Sugoroku

Sugoroku (双六^?) refers to two different forms of Japanese board game, one similar to western backgammon, called ban-sugoroku, and the other similar to western Snakes and ladders. Sugoroku plays identically to backgammon (it even has the same starting position), except for the following differences:

• Doubles are not special. If a player rolls doubles, each die still counts only once.
• There is no "bearing off". The goal is to move all of one's men to within the last six spaces of the board.
• There is no doubling cube.
• It is not permitted to form a prime of six contiguous points to obstruct one's opponent.

The game is thought to have been introduced from China (where it was known as Shuanglu) into Japan in the sixth century.

In the electric gaming genre, Momotaro Dentetsu series is the most popular computer sugoroku game in Japan.

Reikin

In Japan, reikin (礼金^?, literally, "gratitude money") is a mandatory payment to the landlord that is often the same amount as the original deposit (shikikin). However, reikin can be the equivalent of six months (or more) of rent, but is typically the same as one to three months of rent.

This money is considered a gift to the landlord and is not returned after the lease is canceled.

In recent years, an increasing number of landlords and real estate agencies have begun to offer reikin-free rental housing.

Tsukiji Market

The Tokyo Metropolitan Central Wholesale Market (東京都中央卸売市場 Tōkyō-to Chūō Oroshiuri Shijō^?), commonly known as the Tsukiji Market (築地市場 Tsukiji shijō^?), is the biggest wholesale fish and seafood market in the world and also one of the largest wholesale food markets of any kind. The market is located in Tsukiji in central Tokyo, and is a major attraction for foreign visitors.<sup>[1]

The market is located near the Tsukijishijō Station on the Toei Ōedo Line and Tsukiji Station on the Tokyo Metro Hibiya Line. There are two distinct sections of the market as a whole. The "inner market" (jōnai-shijō) is the licensed wholesale market, where the auctions and most of the processing of the fish take place, and where licensed wholesale dealers (approximately 900 of them) operate small stalls. The "outer market" (jōgai-shijō) is a mixture of wholesale and retail shops that sell Japanese kitchen tools, restaurant supplies, groceries, and seafood, and many restaurants, especially sushi restaurants. Most of the shops in the outer market close by the early afternoon, and in the inner market even earlier.

The market is the busiest between 5:30 and 8:00 a.m., and the activity declines significantly afterward. Many shops start to close around 11:00 a.m., and the market closes for cleaning around 1:00 p.m. Tourists may visit the market daily between 5 a.m. and 6:15 a.m. and watch the proceedings from a designated area,[3] except during periods when it is closed to the public.</sup>

Kaiseki

Kaiseki (懐石^?) or kaiseki-ryōri (懐石料理^?) is a traditional multi-course Japanese dinner. The term also refers to the collection of skills and techniques that allow the preparation of such meals, and are analogous to Western haute cuisine.^[1]

There are basically two kinds of traditional Japanese meal styles called kaiseki or kaiseki-ryōri. The first, where kaiseki is written as 会席 (and kaiseki-ryōri, 会席料理), referring to a set menu of select food served on an individual tray (to each member of a gathering)^[2]. The other is written 懐石 or 懐石料理, referring to the simple meal that the host of a chanoyu gathering serves to the guests before a ceremonial tea^[3], and which is also known as cha-kaiseki (茶懐石).^[4]

In the present day, kaiseki is a type of art form that balances the taste, texture, appearance, and colors of food.^[6] To this end, only fresh seasonal ingredients are used and are prepared in ways that aim to enhance their flavor. Local ingredients are often included as well.^[8] Finished dishes are carefully presented on plates that are chosen to enhance both the appearance and the seasonal theme of the meal. Dishes are beautifully arranged and garnished, often with real leaves and flowers, as well as edible garnishes designed to resemble natural plants and animals.

