Kaoani comes from the Japanese kao (顔, face) and ani (アニ, animation). Kaoanis are little animated smilies
that usually bounce up and down to look like they are floating.
The
originating country of the kaoani is Japan.
Kaoanis are also known as
puffs, anime blobs, anikaos or anime emoticons.
Kaoani can take the form of animals, foodstuffs such as rice balls,
colorful blobs, cartoon characters, etc. Many are animated to be
performing a certain task, such as dancing, laughing, or cheering.
The file format for kaoanis is usually GIF, since it supports animations. However, it is also possible to make them in the APNG format, which is an animated PNG image.
Kaoanis are mostly used on internet forums, MySpace profiles, blogs and Windows Live Messenger to show moods or as avatars.
30.11.12
Genkai Shūraku and Hikyō Station
Genkai shūraku (限界集落, literally limited village, also translated as marginal village)
is any village that has experienced depopulation and in danger of
disappearing altogether, largely because more than half of the people
living in the village are over the age of 65.
Such villages are generally found in mountain villages and outlying islands.
Villages facing this sort of situation have seen the functions of a community - local government autonomy, maintaining of roads, and ceremonial occasions - rapidly declining, and are facing losing these altogether.
A hikyō station (秘境駅 hikyō eki), or "secluded station," is the name for those train stations which are located off the beaten path and considered a place good for photographers and train fans seeking photos of historical trains and spectacular nature photos. The term originates in Japan and now is also used in other areas like Taiwan, especially among train fans. These hikyō stations tend to be located in secluded wilderness areas and mountain regions which have little in the way of human habitation.
Hikyō stations are generally located in areas that previously had a sizeable human population due to mountain climbing and related activities, but currently have very few inhabitants and houses. Because of this lack of population, the trains no longer make regular stops, and train and rail fans have adopted these as popular locations for visiting. Because of the lack of regular use by passengers, the stations see little use these days, and many are being considered for closure.
Beginning with the personal site of train enthusiast Takanobu Ushiyama, and a subsequent book published in 2001 by Shogakukan, the general understanding of these hikyō stations has begun to increase.
Such villages are generally found in mountain villages and outlying islands.
Villages facing this sort of situation have seen the functions of a community - local government autonomy, maintaining of roads, and ceremonial occasions - rapidly declining, and are facing losing these altogether.
A hikyō station (秘境駅 hikyō eki), or "secluded station," is the name for those train stations which are located off the beaten path and considered a place good for photographers and train fans seeking photos of historical trains and spectacular nature photos. The term originates in Japan and now is also used in other areas like Taiwan, especially among train fans. These hikyō stations tend to be located in secluded wilderness areas and mountain regions which have little in the way of human habitation.
Hikyō stations are generally located in areas that previously had a sizeable human population due to mountain climbing and related activities, but currently have very few inhabitants and houses. Because of this lack of population, the trains no longer make regular stops, and train and rail fans have adopted these as popular locations for visiting. Because of the lack of regular use by passengers, the stations see little use these days, and many are being considered for closure.
Beginning with the personal site of train enthusiast Takanobu Ushiyama, and a subsequent book published in 2001 by Shogakukan, the general understanding of these hikyō stations has begun to increase.
29.11.12
Chonmage, Oicho and Tokoyama
The chonmage (丁髷, ちょんまげ) is a form of Japanese traditional haircut worn by men. It is most commonly associated with the Edo Period and samurai, and in recent times with sumo
wrestlers.
It was originally a method of using hair to hold a samurai helmet steady atop the head in battle, and became a status symbol among Japanese society.
A traditional Edo-era chonmage featured a shaved pate. The remaining hair, which was long, was oiled and tied into a small queue which was folded onto the top of the head in the characteristic topknot.
In modern times, the only remaining wearers of the chonmage are sumo wrestlers. This style of chonmage is slightly different, in that the pate is no longer shaved, although the hair may be thinned in this region to allow the topknot to sit more neatly.
Sumo wrestlers with sekitori status are required on certain occasions to wear their hair in a more elaborate form of topknot called an oicho or ginkgo leaf style, where the end of the topknot is splayed out to form a semicircle, resembling a hand fan (sensu).
Given the uniqueness of the style in modern Japan, the Sumo Association employs specialist hairdressers called tokoyama to cut and prepare sumo wrestlers' hair.
The chonmage is of such symbolic importance in sumo that snipping it off is the centerpiece of a wrestler's retirement ceremony. Dignitaries and other important people in a wrestler's life are invited to take one snip, with the final one taken by his trainer.
It was originally a method of using hair to hold a samurai helmet steady atop the head in battle, and became a status symbol among Japanese society.
A traditional Edo-era chonmage featured a shaved pate. The remaining hair, which was long, was oiled and tied into a small queue which was folded onto the top of the head in the characteristic topknot.
In modern times, the only remaining wearers of the chonmage are sumo wrestlers. This style of chonmage is slightly different, in that the pate is no longer shaved, although the hair may be thinned in this region to allow the topknot to sit more neatly.
Sumo wrestlers with sekitori status are required on certain occasions to wear their hair in a more elaborate form of topknot called an oicho or ginkgo leaf style, where the end of the topknot is splayed out to form a semicircle, resembling a hand fan (sensu).
Given the uniqueness of the style in modern Japan, the Sumo Association employs specialist hairdressers called tokoyama to cut and prepare sumo wrestlers' hair.
The chonmage is of such symbolic importance in sumo that snipping it off is the centerpiece of a wrestler's retirement ceremony. Dignitaries and other important people in a wrestler's life are invited to take one snip, with the final one taken by his trainer.
