Yamato Transport Co., Ltd. (ヤマト運輸株式会社 Yamato Un'yu Kabushiki Kaisha, TYO: 9064; listing is as Yamato Holdings) is one of Japan's largest door-to-door delivery service companies with market share of 41%,[1] competing closely with Sagawa Express and Nippon Express. Their head office is located in Ginza, Tokyo.
The company's logo is a yellow oval with a black mother cat carrying her kitten
in her mouth, symbolizing the company's promise that they take care of
items entrusted to them as though the items were their own family.
The
logo is as familiar in Japan as the Coca-Cola logo is in the United States. The logo was originally used by American company Allied Van Lines. In 1957 Yamato obtained permission to use this logo.[2]
Nippon Express Co., Ltd. (日本通運株式会社 Nippon Tsūun Kabushiki-gaisha, Nittsu) (TYO: 9062) is a worldwide leader in logistics services.[citation needed] Its head office is based in Tokyo, Japan
Sagawa Express Co., Ltd. (佐川急便株式会社 Sagawa Kyūbin Kabushiki-gaisha) is a major transportation company in Japan. Its headquarters are in Minami-ku, Kyoto.
30.4.13
Yakisoba-pan and UFO Instant Yakisoba
Yakisoba is most familiarly served on a plate either as a main
dish or a side dish. Another popular way to prepare and serve yakisoba
in Japan is to pile the noodles into a bun sliced down the middle in the
style of a hot dog, and garnish the top with mayonnaise and shreds of pickled ginger. Called yakisoba-pan, pan meaning bread, it is commonly available at local matsuri (Japanese festivals) or konbini (convenience stores).
Instant yakisoba, such as "UFO", is commonly sold in Japanese supermarkets. It can be prepared simply by adding boiling water.
UFO instant "yakisoba" has a unique method of preparation. The foil lid of the shallow square container is meant to be pulled back on one end, from which you extract packets of aonori and sauce. After adding boiling water to the dehydrated noodles and bits of cabbage and meat and allowing to sit, you lift another side of the foil, revealing draining holes that will allow water to pass through, but nothing else. This leaves you with relatively dry noodles.
Instant yakisoba, such as "UFO", is commonly sold in Japanese supermarkets. It can be prepared simply by adding boiling water.
UFO instant "yakisoba" has a unique method of preparation. The foil lid of the shallow square container is meant to be pulled back on one end, from which you extract packets of aonori and sauce. After adding boiling water to the dehydrated noodles and bits of cabbage and meat and allowing to sit, you lift another side of the foil, revealing draining holes that will allow water to pass through, but nothing else. This leaves you with relatively dry noodles.
Horseshoe Crab or Kabutogani (lit. Helmet Crab) (aka Hachigame, Dongame, Hachigani)
Horseshoe crabs (family Limulidae, order Xiphosura or Xiphosurida) are arthropods
that live primarily in and around shallow ocean waters on soft sandy or
muddy bottoms. They occasionally come onto shore to mate. They are
commonly used as bait and in fertilizer.
In recent years, a decline in the number of individuals has occurred as a consequence of coastal habitat destruction in Japan and overharvesting along the east coast of North America. Tetrodotoxin may be present in the roe of species inhabiting the waters of Thailand.[2]
Horseshoe crabs are considered living fossils.[3]
In recent years, a decline in the number of individuals has occurred as a consequence of coastal habitat destruction in Japan and overharvesting along the east coast of North America. Tetrodotoxin may be present in the roe of species inhabiting the waters of Thailand.[2]
Horseshoe crabs are considered living fossils.[3]
29.4.13
Kodō (Taiko Drum Group) and the Kodō Village
Kodō (鼓童) is a professional taiko drumming troupe.
Based on Sado Island, Japan, they have had a role in popularizing taiko drumming, both in Japan and abroad. They regularly tour Japan, Europe, and the United States.
Although the main focus of the performance is taiko drumming, other traditional Japanese musical instruments such as fue and shamisen make an appearance on stage as do traditional dance and vocal performance.