Originally, kaiseki comprised a bowl of miso soup and three side dishes;^[9] this is now instead the standard form of Japanese-style cuisine generally, referred to as a セット (setto, "set"). Kaiseki has since evolved to include an appetizer, sashimi, a simmered dish, a grilled dish, and a steamed course,^[9] in addition to other dishes at the discretion of the chef.^[10]

Kaiseki is often served in ryokan in Japan, but it is also served in small restaurants. Kyoto is well known for its kaiseki. In Kyoto, kaiseki-style cooking is sometimes known as Kyoto cooking (京料理 kyō-ryōri^?), to emphasize its traditional Kyoto roots. Kaiseki is often very expensive

^{Casual Kaiseki:}

The thing which put all menus of Kaiseki in Jubako (a nest of boxes). Shokado-bento falls under this, too.

• Shōkadō bentō (松花堂弁当) is a traditional black-lacquered Japanese bento box. It inspired IBM's (later sold to Lenovo) ThinkPad design.^[3]

Matsuya

Matsuya Co., Ltd. (株式会社松屋) TYO: 8237 is a Japanese department store in Tokyo.

Founded in 1869, it has two stores in Ginza (est. 1925) and Asakusa (est. 1930).

Haniwa

The Haniwa (埴輪^?) are terracotta clay figures which were made for ritual use and buried with the dead as funerary objects during the Kofun period (3rd to 6th century AD) of the history of Japan.

During the Kofun period, a highly aristocratic society with militaristic rulers developed. The cavalry wore iron armor, carried swords and other weapons, and used advanced military methods like those of Northeast Asia. Many of them are represented in haniwa figurines for funerary purposes.

The most important of the haniwa were found in southern Honshū—especially the Kinai region around Nara—and northern Kyūshū. Haniwa grave offerings were made in numerous forms, such as horses, chickens, birds, fans, fish, houses, weapons, shields, sunshades, pillows, and male and female humans.

Besides decorative and spiritual reasons of protecting the deceased in his afterlife, these figures also served as a sort of retaining wall for the burial mound.
Because these haniwa display the contemporary clothing, hairstyle, farming tools, and architecture, these sculptures are important as a historical archive of the Kofun Period.

Jiriki and Mushi-dokugo

Jiriki (自力^?, one's own strength^[1]) - here: the Japanese Buddhist term for self power, the ability to achieve liberation or enlightenment (in other words, to reach nirvana) through one's own efforts. Jiriki and tariki (他力 meaning "other power", "outside help") are two terms in Japanese Buddhist schools that classify how one becomes spiritually enlightened.^[2] In Pure Land Buddhism, tariki often refers to the power of Amitābha Buddha.

Mushi-dokugo (無師独悟^?), sometimes called jigo-jishō (自悟自証^?, self-enlightened and self-certified), is a Japanese term used in Zen Buddhism which expresses the phenomenon known as "awakening alone, without a master."^[1][a][2]

It is...

usually considered suspect since the risk of self-delusion or 'fake-Zen' is always high.^[5]

According to William M. Bodiford,

To guarantee that his experience of the truth of Buddhism is genuine, the Zen disciple relies upon his teacher to authenticate and formally acknowledge his enlightenment.^[5]

Dōgen, the founder of the Sōtō school of Japan, acknowledged in his lifetime that such a phenomenon exists

Gohonzon and Butsudan

Gohonzon (ご本尊 or 御本尊) is the general term to denote an object of devotion in many forms of Japanese Buddhism. In Japanese, go is an honorific prefix indicating respect and honzon means object of fundamental respect, veneration, or devotion. Generically used, gohonzon can refer to any such object of devotion, whether a statue or set of statues, a painted scroll of some sort, or some other object; or the word—then usually capitalized when romanized—may be used specifically to refer to the moji-mandala (文字曼荼羅 "script," or "written with characters" mandala) that is the object of veneration in various Nichiren schools.

In private settings, gohonzons are enshrined in an altar called a butsudan (佛壇 or 仏壇, "Buddha platform") that is considered the "home of the Buddha" by Buddhists.
 
