that is properly placed on a ko-ita [小板]). The kama was, then, rested on a gotoku.

The ko kiri-gama [小桐釜], shown below, had been one of Jōō's treasures (it seems that Jōō had been responsible for ordering its repair), and seems to have been the first kama to be suspended (over the ro) on a chain. Originally made as a kiri-kake gama (for use on a small iron kimen-buro that was placed on the o-chanoyu-dana in an anteroom attached to one of the shoin in the Imperial palace), the deterioration of the iron† made it no longer usable as it was. However, since repairing it in the usual way would have resulted in the loss of the decoration, Jōō had the new bottom attached near the kan-tsuki, leaving the original sides to hang down like a curtain (this may have been the first of the o-dare kama [尾垂れ釜]).

This kama could not have been used with a furo until after Rikyū created the small unryū-gama since, like that kama, it must rest on a gotoku that had been placed upside-down (with the ring -- on which the kama had originally rested -- buried in the ashes, while the kama itself rests on top of the gotoku's feet). ___________ *As mentioned above, this kama had originally be made to be used on a small kimen-buro. This type of furo had a somewhat disproportionately deeper body than the better-known large kimen-buro (which was necessary since, even though the kama is smaller, the charcoal has to be almost the same as used to fuel the larger furo). For the clay furo, Rikyū alluded to the original furo with the rounded profile of the original iron furo (and it is in this that it differs markedly from the rather square profile of the Dōan-buro). Indeed, this is the distinguishing feature between the Rikyū mentori-buro [利休面取風爐] and the Dōan mentori-buro [道安面取風爐]. (Many of the furo sold today as “Dōan-buro” are actually copies of Rikyū’s shape, which derived from the present furo.)

†Once the idea of performing the temae at a daisu set up within the shoin itself became fashionable, the older o-chanoyu-dana ceased to be used -- and the utensils associated with it, now unused, fell into disrepair.

⁹Shiru saku-saku [汁サク〰].

Saku-saku [さくさく] means crisp or crunchy. This refers to the use of the immature leaves of various plants of the mustard family (daikon [大根], hakusai [白菜], kabura [蕪], and na [菜]) that were commonly grown in the kitchen garden. The leaves were coarsely chopped, and added to the soup just before it was served, so that the greens remained fresh and crisp.

The soup was miso-shiru.

¹⁰Kawarake uzura ・ sanshō [カハラケ鶉・サンシヤウ].

Kawarake [土器] means an (unglazed) earthenware tile.

Kawarake-yaki [土器焼] -- the style of cooking under consideration here -- refers to the finely minced (or mashed) flesh of a bird (usually containing the crushed bones) -- in this case, a quail -- mixed with miso that was flavored with sake, mirin, and so forth (Rikyū notes that sanshō [山椒], “Japanese pepper” -- perhaps the fresh leaves as well as the crushed dried seed-pods -- was added on this occasion), and then fried on a tile over a charcoal fire.

Since the Edo period, this dish has traditionally been served to the guests on the tile; though it is not clear whether Rikyū followed this rather restaurant-like approach or not.

¹¹Shunkan [シユンカン].

Shunkan [筍干] means pickled dried bamboo shoots. The shoots were cut into long strips and sun-dried, and the dried bamboo shoots would then be lacto-fermented* in vats of brine. The pickled bamboo shoots were then usually chopped into smaller pieces and boiled or stir-fried together with other vegetables (and, in Chinese cooking at least, finely chopped pork as well). This was a style of food preparation rarely seen in Japan (though probably better known to the citizens of Sakai, with their Korean roots and frequent contact with continental cultures through their trading activities, than to people living outside the city-state).

Perhaps, since the Japanese usually only ate two meals a day at that time, Rikyū was inspired to do something unusual on this occasion -- to make the abbreviated service both novel and appealing to his guest (indeed, Rikyū does seem to be going out of his way to impress his guest on this occasion) -- though precisely how Rikyū prepared the shunkan is not known†. ___________ *Lacto-fermentation is a traditional pickling technique in which the vegetables are immersed in a brine solution that allows naturally occurring lactobacillus to convert sugars into lactic acid (the salt kills the harmful bacteria that cause food to spoil, while allowing the lactobacteria to function), which preserves the vegetables: dill pickles, kimchi, and natural sauerkraut, are all examples of lacto-fermented vegetables.

As this process generally takes at least several weeks, it seems likely that the already-processed shunkan were most likely imported from the continent -- rather than being produced in Rikyū’s kitchen (from the present year’s supply of bamboo shoots -- which were just then in season).