After more than a decade of living in a converted schoolhouse, Kodo finally obtained 25 acres (100,000 m2) of thickly-forested land on the Ogi peninsula in the southern part of Sado Island, and in 1988 the opening ceremony of the village was held. In keeping with Kodo's dedication to preserving traditional arts, the first structure, the main office building, was reassembled from the timbers of a 200 year-old farmhouse that was scheduled for demolition. It has now been extended and includes communal cooking and dining areas as well as a library devoted to world music and dance. Since then, a reception building (also a reassembled farmhouse), a dormitory building, a studio and most recently a new rehearsal hall have been added. In addition to these main communal buildings, married members of the group have been building family homes on surrounding land.
There are currently 48 members of Kodo, including 24 performing members (17 men, 7 women) and 24 staff members. The performers range in age from 22 to 58 years old. Apprentices and part-time workers included, the total number of people who are part of the Kodo extended family rises to about seventy people.
Apprentices who hope to be players (there are also apprentices who hope to become staff members) spend two years living together communally in what was once an abandoned schoolhouse. After this period, apprentices who have been selected to become junior members spend one more year training and practicing in the hope that at the end of the year they will be chosen to become part of the Kodo organization.
In the past, the group lived communally as a whole. This is still true of the younger members who live together in the Kodo village, but senior members now live outside the village in nearby communities.
Based on Sado Island, Japan, they have had a role in popularizing taiko drumming, both in Japan and abroad. They regularly tour Japan, Europe, and the United States.
Although the main focus of the performance is taiko drumming, other traditional Japanese musical instruments such as fue and shamisen make an appearance on stage as do traditional dance and vocal performance.
After more than a decade of living in a converted schoolhouse, Kodo finally obtained 25 acres (100,000 m2) of thickly-forested land on the Ogi peninsula in the southern part of Sado Island, and in 1988 the opening ceremony of the village was held. In keeping with Kodo's dedication to preserving traditional arts, the first structure, the main office building, was reassembled from the timbers of a 200 year-old farmhouse that was scheduled for demolition. It has now been extended and includes communal cooking and dining areas as well as a library devoted to world music and dance. Since then, a reception building (also a reassembled farmhouse), a dormitory building, a studio and most recently a new rehearsal hall have been added. In addition to these main communal buildings, married members of the group have been building family homes on surrounding land.
There are currently 48 members of Kodo, including 24 performing members (17 men, 7 women) and 24 staff members. The performers range in age from 22 to 58 years old. Apprentices and part-time workers included, the total number of people who are part of the Kodo extended family rises to about seventy people.
Apprentices who hope to be players (there are also apprentices who hope to become staff members) spend two years living together communally in what was once an abandoned schoolhouse. After this period, apprentices who have been selected to become junior members spend one more year training and practicing in the hope that at the end of the year they will be chosen to become part of the Kodo organization.
In the past, the group lived communally as a whole. This is still true of the younger members who live together in the Kodo village, but senior members now live outside the village in nearby communities.
Japanese Giant Spider Crab (aka Taka'ashigani)
The Japanese spider crab (高脚蟹 takaashigani, lit. "tall-footed crab"), Macrocheira kaempferi, is a species of marine crab that lives in the waters around Japan.
It has the largest leg span of any arthropod, reaching up to 3.8 metres (12 ft) and weighing up to 41 pounds (19 kg).
It is the subject of small-scale fishery.
Japanese spider crabs are mostly found off the southern coasts of the Japanese island of Honshū, from Tokyo Bay to Kagoshima Prefecture. Outlying populations have been found in Iwate Prefecture and off Su-ao in Taiwan.[4]
It has the largest leg span of any arthropod, reaching up to 3.8 metres (12 ft) and weighing up to 41 pounds (19 kg).
It is the subject of small-scale fishery.
Japanese spider crabs are mostly found off the southern coasts of the Japanese island of Honshū, from Tokyo Bay to Kagoshima Prefecture. Outlying populations have been found in Iwate Prefecture and off Su-ao in Taiwan.[4]
K-ON! (The Manga/Anime) and K-ON (aka Keiongaku or Light Music in Japan)
K-On! (けいおん! Keion!) is a Japanese four-panel comic strip seinen manga written and illustrated by Kakifly.
A 13-episode anime adaptation produced by Kyoto Animation aired in Japan between April and June 2009.
K-On!'s story revolves around four Japanese high school girls who join Sakuragaoka Girl's High School's light music club (Keion-bu) to try to save it from being disbanded, however, they are the only members of the club.