A butsudan (佛壇 or 仏壇, literally "Buddha altar") is a shrine commonly found in temples and homes in Japanese Buddhist cultures.^[1]

A butsudan is a wooden cabinet with doors that enclose and protect a gohonzon or religious icon, typically a statue or painting of a Buddha or Bodhisattva, or a "script" mandala scroll. The doors are opened to display the icon during religious observances, and closed before sunset. A butsudan usually contains an array of subsidiary religious items, called butsugu, such as candlesticks, incense burners, bells, and platforms for placing offerings such as fruit, tea or rice. Some Buddhist sects place ihai, memorial tablets for deceased relatives, within or near the butsudan.<sup>[2]

The butsudan is commonly seen as an essential part in the life of a traditional Japanese family as it is the centre of spiritual faith within the household, especially in dealing with the deaths of family members or reflecting on the lives of ancestors. This is especially true in many rural villages, where it is common for more than 90% of households to possess a butsudan, to be contrasted with urban and suburban areas, where the rate of possession can drop down to below 60%.[5]</sup>

Judo

Judo (柔道 jūdō^?, meaning "gentle way") is a modern martial art, combat and Olympic sport created in Japan in 1882 by Jigoro Kano.  Judo practitioners are called judoka.

Its most prominent feature is its competitive element, where the object is to either throw or takedown an opponent to the ground, immobilize or otherwise subdue an opponent with a grappling maneuver, or force an opponent to submit by joint locking or by executing a strangle hold or choke.

Strikes and thrusts by hands and feet as well as weapons defenses are a part of judo, but only in pre-arranged forms (kata) and are not allowed in judo competition or free practice (randori).

Central to Kano's vision for Judo were the principles of seiryoku zen'yō (精力善用^?, maximum efficiency, minimum effort) and jita kyōei (自他共栄^?, mutual welfare and benefit). He illustrated the application of seiryoku zen'yō with the concept of jū yoku gō o seisu (柔よく剛を制す^?, gentleness controls hardness):

The philosophy and subsequent pedagogy developed for judo became the model for other modern Japanese martial arts that developed from koryū (古流^?, traditional schools). The worldwide spread of judo has led to the development of a number of offshoots such as Sambo and Brazilian Jiu-Jitsu.

Pac-Man

Pac-Man (パックマン Pakkuman^?) is an arcade game developed by Namco and licensed for distribution in the United States by Midway, first released in Japan on May 22, 1980.^[1][2]

Immensely popular from its original release to the present day, Pac-Man is considered one of the classics of the medium, virtually synonymous with video games, and an icon of 1980s popular culture.^[6][7][8][9] Upon its release, the game—and, subsequently, Pac-Man derivatives—became a social phenomenon^[10] that sold a bevy of merchandise and also inspired, among other things, an animated television series and a top-ten hit single.<sup>[11]

When Pac-Man was released, the most popular arcade video games were space shooters, in particular Space Invaders and Asteroids. The most visible minority were sports games that were mostly derivative of Pong. Pac-Man succeeded by creating a new genre and appealing to both genders.[12] Pac-Man is often credited with being a landmark in video game history, and is among the most famous arcade games of all time.[13] It is also one of the highest-grossing video games of all time,[14] having generated more than $2.5 billion in quarters by the 1990s.[15][16]</sup> 

Shift_JIS art (aka AA or ASCII art)

Shift_JIS art is artwork created from characters within the Shift JIS character set, a superset of ASCII intended for Japanese usage. Naturally there are many similarities between Shift_JIS artwork and ASCII art.

Shift_JIS has become very popular on web-based bulletin boards, notably 2channel, and has even made its way into mainstream media and commercial advertising in Japan.

Within the Japanese community, Shift_JIS art is sometimes abbreviated as SJIS art, but is most commonly referred to as "AA" meaning ASCII art, although it rarely restricts itself to the 95 printable characters within the ASCII standard.

As with ANSI art, SJIS art is sometimes used for animation. However, due to technical advances, SJIS art also appears in the form of Adobe Flash files and animated GIFs.

Unlike Western ASCII art, which is generally designed to be viewed with a monospaced font, Shift_JIS art is designed around the proportional-width MS PGothic font supplied with Microsoft Windows, which is the default font for web sites in Japanese versions of Windows. However, many characters used in Shift-JIS art are "Fullwidth" CJK characters, and so are the same width. However, this dependency has led to the development of the free Mona Font, each character of which is the same width as its counterpart in MS PGothic, for the use of users of other operating systems such as Linux/UNIX and non-Japanese-capable versions of Windows.