28.11.12
Kunimi
The ancient Japanese practice of kunimi (国見), lit. "viewing the realm", involved climbing a mountain to survey the land, often before praising it in song. It is documented in the early chronicles the Kojiki and Nihon Shoki as well as in a number of poems in the Man'yōshū.[1]
Close association with the Imperial House may suggest that kunimi was an agricultural rite imported from China; alternatively it may have been a folk practice.[1] The "blood relationship" between emperor and land gives kunimi added significance.[2]
There are a number of kunimi uta or land-viewing poems in the Man'yōshū, including MYS 1: 2 by Emperor Jomei:[1][3]
Close association with the Imperial House may suggest that kunimi was an agricultural rite imported from China; alternatively it may have been a folk practice.[1] The "blood relationship" between emperor and land gives kunimi added significance.[2]
There are a number of kunimi uta or land-viewing poems in the Man'yōshū, including MYS 1: 2 by Emperor Jomei:[1][3]
Countless are the mountains in Yamato,
But perfect is the heavenly hill of Kagu;
When I climb it and survey my realm,
Over the wide plain the smoke-wreaths rise and rise,
Over the wide lake the gulls are on the wing;
A beautiful land it is, the Land of Yamato!
Ōya stone
Ōya stone (大谷石 Ōya-ishi) is a igneous rock, created from lava and ash.
Ōya stone was famously used in the facing of Frank Lloyd Wright's Imperial Hotel in Tokyo. One reason this stone was used is because it has a warm texture and is easily carved, which allows much versatility.[1]
Ōya stone can have different colors and is also fireproof.
Ōya stone can only be found in an area 4 kilometers to the east and west by 6 kilometers to the north and south around the town of Ōya, near Utsunomiya, but there are reserves of around 600 million tons.[2]
Ōya stone was famously used in the facing of Frank Lloyd Wright's Imperial Hotel in Tokyo. One reason this stone was used is because it has a warm texture and is easily carved, which allows much versatility.[1]
Ōya stone can have different colors and is also fireproof.
Ōya stone can only be found in an area 4 kilometers to the east and west by 6 kilometers to the north and south around the town of Ōya, near Utsunomiya, but there are reserves of around 600 million tons.[2]
27.11.12
Yuzen Dyeing Method
Silk-weaving families can be traced to the 15th century in the famous Nishijin weaving center of Kyoto, where elegant fabrics worn by the emperor and the aristocracy were produced. In the 17th century, designs on textiles were applied using stencils and rice paste, in the yuzen or paste-resist method of dyeing. The yuzen method provided an imitation of aristocratic brocades, which were forbidden to commoners by sumptuary laws.[citation needed]
Moriguchi Kako of Kyoto has continued to create works of art in his yuzen-dyed kimonos, which were so sought after that the contemporary fashion industry designed an industrial method to copy them for use on Western-style clothing. Famous designers, such as Hanae Mori, borrowed extensively from kimono patterns for their couturier collections. By the late 1980s, an elegant, handwoven, dyed kimono had become extremely costly, running to US$25,000 for a formal garment.
In Okinawa the famous yuzen-dyeing method was especially effective where it was produced in the bingata stencil-dyeing techniques, which produced exquisitely colored, striking designs as artistic national treasures.[citation needed]
Yuzen: the art of silk dyeing was introduced to Nagoya city by craftsmen from Kyoto during the rule of the Owari Togukawa. The initial designs were extravagant and brightly coloured, but over time became more muted and light-coloured.
Other methods of resist dyeing are Rōketsuzome with wax, Katazome and Tsutsugaki with rice-paste.[1]
Birodo yuzen, or yuzen birodo, describes velvet dyed and painted using the yuzen process where the pile is cut away in deep and light layers, creating a painterly effect of light and shade.[2] The technique first appeared in the nineteenth century and was described in 1905 by Basil Hall Chamberlain.[3] Although Chamberlain describes the technique under the heading of embroidery, birodo yuzen is not actually embroidered, but uses a cut-velvet technique to reproduce paintings and photographs.[3] Although technically a form of velvet painting, birodo yuzen works are not like the Western and Middle-Eastern velvet paintings which use velvet as a canvas.
Moriguchi Kako of Kyoto has continued to create works of art in his yuzen-dyed kimonos, which were so sought after that the contemporary fashion industry designed an industrial method to copy them for use on Western-style clothing. Famous designers, such as Hanae Mori, borrowed extensively from kimono patterns for their couturier collections. By the late 1980s, an elegant, handwoven, dyed kimono had become extremely costly, running to US$25,000 for a formal garment.
In Okinawa the famous yuzen-dyeing method was especially effective where it was produced in the bingata stencil-dyeing techniques, which produced exquisitely colored, striking designs as artistic national treasures.[citation needed]
Yuzen: the art of silk dyeing was introduced to Nagoya city by craftsmen from Kyoto during the rule of the Owari Togukawa. The initial designs were extravagant and brightly coloured, but over time became more muted and light-coloured.
Other methods of resist dyeing are Rōketsuzome with wax, Katazome and Tsutsugaki with rice-paste.[1]
Birodo yuzen, or yuzen birodo, describes velvet dyed and painted using the yuzen process where the pile is cut away in deep and light layers, creating a painterly effect of light and shade.[2] The technique first appeared in the nineteenth century and was described in 1905 by Basil Hall Chamberlain.[3] Although Chamberlain describes the technique under the heading of embroidery, birodo yuzen is not actually embroidered, but uses a cut-velvet technique to reproduce paintings and photographs.[3] Although technically a form of velvet painting, birodo yuzen works are not like the Western and Middle-Eastern velvet paintings which use velvet as a canvas.
Momijigari aka Kanpūkai
Momijigari (紅葉狩), from the Japanese momiji (紅葉), "red leaves" or "maple tree" and kari (狩り), "hunting", is the Japanese tradition of going to visit scenic areas where leaves have turned red in the autumn.
It is also called kanpūkai (観楓会).[1] in Hokkaidō[2]
Many Japanese people take part in this, with the cities of Nikkō and Kyoto being particularly famous destinations.
The tradition is said to have originated in the Heian era as a cultured pursuit, and is the reason why many deciduous trees can be found in the Kyoto area.
There is also a tradition of going to see areas where grasses change colour, such as on the Oze plain.
The Heian period (平安時代 Heian jidai) is the last division of classical Japanese history, running from 794 to 1185.[1] The period is named after the capital city of Heian-kyō, or modern Kyōto. It is the period in Japanese history when Buddhism, Taoism and other Chinese influences were at their height.