†“Shunkan” do not seem to feature in any of the dishes traditionally included in kaiseki-ryōri.

¹²Senbei ・ kuro-mame [センヘイ・黒豆].

Senbei [煎餅] are rice crackers, and kuro-mame [黒豆] are parched or roasted black soy beans. These were the kashi.

¹³Go [後].

Though the word does not appear in the Enkaku-ji version of the manuscript, it is implied (by the list of utensils that were arranged in the room for the goza, which follows).

As for the kane-wari for the goza:

- the (empty) basket placed on the floor in the middle of the toko (in which the guest would arrange the chabana), made the toko han [半];

- furthermore, in addition to the ko-ita furo, the room also had the mizusashi (placed on the left side of the mat), with the chawan and chaire arranged in front of it, and so was chō [調];

- while the tana was empty -- which nevertheless counts as chō [調].

Han + chō + chō is han, which is appropriate for the goza when the chakai is taking place during the daytime.

¹⁴Kago ni botan, tadashi Sōmu ikeraruru [籠ニ牡丹、但宗無イケラルヽ].

The basket may have been the large oki-kago [置き籠] that Rikyū sometimes refers to as the ahiru-kago [家鴨籠] -- given the size of peony flowers (even if only partly opened), a larger basket of this sort would have been necessary.

As for the peony, while various colors were available in Rikyū's period, chajin of that time seem to have been partial to light pink flowers.

The chabana was arranged by the guest (this was done so that the naka-dachi could be as short as possible -- arranging the flowers from a selection that was offered to the guest on a low table giving the guest something to do while the host finished his preparations for the goza*). Since Rikyū does not mention that the oshiki [折敷] (on which the flowers were brought into the room) was present in the toko, he probably brought it out from the katte after the guest had returned from the naka-dachi. Thus, when Sōmu entered the room, the toko was empty except for the basket†. ___________ *When the host was finished with his preparations, he would go and fill the bamboo tube in which the flower stems rested with water, and then appreciate the chabana and express his satisfaction to the guest.

†While originally basket hanaire were also placed on an usu-ita, Furuta Sōshitsu stated that, since the basket keeps the bamboo tube (in which the water was held) from coming into contact with the matting -- which, according to Jōō, was the true purpose of the usu-ita -- an additional lacquered base was not necessary.

Rikyū subsequently accepted Oribe’s argument, and thereafter also began to arrange a basket in the toko without an usu-ita.

¹⁵Chaire kuro [茶入黒].

This was a hiki-dashi-kuro [引き出し黒] chaire that had been made for Rikyū by Furuta Sōshitsu.

¹⁶Chawan Mishima-zutsu [茶碗三嶋筒].

This deep chawan, which is actually a variety of (low quality) Korean celadon, is referred to in later kaiki under the name of Hikigi-no-saya [引木の鞘].

Even though this chakai was taking place in early summer, Rikyū has no qualms about using a deep bowl -- since the experienced host will have no difficulty regulating the temperature of the koicha (and the deep chawan will simply keep the tea as close to the original temperature as possible).

In the warm season, because the tea stored in the cha-tsubo begins to degrade rapidly once the ambient temperature, the host adds cold water to the kama to cool it somewhat before preparing the koicha†. There is always a danger, then, that the tea may cool off too much before the guest drinks it, and a deeper bowl helps to guard against this.

It is also possible that Sōmu had specifically asked to be allowed to inspect this chawan.

In addition, Rikyū would have used an ori-tame [折撓] of his own making as the chashaku. __________ *Hikigi-no-saya [引木の鞘]: hikigi [引木] means the handle of a tea-mill; and the hikigi-no-saya [引木の鞘] refers to a sort of sheath (made from a short length of bamboo that fits loosely over the upright of the handle), to protect the hand of the person turning the mill from getting friction blisters.

†Unlike what most modern schools teach, in Rikyū's temae the lid of the kama was always closed while the host performed the first chasen-tōshi -- so that the kama would come to a full boil. Once it had reached a boil, the host could then lower its temperature confidently by adding a certain amount of cold water.

If the lid of the kama is not closed, the kama (this was an error that became part of the “standard temae” as a result of one of Sōtan’s mistakes) never reaches full temperature, so the addition of cold water often results in the water being too cool, and the taste of the tea will suffer in consequence.

¹⁷Mizusashi Shigaraki [水指シカラキ].

This was Rikyū's Shigaraki mizusashi.

And, while not specifically mentioned in the kaiki, Rikyū would have used a take-wa [竹輪] and mentsū [面桶], as appropriate to the small room.

0 notes