The Japanese movie and television show, Densha Otoko (電車男^?), frequently included Shift_JIS art both during screen transitions and within the story itself. One of the recurring characters during the series was a Shift_JIS artist who would often draw full-screen Shift_JIS works of art as a way of expressing his support and encouraging the lead character.

Imperial Regalia of Japan

The Imperial Regalia of Japan (三種の神器 Sanshu no Jingi / Mikusa no Kandakara^?), also known as the Three Sacred Treasures of Japan, consist of the sword Kusanagi (草薙劍 Kusanagi no Tsurugi^?)), the mirror Yata no Kagami (八咫鏡^?), and the jewel Yasakani no Magatama (八尺瓊曲玉^?).

The regalia represent the three primary virtues: valor (the sword), wisdom (the mirror), and benevolence (the jewel).^[1]

Due to the legendary status of these items, their locations are not confirmed, but it is commonly thought that the sword is located at Atsuta Shrine in Nagoya, the jewel is located at Kokyo (the Imperial Palace) in Tokyo, and the mirror is located in the Grand Shrine of Ise in Mie prefecture.^[2]

Since 690, the presentation of these items to the Emperor by the priests at the shrine have been a central element of the imperial enthronement ceremony. This ceremony is not public, and these items are by tradition only seen by the emperor and certain priests. Because of this, no known photographs or drawings exist.

Two of the three treasures (the jewel and sword, as well as the emperor's seal and the state seal) were last seen during the accession and enthronement of Emperor Akihito in 1989 and 1993, but were shrouded in packages.

According to legend, these treasures were brought by Ninigi-no-Mikoto, legendary ancestor of the Japanese imperial line, when his grandmother, the Sun Goddess Amaterasu, sent him to pacify Japan. Traditionally, they were a symbol of the emperor's divinity as a descendant of Amaterasu, confirming his legitimacy as paramount ruler of Japan.

The regalia can also be interpreted as the mirror representing the sun; the jewel, the moon; and the sword, the stars.^[1]

Mangajin

Mangajin [1] was a monthly English-language magazine for students of Japanese language and culture.

It was distinct from many other magazines of its type in that it unabashedly embraced Japanese popular culture as a learning tool and a route towards rapid acclimation into Japanese society. Each issue featured selections from various popular manga translated into English with detailed cultural and linguistic commentary.

It was a unique language learning tool in that the manga that it excerpted showed the use of the language in various types of informal conversations. It would feature a few pages of manga with explanations of the grammar used and when that gammar/vocabulary combination might be appropriate. By contrast, most Japanese language textbooks for early students focus on formal versions of the language appropriate for business discussions.

The magazine ceased publication in December 1997 (issue 70) due to financial hardship. With increased worldwide interest in Japanese pop culture, the original manga publishers expected higher payments for their content, possibly beyond what was practical in this type of educational publication. Various books that collect many of the magazine's best features (as well as back issues of the magazine itself) are still highly prized by both self-taught and professionally tutored students of Japanese.

The name is a combination of the Japanese words for "comic" (manga, 漫画) and "person" (jin, 人), and is a pun on a Japanese word for magazine (マガジン,magajin).

Mangajin began shaping in 1988 when businessman and translator Vaughan Simmons began making prototypes of a magazine that could combine Japanese popular culture, entertainment, and language-learning into one. Simmons worked with clients from American and European companies and saw how successful they could be with the Japanese and learned the culture, which boosted up the motivation for Mangajin.^[1] When developing the concept, manga became an ideal solution with the medium being so large and attracting some of the best artists and writers. Manga also gives a big perspective on real Japanese society and how the language is spoken. Simmons started creating a "four-line-format" which showed many different translations: direct word-for-word showing the logic of the sentence, pronunciation, reading, etc.^[2]

Warabimochi and Kinako

Warabimochi (Japanese: 蕨餅) is not a true mochi but a jelly-like confection made from bracken starch and covered or dipped in kinako (sweet toasted soybean flour). It is popular in the summertime, especially in the Kansai region and Okinawa and often sold from trucks, similar to an ice cream truck in Western countries.

Kinako (黄粉 or きなこ^?), also known as soybean flour,^[1] is a product commonly used in Japanese cuisine. 