The title of the series comes from the Japanese word for light music, keiongaku (軽音楽), which in the Japanese context is similar to pop music.
A 13-episode anime adaptation produced by Kyoto Animation aired in Japan between April and June 2009.
K-On!'s story revolves around four Japanese high school girls who join Sakuragaoka Girl's High School's light music club (Keion-bu) to try to save it from being disbanded, however, they are the only members of the club.
The title of the series comes from the Japanese word for light music, keiongaku (軽音楽), which in the Japanese context is similar to pop music.
28.4.13
Dogeza
Dogeza (土下座 "sitting right on the ground") is an element of Japanese manners by kneeling directly on the ground and bowing to prostrate oneself as touching one's head to the floor.[1][2][3]
It is translated into English as "prostration"[2] or "kowtow".[1]
It is used to show deference to the most highly-revered high-class person, as a deep apology and to express the desire for a favor from said person. The term is used in Japanese politics such as "dogeza-gaikō" (土下座外交) which is translated to "kowtow diplomacy" or "kowtow foreign policy".[4][5][6]
It is translated into English as "prostration"[2] or "kowtow".[1]
It is used to show deference to the most highly-revered high-class person, as a deep apology and to express the desire for a favor from said person. The term is used in Japanese politics such as "dogeza-gaikō" (土下座外交) which is translated to "kowtow diplomacy" or "kowtow foreign policy".[4][5][6]
Ura-Hara (aka Ura-Harajuku or Cat Street) and Ame-Mura
Ura-Hara is another section of Harajuku, which caters to a mostly male population interested in a hip-hop, graffiti, and skater fashion and culture.[10] Ura-Hara is seen as the opposite of Harajuku in that it’s more hidden and reserved.[10]
The area known as "Ura-Hara", back streets of Harajuku, is a center of Japanese fashion for younger people—brands such as A Bathing Ape and Undercover have shops in the area.[7]
Amerikamura (アメリカ村, American Village) is usually referred to by locals as "Ame-mura." It is a sizable retail and entertainment area near Shinsaibashi in the Minami district of Osaka, Japan.
Amerikamura is identifiable by a small-scale reproduction of the Statue of Liberty that peers down on the streets.
It is a well-known haunt of expatriates, and centres on Triangle Park, a concrete rest area surrounded by retail outlets of Western fashions, bars and nightclubs, some of which are run by Westerners.
Its reputation as a hangout for foreigners is a matter of degree. Osaka's registered foreign population is a small fraction of the total population; the makeup of the crowds and retail space in Ame-mura is predominantly Japanese.
Locally, Ame-mura is known for being a place for observing some of the more "fashion intense" manifestations of Japanese pop culture.
The area known as "Ura-Hara", back streets of Harajuku, is a center of Japanese fashion for younger people—brands such as A Bathing Ape and Undercover have shops in the area.[7]
Amerikamura (アメリカ村, American Village) is usually referred to by locals as "Ame-mura." It is a sizable retail and entertainment area near Shinsaibashi in the Minami district of Osaka, Japan.
Amerikamura is identifiable by a small-scale reproduction of the Statue of Liberty that peers down on the streets.
It is a well-known haunt of expatriates, and centres on Triangle Park, a concrete rest area surrounded by retail outlets of Western fashions, bars and nightclubs, some of which are run by Westerners.
Its reputation as a hangout for foreigners is a matter of degree. Osaka's registered foreign population is a small fraction of the total population; the makeup of the crowds and retail space in Ame-mura is predominantly Japanese.
Locally, Ame-mura is known for being a place for observing some of the more "fashion intense" manifestations of Japanese pop culture.
Golden Week
Golden Week (ゴールデンウィーク Gōruden Wīku), often abbreviated to simply GW and also known as Ōgon Shūkan (黄金週間?, "Golden Week") or "Large Consecutive Holiday" (大型連休 Ōgata Renkyū) is a Japanese term applied to the period containing the following public holidays:
- April 29
- The Emperor's Birthday (天皇誕生日 Tennō Tanjōbi), until 1988[1]
- Greenery Day (みどりの日 Midori no Hi), from 1989 until 2006[2]
- Shōwa Day (昭和の日 Shōwa no Hi), from 2007[2]
- May 3
- Constitution Memorial Day (憲法記念日 Kenpō Kinenbi)
- May 4
- Holiday† (国民の休日 Kokumin no Kyūjitsu), from 1985 until 2006
- Greenery Day (みどりの日 Midori no Hi), from 2007[2]
- May 5
- Children's Day (こどもの日 Kodomo no Hi), also customarily known as Boys' Day (端午の節句 Tango no Sekku).