Oze Marshland (尾瀬ヶ原 Oze-ga-hara) is a high altitude marshland in the Oze National Park, Japan.
It is also called kanpūkai (観楓会).[1] in Hokkaidō[2]
Many Japanese people take part in this, with the cities of Nikkō and Kyoto being particularly famous destinations.
The tradition is said to have originated in the Heian era as a cultured pursuit, and is the reason why many deciduous trees can be found in the Kyoto area.
There is also a tradition of going to see areas where grasses change colour, such as on the Oze plain.
The Heian period (平安時代 Heian jidai) is the last division of classical Japanese history, running from 794 to 1185.[1] The period is named after the capital city of Heian-kyō, or modern Kyōto. It is the period in Japanese history when Buddhism, Taoism and other Chinese influences were at their height.
Oze Marshland (尾瀬ヶ原 Oze-ga-hara) is a high altitude marshland in the Oze National Park, Japan.
26.11.12
Bijinga
Bijinga (美人画 bijin-ga, lit. "beautiful person picture") is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography.
The term can also be used for modern media, provided the image conforms to a somewhat classic representation of a woman, usually depicted wearing kimono.
Nearly all ukiyo-e artists produced bijin-ga, it being one of the central themes of the genre.
However, a few, including Utamaro, Suzuki Harunobu, Itō Shinsui, Toyohara Chikanobu and Torii Kiyonaga, are widely regarded as the greatest innovators and masters of the form.
The term can also be used for modern media, provided the image conforms to a somewhat classic representation of a woman, usually depicted wearing kimono.
Nearly all ukiyo-e artists produced bijin-ga, it being one of the central themes of the genre.
However, a few, including Utamaro, Suzuki Harunobu, Itō Shinsui, Toyohara Chikanobu and Torii Kiyonaga, are widely regarded as the greatest innovators and masters of the form.
25.11.12
Amigurumi
Amigurumi (編みぐるみ, lit. crocheted or knitted stuffed toy) is the Japanese art of knitting or crocheting small stuffed animals and anthropomorphic creatures.
The word is derived from a combination of the Japanese words ami, meaning crocheted or knitted, and nuigurumi, meaning stuffed doll.[1]
Amigurumi are typically animals, but can include artistic renderings or inanimate objects endowed with anthropomorphic features,[2] as is typical in Japanese culture.
Amigurumi have no practical use; they are created and collected for aesthetic reasons.[2]
An online fad for creating and collecting amigurumi began in 2003.[3] By 2006, amigurumi were reported to be the most popular items on Etsy, an online craft marketplace, where they typically sold for $10 to $100.[3]
The word is derived from a combination of the Japanese words ami, meaning crocheted or knitted, and nuigurumi, meaning stuffed doll.[1]
Amigurumi are typically animals, but can include artistic renderings or inanimate objects endowed with anthropomorphic features,[2] as is typical in Japanese culture.
Amigurumi have no practical use; they are created and collected for aesthetic reasons.[2]
An online fad for creating and collecting amigurumi began in 2003.[3] By 2006, amigurumi were reported to be the most popular items on Etsy, an online craft marketplace, where they typically sold for $10 to $100.[3]
Dōbutsu uranai
Dōbutsu uranai (動物占い in Japanese) or zoological fortune-telling is a recent Japanese divination trend based on an animal horoscope.
Each person is categorized into an animal-type based on their birthdate, and based on their animal-type they are supposed to have certain personality traits.
There are four categories of animals, each representing a position on two axes: self-centered vs. mindful of others and focused vs. easily distracted.
Each person is categorized into an animal-type based on their birthdate, and based on their animal-type they are supposed to have certain personality traits.
There are four categories of animals, each representing a position on two axes: self-centered vs. mindful of others and focused vs. easily distracted.
24.11.12
2 Types of Kamizumō
Originally, kamizumo (神相撲) was practiced as a Shinto ritual, part of the shrine dedication ceremony at the Hachiman shrine in Yoshitomi. Every four years, performers use articulated wooden dolls, manipulated from below by puppeteers known as odoriko to enact a sumo bout at the shrine. Up to twelve puppets are used, representing the kami of the East and West. The outcome is prearranged; in the second round, the West triumphs thanks to the appearance of the kami Sumiyoshi.[1][2]
More recently, kamizumo (紙相撲) has developed into a children's game, in which two paper or cardboard effigies of sumo wrestlers are placed facing each other and manipulated (either indirectly by vibration of the playing surface or with a stick) until one either falls or is moved out of the playing area.[3][4]
A Hachiman shrine (八幡神社 Hachiman Jinja, also Hachiman-gū (八幡宮?)) is a Shinto shrine dedicated to kami Hachiman.[1]
In Japanese mythology, Hachiman (八神 Hachiman-jin/Yahata no kami) is the Japanese syncretic god of archery and war,[1][2][3] incorporating elements from both Shinto and Buddhism.[4]
More recently, kamizumo (紙相撲) has developed into a children's game, in which two paper or cardboard effigies of sumo wrestlers are placed facing each other and manipulated (either indirectly by vibration of the playing surface or with a stick) until one either falls or is moved out of the playing area.[3][4]
A Hachiman shrine (八幡神社 Hachiman Jinja, also Hachiman-gū (八幡宮?)) is a Shinto shrine dedicated to kami Hachiman.[1]
In Japanese mythology, Hachiman (八神 Hachiman-jin/Yahata no kami) is the Japanese syncretic god of archery and war,[1][2][3] incorporating elements from both Shinto and Buddhism.[4]
23.11.12
Nakizumō
Nakizumō (Japanese 泣き 相撲,"crying sumo"), also Konaki Sumo / Konakizumō (子 泣き 相撲, "children crying sumo") is a yearly event festival (matsuri) in some regions of Japan.
At this festival the Sumo wrestlers make the babies cry. The festival is for the blessing of children, so that they remain healthy and strong.
The most popular festival is the Nakizumō from Ikiko Shrine (生子 神社 の 泣き 相撲) in Momiyama-machi, Kanuma, Tochigi Prefecture. Another known festival is held at Saikyo-ji Buddhist temple in Hirado, Nagasaki Prefecture.