Kinako is produced by finely grinding roasted soybeans into powder.^[2][3] The skin of the soybean is typically removed before pulverizing the beans, but some varieties of kinako retain the roasted skin.^[3] Yellow soybeans produce a yellow kinako, and green soybeans produce a light-green product.^[3] Kinako, being composed of soybeans, is a healthy topping and flavoring which contains B vitamins and protein.^[3] Compared to boiled soybeans, however, the protein in kinako is not easily digested.^[3]

Kinako is widely used in Japanese cooking, but is strongly associated with dango and wagashi. Dango, a Japanese dumpling made from mochiko (rice flour), are commonly coated with kinako.^[2] Examples include ohagi and Abekawa-mochi. Kinako, when combined with milk or soy milk, can also be made into a drink. One example of its use in popular foods is warabimochi, which is a famous kinako-covered sweet.

Mitarashi dango

Mitarashi dango (みたらし団子、御手洗団子^?) is a type of dango skewered onto sticks in groups of 3–5 (traditionally 5) and covered with a sweet soy sauce glaze. It is characterized by its glassy glaze and burnt fragrance.

Mitarashi dango originates from the Kamo Mitarashi Tea House in the Shimogamo area of Sakyo ward of Kyoto, Japan.

Mitarashi dango is said to be named after the bubbles of the mitarashi (御手洗^?) (purifying water placed at the entrance of a shrine) of the Shimogamo shrine nearby.

Another theory is that the 5-dango version sold at the original tea house was made to imitate a human body; the top-most dango represented the head, and the remaining four represented the arms and legs.

This dango is also sold in supermarkets and convenience stores in Japan. However, these versions of mitarashi dango have a relatively higher proportion of sugar to increase shelf life and are sweeter than those found at traditional tea houses and dango shops.

Kamo-jinja

Kamo Shrine (賀茂神社 Kamo-jinja^?) is a general term for an important Shinto sanctuary complex on both banks of the Kamo River in northeast Kyoto. It is centered on two shrines.^[1]

The Kamo Shrine encompasses what are now independent but traditionally associated jinja or shrines: the Kamigamo Shrine  (formal name: Kamo-wakeikazuchi jinja) in Kyoto's Kita Ward, and the Shimogamo Shrine (formal name: Kamo-mioya jinja^?) in Sakyo Ward.^[1]
They are amongst the "Historic Monuments of Ancient Kyoto" which have been designated by UNESCO as a World Heritage Site.^[3]

The two shrines, an upper and a lower, lie in a corner of the old capital which was known as the "devil's gate" (鬼門 kimon^?) due to traditional geomancy beliefs that the north-east corner brought misfortune.
Because the Kamo River runs from the north-east direction into the city, the two shrines along the river were intended to prevent demons from entering the city.^[2]

Shimogamo Shrine is dedicated to the veneration of Tamayori-hime (玉依姫; lit., the spirit-inviting maiden) and her father, Kamo Taketsunomi (賀茂建角身). Tamayori-hime is the mother of Kamo Wakeikazuchi (賀茂別雷; the thunder-divider of Kamo), who was sired by Honoikazuchi-no-mikoto (火雷神; the God of Fire and Thunder).^[5][6] Kamigamo Shrine, the other of the two Kamo shrines of Kyoto, is dedicated to Kamo Wakeikazuchi. These kami are variously associated with thunder.

The shrine's annual festival, Kamo no Matsuri, also called Aoi Matsuri, is the oldest of Kyoto's three major festivals. The others are Jidai Matsuri and Gion Matsuri.^[1]

Hayao Miyazaki and Isao Takahata (Studio Ghibli co-founders)

Hayao Miyazaki (宮崎 駿 Miyazaki Hayao^?, born January 5, 1941) is a Japanese manga artist and prominent film director and animator of many popular anime feature films. Miyazaki has attained international acclaim as a maker of animated feature films and, along with Isao Takahata, co-founded Studio Ghibli, a film and animation studio. Born in Bunkyō, Tokyo, Miyazaki began his animation career in 1961, when he joined Toei Animation.