Many Japanese take paid time off on the intervening work days, but some companies also close down completely and give their employees time off. Golden Week is the longest vacation period of the year for many Japanese jobs. - Golden Week is an extremely popular time to travel.
15.4.13
Wakaba Mark and Kōreisha Mark
The Shoshinsha mark (初心者マーク) or Wakaba mark (若葉マーク),
introduced in 1972, is a green and yellow V-shaped symbol that new
Japanese drivers must display on their cars for one year.
A driver must display this mark on the front and back of the car for one year after they obtain a standard driver's licence. This obligation is only for a standard license, not for motorcycles, large vehicles, special cars and so on. Drivers who consider themselves beginners may continue to display the sign, even after the period of a year.
Conversely, the orange and yellow "Fukushi mark" or "Koreisha mark" denotes elderly drivers. Both marks are designed to warn other drivers that the marked driver is not very skilled, either due to inexperience or old age.
The system was instituted in 1997; until January 2011, its shape was an orange and yellow teardrop-shape, and it was accordingly also called "momiji mark" (紅葉マーク, autumn leaf mark). Some people call it "kareha mark" (枯れ葉マーク, dried leaf mark) or "Ochiba mark" (落葉マーク, fallen leaf mark), but this is a more informal title, and considered less polite.
As of 1 February 2011, the shape was changed to the new, 4-leafed form.
Use outside Japan:
Outside Japan, owners of Japanese classic cars have adopted this symbol, regardless of the driver's age.[citation needed] Japanese car enthusiasts overseas also use the Koreisha mark to indicate that they are an experienced driver as opposed to the Wakaba mark which indicates that they are new or a learner type driver.[citation needed]
A driver must display this mark on the front and back of the car for one year after they obtain a standard driver's licence. This obligation is only for a standard license, not for motorcycles, large vehicles, special cars and so on. Drivers who consider themselves beginners may continue to display the sign, even after the period of a year.
Conversely, the orange and yellow "Fukushi mark" or "Koreisha mark" denotes elderly drivers. Both marks are designed to warn other drivers that the marked driver is not very skilled, either due to inexperience or old age.
The system was instituted in 1997; until January 2011, its shape was an orange and yellow teardrop-shape, and it was accordingly also called "momiji mark" (紅葉マーク, autumn leaf mark). Some people call it "kareha mark" (枯れ葉マーク, dried leaf mark) or "Ochiba mark" (落葉マーク, fallen leaf mark), but this is a more informal title, and considered less polite.
As of 1 February 2011, the shape was changed to the new, 4-leafed form.
Use outside Japan:
Outside Japan, owners of Japanese classic cars have adopted this symbol, regardless of the driver's age.[citation needed] Japanese car enthusiasts overseas also use the Koreisha mark to indicate that they are an experienced driver as opposed to the Wakaba mark which indicates that they are new or a learner type driver.[citation needed]
Sakuramochi, Hinamatsuri and Hina-nagashi (aka Nagashibina)
Sakuramochi (桜餅) is a variety of wagashi, or Japanese confectionery consisting of a sweet pink mochi (rice cake) and red bean paste, covered with a leaf of sakura (cherry blossom). The sakura leaf is edible.
The style of sakuramochi differs by region.
Basically, the east of Japan such as Tokyo uses shiratama-ko (白玉粉, rice flour) and the west side such as Kansai uses dōmyōji-ko (道明寺粉, glutinous rice flour) for batter. Read the recipe for Sakuramochi.
Sakuramochi is traditionally eaten on Girl's Day (also known as Hinamatsuri) in Japan, on March 3.