The most popular festival is the Nakizumō from Ikiko Shrine (生子 神社 の 泣き 相撲) in Momiyama-machi, Kanuma, Tochigi Prefecture. Another known festival is held at Saikyo-ji Buddhist temple in Hirado, Nagasaki Prefecture.
21.11.12
Yaki-imo and Sweet Potatoes In Asia
In China, sweet potatoes, typically of the yellow variety, are baked in a large iron drum, and sold as street food during winter.[32]
In Japan, this is called yaki-imo (roasted sweet potato), which typically uses either the yellow-fleshed Japanese sweet potato or the purple-fleshed (Okinawan) sweet potato.
In Japan, boiled sweet potato is the most common way to eat it at home. Also, the use in vegetable tempura is common.
Daigaku-imo is a baked sweet potato dessert. Because it is sweet and starchy, it is used in imo-kinton and some other wagashi (Japanese sweets), such as ofukuimo.
Shōchū, a Japanese spirit normally made from the fermentation of rice, can also be made from sweet potato, in which case it is called imo-jōchū.
Imo-gohan, sweet potato cooked with rice, is popular in Guangdong, Taiwan and Japan. It is also served in nimono or nitsuke, boiled and typically flavored with soy sauce, mirin and dashi.
Nimono (煮物) is a simmered dish in Japanese cuisine.
Mirin (味醂 or みりん) is an essential condiment used in Japanese cuisine, consisting of 40%–50% sugar.[1] It is a kind of sweet rice wine similar to sake, but with a lower alcohol content.
Dashi (出汁, だし) is a class of soup and cooking stock used in Japanese cuisines.
In Japan, this is called yaki-imo (roasted sweet potato), which typically uses either the yellow-fleshed Japanese sweet potato or the purple-fleshed (Okinawan) sweet potato.
In Japan, boiled sweet potato is the most common way to eat it at home. Also, the use in vegetable tempura is common.
Daigaku-imo is a baked sweet potato dessert. Because it is sweet and starchy, it is used in imo-kinton and some other wagashi (Japanese sweets), such as ofukuimo.
Shōchū, a Japanese spirit normally made from the fermentation of rice, can also be made from sweet potato, in which case it is called imo-jōchū.
Imo-gohan, sweet potato cooked with rice, is popular in Guangdong, Taiwan and Japan. It is also served in nimono or nitsuke, boiled and typically flavored with soy sauce, mirin and dashi.
Nimono (煮物) is a simmered dish in Japanese cuisine.
Mirin (味醂 or みりん) is an essential condiment used in Japanese cuisine, consisting of 40%–50% sugar.[1] It is a kind of sweet rice wine similar to sake, but with a lower alcohol content.
Dashi (出汁, だし) is a class of soup and cooking stock used in Japanese cuisines.
Sakko, Ohaguro, Kanzashi and Erikae
The sakko hairstyle is used by maiko today, but was used in the Edo period for a wife to show dedication to her husband.
Maiko use it for a ceremony called Erikae.
Maiko use black wax to stain their teeth (ohaguro) as well as this.
Crane items kanzashi are added as well as tortoiseshell items.
Erikae (襟替え, the turning of the collar) is a ceremony where a maiko (an apprentice geisha) becomes a geisha and begins to wear the white collar of a geisha instead of the red worn by apprentices. Her hairstyle would also be changed to the shimada worn by older women, from the ofuku-style.
Maiko (まいこ, マイコ) is a Japanese word for dancing girl and is an apprentice geisha.
Kanzashi (簪) are hair ornaments used in traditional Japanese hairstyles. Some believe they may also have been used for defence in an emergency.
Maiko use it for a ceremony called Erikae.
Maiko use black wax to stain their teeth (ohaguro) as well as this.
Crane items kanzashi are added as well as tortoiseshell items.
Erikae (襟替え, the turning of the collar) is a ceremony where a maiko (an apprentice geisha) becomes a geisha and begins to wear the white collar of a geisha instead of the red worn by apprentices. Her hairstyle would also be changed to the shimada worn by older women, from the ofuku-style.
Maiko (まいこ, マイコ) is a Japanese word for dancing girl and is an apprentice geisha.
Kanzashi (簪) are hair ornaments used in traditional Japanese hairstyles. Some believe they may also have been used for defence in an emergency.
20.11.12
Sen'nin
The Japanese term sennin is a loanword from Middle Chinese SenNyin 仙人 "immortal person", known also as xian "immortal; transcendent; genie; mage; djinn; sage; hermit" in Daoism.
Sennin is a common Japanese character name. For example, Ikkaku Sennin (一角仙人 "One-horned Immortal") was a Noh play by Komparu Zenchiku (金春禅竹, 1405–1471). The Japanese legend of Gama Sennin (蝦蟇仙人 "Toad Immortal") is based upon Chinese Liu Hai (劉海), a fabled 10th-century alchemist who learned the secret of immortality from the Chan Chu ("Three-legged Money Toad").
Sennin image was perpetuated in many Japanese legends, art, miniature sculpture (netsuke).
Sennin is a common Japanese character name. For example, Ikkaku Sennin (一角仙人 "One-horned Immortal") was a Noh play by Komparu Zenchiku (金春禅竹, 1405–1471). The Japanese legend of Gama Sennin (蝦蟇仙人 "Toad Immortal") is based upon Chinese Liu Hai (劉海), a fabled 10th-century alchemist who learned the secret of immortality from the Chan Chu ("Three-legged Money Toad").
Sennin image was perpetuated in many Japanese legends, art, miniature sculpture (netsuke).
- Dragon Ball (anime and manga), contains a hermit character known as the Kame-Sen'nin, Turtle Sage, or Master Roshi.
- Naruto (anime and manga), is usually translated to sage (a hermit), using the novelized sense that the hermit is a wise old man that aids the protagonists in their quest towards some good end. The sennin are usually represented by both human and anthropomorphic toads.
HEATTECH
One of UNIQLO’s main products is HEATTECH.