Isao Takahata (高畑 勲 Takahata Isao^?, born October 29, 1935) is a Japanese anime filmmaker that has earned critical international acclaim for his work as a director. Takahata is co-founder of Studio Ghibli with long-time collaborative partner Hayao Miyazaki. He has directed films such as the war-themed Grave of the Fireflies, the romantic-drama Only Yesterday, the ecological-adventure Pom Poko and the comedy My Neighbors the Yamadas. Of these Grave of the Fireflies is considered by film critic Roger Ebert one of the greatest war films ever made.^[1] Unlike most anime directors, Takahata doesn't draw and never worked as an animator before becoming a full fledged director.
According to Hayao Miyazaki, "Music and study are his hobbies".

Takahata graduated from the University of Tokyo French literature course in 1959.
Takahata was originally intrigued by animation after having seen the French animated cartoon feature Le Roi et l'oiseau (The King and the Mockingbird) based on a fairy tale by Hans Christian Andersen.

While Miyazaki's films have long enjoyed both commercial and critical success in Japan, he remained largely unknown to the West until Miramax Films released Princess Mononoke. Princess Mononoke was the highest-grossing film in Japan—until it was eclipsed by another 1997 film, Titanic—and the first animated film to win Picture of the Year at the Japanese Academy Awards. Miyazaki returned to animation with Spirited Away. The film topped Titanic's sales at the Japanese box office, also won Picture of the Year at the Japanese Academy Awards and was the first anime film to win an American Academy Award.

Miyazaki's films often contain recurrent themes like humanity's relationship with nature and technology, and the difficulty of maintaining a pacifist ethic.

List of Studio Ghibli films

Ishin-denshin

Ishin-denshin (以心伝心^?) is a traditional Japanese concept of interpersonal communication through unspoken mutual understanding. It literally translates as "what the mind thinks, the heart transmits."^[1] Sometimes explained in English in terms of "telepathy" or "sympathy", the term is also commonly rendered as "heart-to-heart communication" or "tacit understanding."^[1][2]

Although silent understanding is generally recognized as a universal human phenomenon, the term ishin-denshin is often used to convey a style of nonverbal communication between two people that is felt to be characteristic of Japanese culture.^[3][4]

Whereas the Japanese concept of haragei denotes a deliberate form of non-verbal communication, ishin-denshin refers to a passive form of shared understanding. Ishin-denshin is traditionally perceived by the Japanese as sincere, silent communication via the heart or belly (ie symbolically from the inside, uchi), as distinct from overt communication via the face and mouth (the outside, soto), which is seen as being more susceptible to insincerities.^[3] Such concepts are related to the traditions of Zen, where the term ishin-denshin refers to direct mind transmission.^[3][5]

Ishin-denshin continues to influence many aspects of contemporary Japanese culture, ranging from business practices to end-of-life care.^[1][6][7] Western preferences for clarity in interpersonal communication can be repellent to Japanese people who are accustomed to ishin-denshin and implicit rather than explicit forms of understanding.^[8]

Kofun Period

The Kofun period (古墳時代 Kofun jidai^?) is an era in the history of Japan from around 250 to 538.

It follows the Yayoi period.

The word kofun is Japanese for the type of burial mounds dating from this era.

Kofun are defined as the burial mounds built for the people of the ruling class during the 3rd to 7th centuries in Japan,^[2] and the Kofun period takes its name from these distinctive earthen mounds. The mounds contained large stone burial chambers. Some are surrounded by moats.
 
The Kofun and the subsequent Asuka periods are sometimes referred to collectively as the Yamato period.

The Kofun period is the oldest era of recorded history in Japan; as the chronology of its historical sources tends to be very distorted, studies of this period require deliberate criticism and the aid of archaeology.

The Kofun period is divided from the Asuka period by its cultural differences. The Kofun period is characterized by a Shinto culture which existed^{[citation needed]} prior to the introduction of Buddhism.
Politically, the leader of a powerful clan won control over much of west Honshū and the northern half of Kyūshū and eventually established the Imperial House of Japan.

During the Kofun period, a highly aristocratic society with militaristic rulers developed.

Giboshi

Giboshi (擬宝珠^?) is a kind of ornament used on older Japanese bridges.

In Japan, giboshi bridge ornaments are said to resemble the bulbous flower of the onion.