Hinamatsuri (雛祭り Hina-matsuri), also called Doll's Day or Girls' Day, is a special day in Japan. [1] Platforms covered with a red carpet are used to display a set of ornamental dolls (雛人形 hina-ningyō) representing the Emperor, Empress, attendants, and musicians in traditional court dress of the Heian period.[3]
The custom of displaying dolls began during the Heian period. Formerly, people believed the dolls possessed the power to contain bad spirits. Hinamatsuri traces its origins to an ancient Japanese custom called hina-nagashi (雛流し, lit. "doll floating"), in which straw hina dolls are set afloat on a boat and sent down a river to the sea, supposedly taking troubles or bad spirits with them. The Shimogamo Shrine (part of the Kamo Shrine complex in Kyoto) celebrates the Nagashibina by floating these dolls between the Takano and Kamo Rivers to pray for the safety of children.
The style of sakuramochi differs by region.
Basically, the east of Japan such as Tokyo uses shiratama-ko (白玉粉, rice flour) and the west side such as Kansai uses dōmyōji-ko (道明寺粉, glutinous rice flour) for batter. Read the recipe for Sakuramochi.
Sakuramochi is traditionally eaten on Girl's Day (also known as Hinamatsuri) in Japan, on March 3.
Hinamatsuri (雛祭り Hina-matsuri), also called Doll's Day or Girls' Day, is a special day in Japan. [1] Platforms covered with a red carpet are used to display a set of ornamental dolls (雛人形 hina-ningyō) representing the Emperor, Empress, attendants, and musicians in traditional court dress of the Heian period.[3]
The custom of displaying dolls began during the Heian period. Formerly, people believed the dolls possessed the power to contain bad spirits. Hinamatsuri traces its origins to an ancient Japanese custom called hina-nagashi (雛流し, lit. "doll floating"), in which straw hina dolls are set afloat on a boat and sent down a river to the sea, supposedly taking troubles or bad spirits with them. The Shimogamo Shrine (part of the Kamo Shrine complex in Kyoto) celebrates the Nagashibina by floating these dolls between the Takano and Kamo Rivers to pray for the safety of children.
14.4.13
The Three Auspicious Friends: Shō-Chiku-Bai (Pine, Bamboo, Plum)
Culturally, pine, bamboo, and plum[17] are regarded as linked in the context of winter because they flourish together at that season.[1]
Together they symbolize perseverance, integrity and modesty.[5]
In Japan the three plants are known as 'the three auspicious friends' and are particularly associated with the start of the (lunar) New Year, appearing on greeting cards and as a design stamped into seasonal sweets.[21]
The three plants are also used in a traditional Japanese grading system, with pine as the top, bamboo as the middle, and plum as the lowest grade.
Every year, as the cold days deepen into the winter season, many plants begin to wither. That the pine, bamboo and plum do not was noted by the Chinese.[2] Known by them as Three Friends of Winter, they entered the conventions of East Asian art.[3][4]
Together they symbolize perseverance, integrity and modesty.[5]
In Japan the three plants are known as 'the three auspicious friends' and are particularly associated with the start of the (lunar) New Year, appearing on greeting cards and as a design stamped into seasonal sweets.[21]
The three plants are also used in a traditional Japanese grading system, with pine as the top, bamboo as the middle, and plum as the lowest grade.
Every year, as the cold days deepen into the winter season, many plants begin to wither. That the pine, bamboo and plum do not was noted by the Chinese.[2] Known by them as Three Friends of Winter, they entered the conventions of East Asian art.[3][4]
Fukusa
Fukusa (袱紗, also written as 帛紗 and 服紗), are a type of Japanese textile used for gift-wrapping or for purifying/wiping equipment during a Japanese tea ceremony. Fukusa are square or almost square pieces of lined fabric ranging in size from about 9 inches to 36 inches on a side.
Traditionally in Japan, gifts were placed in a box on a wooden or lacquer tray, over which a fukusa was draped. The choice of a fukusa appropriate to the occasion was an important part of the gift-giving ritual. The practice of covering a gift became widespread during the Edo or Tokugawa period (1615–1867).
The scene or the motifs depicted on fukusa are chosen to indicate either the occasion for which the gift is being given, or because they are appropriate for one of the annual festivals, when gifts are exchanged. The richness of the decoration of the fukusa attests to the giver’s wealth and aesthetics.
After being admired, a fukusa, along with its box and tray, were typically returned to the donor. However, when gifts were presented to a high official, the fukusa was not always returned. This was one of the subtle devices used to control the wealth of the lords and samurai.