It keeps people warm, so it is useful in winter. It is thin and comfortable, so people can wear many layers of clothing easily. Also it has some good functions: it keeps in heat, and dries quickly. HEATTECH material has odor control, is anti-static, and stretches. Moreover, there are a variety of HEATTECH products, including: T-shirts, turtlenecks, underwear, leggings, and socks.[4] Furthermore, heattech jeans have gotten attention for keeping people warm.[5]
UNIQLO is a Tokyo fashion and clothing company. It is a fast growing company, one of the five biggest specialty fashion retailers in the world.[1] UNIQLO has shops in 11 countries. The main shop is Japan. There are many shops around the world, USA, China, France, Hong Kong, Japan, Korea, Malaysia, Russia, Singapore, Taiwan, Thailand, and the UK.[2]
It keeps people warm, so it is useful in winter. It is thin and comfortable, so people can wear many layers of clothing easily. Also it has some good functions: it keeps in heat, and dries quickly. HEATTECH material has odor control, is anti-static, and stretches. Moreover, there are a variety of HEATTECH products, including: T-shirts, turtlenecks, underwear, leggings, and socks.[4] Furthermore, heattech jeans have gotten attention for keeping people warm.[5]
UNIQLO is a Tokyo fashion and clothing company. It is a fast growing company, one of the five biggest specialty fashion retailers in the world.[1] UNIQLO has shops in 11 countries. The main shop is Japan. There are many shops around the world, USA, China, France, Hong Kong, Japan, Korea, Malaysia, Russia, Singapore, Taiwan, Thailand, and the UK.[2]
19.11.12
Akanbe
Akanbe (あかんべえ Akanbee), also spelt Akkanbee (あっかんべー, アッカンベー), is a Japanese facial gesture.
It consists of someone pulling down their lower eyelid to expose the red underside towards someone. It is considered an immature taunting gesture.[1] It is often accompanied by the person sticking their tongue out.
The use of the term was first mentioned by early 20th century author Katai Tayama, in his 1909 story Inaka Kyōshi (田舎教師 Rural Teacher), as a gesture used by the male students in the story. In the story, it gives the etymology as a corruption of akai me (赤い目 red eye).[2]
The gesture is used often in manga and anime by tsundere characters.
Tsundere (ツンデレ, pronounced [tsɯndeɽe]) is a Japanese character development process that describes a person who is initially cold and even hostile towards another person before gradually showing his or her warm side over time. The word is derived from the terms tsun tsun (ツンツン), meaning to turn away in disgust, and dere dere (デレデレ) meaning to become 'lovey dovey'.[1]
It consists of someone pulling down their lower eyelid to expose the red underside towards someone. It is considered an immature taunting gesture.[1] It is often accompanied by the person sticking their tongue out.
The use of the term was first mentioned by early 20th century author Katai Tayama, in his 1909 story Inaka Kyōshi (田舎教師 Rural Teacher), as a gesture used by the male students in the story. In the story, it gives the etymology as a corruption of akai me (赤い目 red eye).[2]
The gesture is used often in manga and anime by tsundere characters.
Tsundere (ツンデレ, pronounced [tsɯndeɽe]) is a Japanese character development process that describes a person who is initially cold and even hostile towards another person before gradually showing his or her warm side over time. The word is derived from the terms tsun tsun (ツンツン), meaning to turn away in disgust, and dere dere (デレデレ) meaning to become 'lovey dovey'.[1]
Otaku, Wota, Rekijo and Akiba-kei/chan
Otaku (おたく / オタク) is a Japanese term used to refer to people with obsessive interests, particularly (but not limited to) anime, manga or Japanese video games.
Otaku is derived from a Japanese term for another's house or family (お宅, otaku).
In modern Japanese slang, the term otaku is most often equivalent to "geek".[3] However, it can relate to a fan of any particular theme, topic, hobby or any form of entertainment.[4]
The former Prime Minister of Japan Taro Aso also claimed himself to be an otaku, using this subculture to promote Japan in foreign affairs.[5]
On the matter, in recent years "idol otaku" are naming themselves simply as Wota (ヲタ) as a way to differentiate from traditional otaku. The word was derived by dropping the last mora, leaving ota (オタ) and then replacing o (オ) with the identically sounding character wo (ヲ), leaving the pronunciation unchanged.[6]
Akiba-kei (秋葉系) or Akiba-chan'' (秋葉ちゃん) is a Japanese slang term for "Akihabara style." Akihabara is a district in Tokyo where many otaku, or obsessive anime, manga, and video game fans are known to gather.
The otaku term can be applied for both males and females.
Reki-jo are female otaku interested in Japanese history.
Otaku is derived from a Japanese term for another's house or family (お宅, otaku).
In modern Japanese slang, the term otaku is most often equivalent to "geek".[3] However, it can relate to a fan of any particular theme, topic, hobby or any form of entertainment.[4]
The former Prime Minister of Japan Taro Aso also claimed himself to be an otaku, using this subculture to promote Japan in foreign affairs.[5]
On the matter, in recent years "idol otaku" are naming themselves simply as Wota (ヲタ) as a way to differentiate from traditional otaku. The word was derived by dropping the last mora, leaving ota (オタ) and then replacing o (オ) with the identically sounding character wo (ヲ), leaving the pronunciation unchanged.[6]
Akiba-kei (秋葉系) or Akiba-chan'' (秋葉ちゃん) is a Japanese slang term for "Akihabara style." Akihabara is a district in Tokyo where many otaku, or obsessive anime, manga, and video game fans are known to gather.
The otaku term can be applied for both males and females.
Reki-jo are female otaku interested in Japanese history.
18.11.12
Neko Chigura/Tsugura
Neko Chigura or Neko Tsugura is a kind of cat house made of straw in Japan.
It is a folk craft of Sekikawa, Niigata, or Akiyamago (the area of Tsunan, Niigata and Sakae, Nagano).
It is called "Neko-chigura" in Sekikawa, and "Neko-tsugura" in Akiyamago.