The ends of giboshi are bulbous and come to a point, resembling the onion domes in Western culture.

They are often found in older Japanese bridges, and on bridges in Japanese gardens, temples and shinto shrines.

Ise Jingū and Yata no kagami

Ise Grand Shrine (伊勢神宮 Ise Jingū^?) is a Shinto shrine dedicated to goddess Amaterasu-ōmikami, located in the city of Ise in Mie prefecture, Japan.

Officially known simply as Jingū (神宮^?), Ise Jingū is in fact a shrine complex composed of a large number of Shinto shrines centered on two main shrines, Naikū (内宮^?) and Gekū (外宮^?).

Besides Naikū and Gekū, there are an additional 123 Shinto shrines in Ise City and the surrounding areas, 91 of them connected to Naikū and 32 to Gekū.^[2]

Purportedly the home of the Sacred Mirror, the shrine is arguably one of Shinto's holiest and most important sites. Access to both sites is strictly limited, with the common public allowed to see little more than the thatched roofs of the central structures, hidden behind four tall wooden fences.

Yata no Kagami (八咫鏡^?) is a sacred mirror that is part of the Imperial Regalia of Japan. It is said to be housed in Ise Shrine in Mie prefecture, Japan, although a lack of public access makes this difficult to verify. The Yata no Kagami represents "wisdom" or "honesty," depending on the source. Its name literally means "The Eight Hand Mirror," likely a reference to its width. Mirrors in ancient Japan represented truth because they merely reflected what was shown, and were a source of much mystique and reverence (being uncommon items).

In the Japanese mythology this mirror and the Yasakani no magatama were hung from a tree to lure out Amaterasu from a cave. 

Haragei

Haragei (腹芸^?) is a concept in Japanese interpersonal communication and martial arts.

Literally translated, the term means "stomach art", and it refers to an exchange of thoughts and feelings that is implied in conversation, rather than explicitly stated.^[1] It can also denote charisma or strength of personality.^[2] It is considered difficult for non-Japanese, particularly Westerners, to fully understand.^[1]

In negotiation, haragei is characterised by euphemisms, vague and indirect statements, prolonged silences and careful avoidance of any comment that might potentially give offense.^[3] Information is communicated through timing, facial expression and emotional context, rather than through direct speech.^[4]

It is sometimes considered a duplicitous tactic in negotiation, and is often viewed in the West with suspicion.;^[5] it can also be misconstrued by those with limited experience in the tactic, as in the example of President Nixon's misinterpretation of Sato Eisaku's comments in 1970. During a dispute over textile imports, Eisaku responded to Nixon's request for assistance in limiting Japanese exports by saying, "Zensho itashimasu" (lit. "I will do my best"). To Eisaku, this was an indirect way of saying, "no" (since to do so directly would have been contrary to the principles of haragei); however Nixon took it as a promise of assistance.^[3]

Haragei also functions as a method of leadership, replacing direct orders to subordinates with subtle, non-verbal signals. It is considered a desirable trait in a leader in Japan.^[6]

In martial arts circles, haragei refers to those arts which supposedly enabled the practitioner to sense threats or anticipate an opponent's movements.^[7][8]

Karaoke + Karaoke terms

Karaoke (カラオケ^?, portmanteau of Japanese kara 空 "empty", and ōkesutora オーケストラ "orchestra")^[1] ( /ˌkæriːˈoʊkiː/; Japanese: [kaɽaoꜜke] ( listen)) is a form of interactive entertainment or video game in which amateur singers sing along with recorded music (a music video) using a microphone and public address system.

The music is typically a well-known pop song minus the lead vocal. Lyrics are usually displayed on a video screen, along with a moving symbol, changing color, or music video images, to guide the singer. In some countries, a karaoke box is called a KTV. It is also a term used by recording engineers translated as "empty track" meaning there is no vocal track.

Karaoke terms

Jūhachiban

(十八番. also ohako). Many karaoke singers have one song which they are especially good at and which they use to show off their singing abilities. In Japan, this is called jūhachiban in reference to Kabuki Jūhachiban, the 18 best kabuki plays.