Chigura or tsugura is written as "稚座" in kanji, and means basket in the Niigata dialect where there is the custom to use rice straw baskets for babies. Niigata constitutes, in fact, a rice granary and the basket industry is a side business in the winter season when the prefecture becomes snowbound.[1]
Presently, chigura for cats vary in shape according to the originality of the producer. There are two common types: Pillbox type and pot-shaped type, there are also some basket types. As cats seem to prefer small enclosed spaces, they like neko-chigura to sleep in.
It is a folk craft of Sekikawa, Niigata, or Akiyamago (the area of Tsunan, Niigata and Sakae, Nagano).
It is called "Neko-chigura" in Sekikawa, and "Neko-tsugura" in Akiyamago.
Chigura or tsugura is written as "稚座" in kanji, and means basket in the Niigata dialect where there is the custom to use rice straw baskets for babies. Niigata constitutes, in fact, a rice granary and the basket industry is a side business in the winter season when the prefecture becomes snowbound.[1]
Presently, chigura for cats vary in shape according to the originality of the producer. There are two common types: Pillbox type and pot-shaped type, there are also some basket types. As cats seem to prefer small enclosed spaces, they like neko-chigura to sleep in.
17.11.12
Himono
Himono (干物): dried fish, often aji (鯵, Japanese jack mackerel).
Traditionally served for breakfast with rice, miso soup and pickles.
Traditionally served for breakfast with rice, miso soup and pickles.
16.11.12
Hitaikakushi
Hitaikakushi (額隠) is a white piece of triangular paper or cloth worn on the head by Yūrei in Japanese folklore.
Yūrei (幽霊) are figures in Japanese folklore, analogous to Western legends of ghosts.
Yūrei (幽霊) are figures in Japanese folklore, analogous to Western legends of ghosts.
Mokumokuren
In Japanese Mythology, Mokumokuren (目目連) are spirits that live in torn shōji
(Japanese paper sliding walls).
If the shōji has many holes, eyes can sometimes be seen on it, which, if looked at long enough, can make people blind.
The only way to remove the spirit from the wall is to patch up the holes in it. Mokumokuren is said to be an invention of Toriyama Sekien.
Toriyama Sekien (鳥山 石燕, 1712 – September 22, 1788) was an 18th century scholar and ukiyo-e artist of Japanese folklore. Toriyama is most famous for his attempt to catalogue all species of yōkai in the Hyakki Yagyō series.[1]
If the shōji has many holes, eyes can sometimes be seen on it, which, if looked at long enough, can make people blind.
The only way to remove the spirit from the wall is to patch up the holes in it. Mokumokuren is said to be an invention of Toriyama Sekien.
Toriyama Sekien (鳥山 石燕, 1712 – September 22, 1788) was an 18th century scholar and ukiyo-e artist of Japanese folklore. Toriyama is most famous for his attempt to catalogue all species of yōkai in the Hyakki Yagyō series.[1]
15.11.12
Kōshien Stadium
Hanshin Koshien Stadium (阪神甲子園球場 Hanshin Kōshien Kyūjō) is a baseball park located near Kobe in Nishinomiya, Hyōgo Prefecture, Japan.
The stadium was built to host the national high school baseball tournaments, and opened on August 1, 1924.
It was the largest stadium in Asia at the time it was completed, with a capacity of 55,000.
The name Kōshien (甲子園) comes from the Sexagenary cycle system. The year of the stadium's founding, 1924, was the first year kōshi (甲子) in the cycle. The design of the stadium was heavily influenced by the Polo Grounds in New York City. In 1936 it became the home stadium for the Osaka Tigers (current Hanshin Tigers), now with the Central League. On February 14, 1964, Hanshin, the Tigers' owners, was appended to the name of Koshien Stadium.
In addition to the annual National High School Baseball Championship, played in August, the stadium hosts the annual National High School Baseball Invitational Tournament in March, a smaller, invitational tournament. Both tournaments are generally known simply as Kōshien. The high school tournaments are given a higher priority, with any tournament games that need to be rescheduled forcing the Tigers to postpone conflicting home games.
In Japan, high school baseball (高校野球: kōkō yakyū) generally refers to the two annual baseball tournaments played by high schools nationwide culminating at a final showdown at Hanshin Kōshien Stadium in Nishinomiya, Japan.
The stadium was built to host the national high school baseball tournaments, and opened on August 1, 1924.
- Japanese High School Baseball Championship, commonly called Summer Kōshien
- Japanese High School Baseball Invitational Tournament, commonly called Spring Kōshien
It was the largest stadium in Asia at the time it was completed, with a capacity of 55,000.
The name Kōshien (甲子園) comes from the Sexagenary cycle system. The year of the stadium's founding, 1924, was the first year kōshi (甲子) in the cycle. The design of the stadium was heavily influenced by the Polo Grounds in New York City. In 1936 it became the home stadium for the Osaka Tigers (current Hanshin Tigers), now with the Central League. On February 14, 1964, Hanshin, the Tigers' owners, was appended to the name of Koshien Stadium.
In addition to the annual National High School Baseball Championship, played in August, the stadium hosts the annual National High School Baseball Invitational Tournament in March, a smaller, invitational tournament. Both tournaments are generally known simply as Kōshien. The high school tournaments are given a higher priority, with any tournament games that need to be rescheduled forcing the Tigers to postpone conflicting home games.
In Japan, high school baseball (高校野球: kōkō yakyū) generally refers to the two annual baseball tournaments played by high schools nationwide culminating at a final showdown at Hanshin Kōshien Stadium in Nishinomiya, Japan.
Kamikakushi and Onikakushi
The expression to "spirit away" means to remove without anyone's noticing.
Kamikakushi (神隠し, lit. "hidden by gods") means "spirited away". Kamikakushi, in Japanese folklore, is used to refer to the mysterious disappearance of a person that happens when an angered god takes a person away.
The word Onikakushi, "hidden by demons", is used for the same purpose, just that instead of an angered god, it's a demon who takes the person away.
In the anime film Spirited Away (千と千尋の神隠し Sen to Chihiro no Kamikakushi, Sen and Chihiro's Spiriting Away), the main protagonist, Chihiro, is "spirited away" from reality to the spirit world.
Kamikakushi (神隠し, lit. "hidden by gods") means "spirited away". Kamikakushi, in Japanese folklore, is used to refer to the mysterious disappearance of a person that happens when an angered god takes a person away.
The word Onikakushi, "hidden by demons", is used for the same purpose, just that instead of an angered god, it's a demon who takes the person away.
In the anime film Spirited Away (千と千尋の神隠し Sen to Chihiro no Kamikakushi, Sen and Chihiro's Spiriting Away), the main protagonist, Chihiro, is "spirited away" from reality to the spirit world.
14.11.12
Hibagon
The Hibagon (ヒバゴン) or Hinagon (ヒナゴン)[citation needed] is the Japanese equivalent of the North American Bigfoot[citation needed] or the Himalayan Yeti.[citation needed]
The Hibagon is a mythical Japanese hominid and is described as a "black creature with white hands and large white feet, standing about five feet tall."[citation needed]
Sightings have been reported in "forested, mountainous areas of the country," [1] around Mount Hiba[citation needed] in the Hiroshima Prefecture[citation needed] and has been said to resemble a gorilla.[2]
Japanese Boy Scouts, "claim to find footprints 25 cm (10 in) long and 15 cm (6 in) wide."[citation needed]
As with "most hominid cryptids, the Hibagon is said to have a most unpleasant stench, like a decomposing human body."[3][4]
The Hibagon is a mythical Japanese hominid and is described as a "black creature with white hands and large white feet, standing about five feet tall."[citation needed]
Sightings have been reported in "forested, mountainous areas of the country," [1] around Mount Hiba[citation needed] in the Hiroshima Prefecture[citation needed] and has been said to resemble a gorilla.[2]
"The Hibagon has a snub nose, large deep glaring eyes and is covered with bristles. Theories to account for this cryptid range from a gorilla, a wild man, or a deserter from the Japanese army, to an individual ravaged by atomic radiation from the nuclear attack on Hiroshima."[citation needed]A sighting from 1972 reports that the creature "has a chocolate brown face and is covered with brown hair ... [and] is said to have 'deep glaring eyes', in two reports by a Mr. Sazawa and a Mrs. Harada, the creature took no hostile action and fled from four armed residents intent on hunting it."[citation needed]
Japanese Boy Scouts, "claim to find footprints 25 cm (10 in) long and 15 cm (6 in) wide."[citation needed]
As with "most hominid cryptids, the Hibagon is said to have a most unpleasant stench, like a decomposing human body."[3][4]
13.11.12
Onbashira: Yamadashi, Ki-otoshi, Satobiki and Hoden
Onbashira (御柱) is a festival held every six years[1] in the Lake Suwa area of Nagano, Japan.
The purpose of the festival is to symbolically renew the Suwa Taisha or Suwa Grand Shrine.
"Onbashira" can be literally translated as "the honored pillars".
The Onbashira festival is reputed to have continued, uninterrupted, for 1200 years.
The festival is held once every six years, in the years of the Monkey and the Tiger in the Chinese Zodiac, however the locals may say "once in seven years," because of the traditional Japanese custom of including the current year when counting a length of time.
Onbashira lasts several months, and consists of two segments, Yamadashi and Satobiki. Yamadashi traditionally takes place in April, and Satobiki takes place in May.
"Yamadashi" literally means "coming out of the mountains." Before this portion of the festival, huge trees are cut down in a Shinto ceremony using axes and adzes specially manufactured for this single use. The logs are decorated in red and white regalia, the traditional colors of Shinto ceremonies, and ropes are attached. During Yamadashi, Teams of men drag the logs down the mountain towards the four shrines of Suwa Taisha. The course of the logs goes over rough terrain, and at certain points the logs must be skidded or dropped down steep slopes.
Young men prove their bravery by riding the logs down the hill in a ceremony known as "Ki-otoshi."
"Satobiki" festival involves the symbolic placement of the new logs to support the foundation of the shrine buildings. The logs are raised by hand, with a ceremonial group of log bearers who ride the log as it is being raised and sing from the top of the log to announce the successful raising. This ceremony was performed as part of the opening ceremonies of the Nagano Olympics in 1998.
After two festivals, there is an important event "Building of Hoden". This event isn't generally famous, and few people know that the event is held even among people who live nearby and participate in Yamadashi and Satobiki. The end of this event marks the end of Onbashira.
The purpose of the festival is to symbolically renew the Suwa Taisha or Suwa Grand Shrine.
"Onbashira" can be literally translated as "the honored pillars".
The Onbashira festival is reputed to have continued, uninterrupted, for 1200 years.
The festival is held once every six years, in the years of the Monkey and the Tiger in the Chinese Zodiac, however the locals may say "once in seven years," because of the traditional Japanese custom of including the current year when counting a length of time.
Onbashira lasts several months, and consists of two segments, Yamadashi and Satobiki. Yamadashi traditionally takes place in April, and Satobiki takes place in May.
"Yamadashi" literally means "coming out of the mountains." Before this portion of the festival, huge trees are cut down in a Shinto ceremony using axes and adzes specially manufactured for this single use. The logs are decorated in red and white regalia, the traditional colors of Shinto ceremonies, and ropes are attached. During Yamadashi, Teams of men drag the logs down the mountain towards the four shrines of Suwa Taisha. The course of the logs goes over rough terrain, and at certain points the logs must be skidded or dropped down steep slopes.
Young men prove their bravery by riding the logs down the hill in a ceremony known as "Ki-otoshi."
"Satobiki" festival involves the symbolic placement of the new logs to support the foundation of the shrine buildings. The logs are raised by hand, with a ceremonial group of log bearers who ride the log as it is being raised and sing from the top of the log to announce the successful raising. This ceremony was performed as part of the opening ceremonies of the Nagano Olympics in 1998.
After two festivals, there is an important event "Building of Hoden". This event isn't generally famous, and few people know that the event is held even among people who live nearby and participate in Yamadashi and Satobiki. The end of this event marks the end of Onbashira.
12.11.12
Inemuri
Yatate
Yatate (矢立) are small personal smoking-pipe-shaped writing sets from medieval Japan which provided a carrying box for the ink cotton, and a shaft for a brush (and possibly a letter opener).