Karamovie or Movioke

Main article: Movieoke

Karaoke using scenes from movies. Amateur actors replace their favorite movie stars in popular movies. Usually facilitated by software or remote control muting and screen blanking/freezing.
Karamovie originated in 2003.

Karaoke jockey or KJ

A karaoke jockey plays and manages the music for a venue. The role of the KJ often includes announcing song titles and whose turn it is to use the microphone.

Hitokara   

Singing karaoke alone is called hitokara (ヒトカラ, ヒト hito, "one person" or "alone" and カラ kara, "karaoke") in Japan. Recently this trend has become very popular amongst amateur singers in Japan, also India and China

Katsuobushi and Katsuobushi kezuriki

Katsuobushi (鰹節 or かつおぶし^?), also known as okaka (おかか^?) is the Japanese name for dried, fermented, and smoked skipjack tuna (Katsuwonus pelamis, sometimes referred to as bonito).
Shaved Katsuobushi and dried kelp - kombu - are the main ingredients of dashi, a broth that forms the basis of many soups (such as miso) and sauces (e.g., soba no tsukejiru) in Japanese cuisine.
Katsuobushi's distinct umami flavor comes from its high inosinic acid content. Traditionally made katsuobushi, known as karebushi, is deliberately planted with Aspergillus glaucus fungus in order to reduce moisture.

Katsuobushi kezuriki (鰹節削り器; かつおぶしけずりき^?) is a traditional Japanese kitchen utensil, similar to a wood plane or mandoline. It is used to shave katsuobushi, dried blocks of skipjack tuna (katsuo).

The shavings are a staple of Japanese cuisine. Larger, thicker shavings, called kezurikatsuo (削り鰹; けずりかつお^?), are boiled with kombu to make dashi stock. Smaller, thinner shavings, called hanakatsuo (花鰹; はなかつお^?), are used as a flavoring and as a topping for many Japanese dishes, such as okonomiyaki.

Today, many Japanese households no longer use the katsuobushi kezuriki, opting instead to buy packages of already-shaved hanakatsuo or kezurikatsuo at supermarkets.

In addition to making dashi, other popular uses of katsuobushi include:

• Okaka (おかか), finely chopped katsuobushi dressed with soy sauce.
  • As a stuffing for rice balls (onigiri).
  • As a topping for rice. Popular for bentō, often covered with nori.
  • Dried okaka is used as an ingredient of furikake rice topping (called "okaka furikake").
• As a seasoning for cold tofu (hiyayakko, 冷奴) along with grated ginger and Welsh onion (a type of spring onion.)
• Sprinkled with sesame seeds and chopped nori atop cold soba noodles (zarusoba).
• As a topping on takoyaki and okonomiyaki.
• As a seasoning on century egg along with sesame oil and soy sauce.
• As a high-protein treat for cats sold at pet stores.

Castella

Castella (カステラ Kasutera^?) is a popular Japanese sponge cake made of sugar, flour, eggs, and starch syrup.

Now a specialty of Nagasaki, the cake was brought by way of Portuguese merchants in the 16th century. The name is derived from Portuguese Pão de Castela, meaning "bread from Castile".

In the 16th century, the Portuguese reached Japan, and soon started trade and missionary work. Nagasaki was then the only Japanese port open for foreign commerce. It was able to be preserved for a long period of time, and so was useful for the sailors who were out on the sea for months. In the Edo Period, in part due to the cost of sugar, it was an expensive dessert. When the Emperor of Japan's envoy was invited, the Tokugawa Shogunate presented the Castella.^[1] Over the years, the taste changed to suit Japanese palates.
Castella is made of natural ingredients, so its simple taste is a favorite of many Japanese people.

Castella cake is usually sold in long boxes, with the cake inside being approximately 27 cm long. It is somewhat similar to Madeira cake, also associated with Portugal, but its closest relative is pão-de-ló, also a Portuguese cake.

Note that there are similar types of sponge cakes named after the same fashion, in French: Pain d'Espagne, in Italian: Pan di Spagna, in Portuguese: Pão de Espanha, in Bulgarian: пандишпан, in Greek: Pantespani, in Turkish: Pandispanya (Castile is a former kingdom of Spain comprising its central provinces, thus Pain d'Espagne and other variants are quasi-synonymous to "bread from Castile").