Yatate literally means "Arrow Stand" ("ya-tate"). The name comes from the practice of early bushi who kept ink stones inside their arrow stands.
Japanese writing was traditionally done using the writing set inspired from China: an inking stone, a small stick of solid ink (sumi) (which is turned to usable liquid ink by grinding on the inking stone and watering), and brushes. The complete set was easily portable and took time to prepare the materials for writing.[1][2]
During the Kamakura era (1185–1333), the idea of ink-saturated cotton was developed. By touching a calligraphy brush to the cotton, one could ink the bristles with reduced risk of dripping or spilling ink. By enclosing the cotton in a little box ("sumi tsubo"), a writing set was made convenient and portable.
The first yatate were long boxes, with the ink compartment in the axis of the pen. The "smoking pipe" shape was designed to increase the quantity of available ink. In the late Edo era, another design was developed, with the ink box attached to the pen shaft by a chain; the ink box was used as a netsuke to fix the yatate to the belt, while other yatate are simply put in the belt like a fan.
As only members of the samurai caste were permitted to carry katana, some yatate were designed to be used for self-defense. Some late yatate were made of a special alloy of gold and copper called shakudo, specifically designed to turn purple-black over time, and give the yatate its finish.
Netsuke (Japanese:根付) are miniature sculptures that were invented in 17th-century Japan to serve a practical function. Traditional Japanese garments—robes called kosode and kimono—had no pockets; however, men who wore them needed a place to store their personal belongings, such as pipes, tobacco, money, seals, or medicines.
Yatate literally means "Arrow Stand" ("ya-tate"). The name comes from the practice of early bushi who kept ink stones inside their arrow stands.
Japanese writing was traditionally done using the writing set inspired from China: an inking stone, a small stick of solid ink (sumi) (which is turned to usable liquid ink by grinding on the inking stone and watering), and brushes. The complete set was easily portable and took time to prepare the materials for writing.[1][2]
During the Kamakura era (1185–1333), the idea of ink-saturated cotton was developed. By touching a calligraphy brush to the cotton, one could ink the bristles with reduced risk of dripping or spilling ink. By enclosing the cotton in a little box ("sumi tsubo"), a writing set was made convenient and portable.
The first yatate were long boxes, with the ink compartment in the axis of the pen. The "smoking pipe" shape was designed to increase the quantity of available ink. In the late Edo era, another design was developed, with the ink box attached to the pen shaft by a chain; the ink box was used as a netsuke to fix the yatate to the belt, while other yatate are simply put in the belt like a fan.
As only members of the samurai caste were permitted to carry katana, some yatate were designed to be used for self-defense. Some late yatate were made of a special alloy of gold and copper called shakudo, specifically designed to turn purple-black over time, and give the yatate its finish.
Netsuke (Japanese:根付) are miniature sculptures that were invented in 17th-century Japan to serve a practical function. Traditional Japanese garments—robes called kosode and kimono—had no pockets; however, men who wore them needed a place to store their personal belongings, such as pipes, tobacco, money, seals, or medicines.
11.11.12
Buke: Onna-bugeisha
Its modern sense may be derived from a term referring to the armed nobility from which the samurai class arose.
Note that buke is a gender neutral term unlike samurai or onna bugeisha and is a generalization for the upper class.
An onna-bugeisha (女武芸者) was a type of female warrior belonging to the Japanese upper class.
Many wives, widows, daughters, and rebels answered the call of duty by engaging in battle, commonly alongside samurai men. They were members of the bushi (samurai) class in feudal Japan and were trained in the use of weapons to protect their household, family, and honor in times of war. Such training ensured protection in communities that lacked male fighters.
They also represented a divergence from the traditional "housewife" role of the Japanese woman.
During the earlier Heian and Kamakura periods, women who were prominent on the battlefield were the exception rather than the rule. Japanese ideals of femininity predisposed most women to powerlessness, in conflict with a female warrior role.[2] Women warriors were nonetheless pioneers in this role, and some even went on to lead their own clans.
They are sometimes mistakenly referred to as female samurai, although this is an oversimplification. Onna bugeisha were very important people in ancient Japan. Significant icons such as Empress Jingu, Tomoe Gozen, Nakano Takeko, and Hōjō Masako were all onna bugeisha who came to have a significant impact on Japan.
Note that buke is a gender neutral term unlike samurai or onna bugeisha and is a generalization for the upper class.
An onna-bugeisha (女武芸者) was a type of female warrior belonging to the Japanese upper class.
Many wives, widows, daughters, and rebels answered the call of duty by engaging in battle, commonly alongside samurai men. They were members of the bushi (samurai) class in feudal Japan and were trained in the use of weapons to protect their household, family, and honor in times of war. Such training ensured protection in communities that lacked male fighters.
They also represented a divergence from the traditional "housewife" role of the Japanese woman.
During the earlier Heian and Kamakura periods, women who were prominent on the battlefield were the exception rather than the rule. Japanese ideals of femininity predisposed most women to powerlessness, in conflict with a female warrior role.[2] Women warriors were nonetheless pioneers in this role, and some even went on to lead their own clans.
They are sometimes mistakenly referred to as female samurai, although this is an oversimplification. Onna bugeisha were very important people in ancient Japan. Significant icons such as Empress Jingu, Tomoe Gozen, Nakano Takeko, and Hōjō Masako were all onna bugeisha who came to have a significant impact on Japan.
Ikenobō
Ikenobō (池坊 Ikenobō) is a school of Ikebana, or Japanese floral art.
It is the oldest school of Ikebana in Japan, having been founded in the 15th century by the Buddhist monk Ikenobō Senno.
The school, currently headed by its 45th generation Iemoto (headmaster), Ikenobō Sen'ei, is based in the Rokkaku-dō Temple in Kyoto. Additionally, it has various chapters around the world.
It is the oldest school of Ikebana in Japan, having been founded in the 15th century by the Buddhist monk Ikenobō Senno.
The school, currently headed by its 45th generation Iemoto (headmaster), Ikenobō Sen'ei, is based in the Rokkaku-dō Temple in Kyoto. Additionally, it has various chapters around the world.
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