Traditionally in Japan, gifts were placed in a box on a wooden or lacquer tray, over which a fukusa was draped. The choice of a fukusa appropriate to the occasion was an important part of the gift-giving ritual. The practice of covering a gift became widespread during the Edo or Tokugawa period (1615–1867).
The scene or the motifs depicted on fukusa are chosen to indicate either the occasion for which the gift is being given, or because they are appropriate for one of the annual festivals, when gifts are exchanged. The richness of the decoration of the fukusa attests to the giver’s wealth and aesthetics.
After being admired, a fukusa, along with its box and tray, were typically returned to the donor. However, when gifts were presented to a high official, the fukusa was not always returned. This was one of the subtle devices used to control the wealth of the lords and samurai.
13.4.13
Shinai: Ittō Style and Nitō Style
Shinai (竹刀) is a weapon used for practice and competition in kendo representing a Japanese sword. Shinai are also used in other martial arts, but may be styled differently from kendo shinai, and represented with different kanji characters.
The earliest use of a bamboo weapon to train with instead of a sword is credited to Kamiizumi Nobutsuna (1508-1572?) of the Shinkage-ryū. The modern shinai, with four slats of bamboo, is generally credited to Nakanishi Chuzo Tsugutate (died 1801) of Nakanishi-ha Ittō-ryū.[1][2]
The shinai was developed in an effort to reduce the number of practitioners being seriously injured during practice, making a practice weapon that was less dangerous than bokutō (木刀), the hard wooden swords they were previously using. This is also the motivation behind the development of bōgu (防具), the armour that protects the kendoka.
The word "shinai" is derived from the verb shinau (撓う), meaning "to bend, to flex", and was originally short for shinai-take (flexible bamboo). Shinai is written with the kanji 竹刀, meaning "bamboo sword", and is an irregular kanji reading.
In kendo, it is most common to use a single shinai, sometimes called itto style. Some kendoka choose to use two shinai. This kendo style is usually called ni-tō (二刀), a style that has its roots in the two-sword schools of swordsmanship such as Hyōhō Niten Ichi-ryū.
A shinai must be properly taken care of or it can pose a danger to both the user and the people around it. Shinai should be inspected for splinters and breaks before and after use, and maintained in a manner considered most appropriate by one's style, dōjō, or sensei.
The earliest use of a bamboo weapon to train with instead of a sword is credited to Kamiizumi Nobutsuna (1508-1572?) of the Shinkage-ryū. The modern shinai, with four slats of bamboo, is generally credited to Nakanishi Chuzo Tsugutate (died 1801) of Nakanishi-ha Ittō-ryū.[1][2]
The shinai was developed in an effort to reduce the number of practitioners being seriously injured during practice, making a practice weapon that was less dangerous than bokutō (木刀), the hard wooden swords they were previously using. This is also the motivation behind the development of bōgu (防具), the armour that protects the kendoka.
The word "shinai" is derived from the verb shinau (撓う), meaning "to bend, to flex", and was originally short for shinai-take (flexible bamboo). Shinai is written with the kanji 竹刀, meaning "bamboo sword", and is an irregular kanji reading.
In kendo, it is most common to use a single shinai, sometimes called itto style. Some kendoka choose to use two shinai. This kendo style is usually called ni-tō (二刀), a style that has its roots in the two-sword schools of swordsmanship such as Hyōhō Niten Ichi-ryū.
A shinai must be properly taken care of or it can pose a danger to both the user and the people around it. Shinai should be inspected for splinters and breaks before and after use, and maintained in a manner considered most appropriate by one's style, dōjō, or sensei.
The Linear Chūō Shinkansen
The Chūō Shinkansen (中央新幹線) is a planned Japanese maglev line designed to ultimately connect Tokyo, Nagoya, and Osaka.
The line is intended to be built by extending and incorporating the existing Yamanashi test track (see below). An initial extension of the track from its present length of 18.4 km to 42.8 km is currently under construction.[1]
The line is expected to connect Tokyo and Nagoya in the first stage in 40 minutes, and eventually Tokyo and Osaka in an hour, running at a maximum speed of 505 km/h.[2]
The Chūō Shinkansen is the culmination of Japanese maglev development since the 1970s, a government-funded project initiated by Japan Airlines and the former Japanese National Railways (JNR). JR Central now operates the facilities and research.
The trainsets themselves are popularly known in Japan as Linear Motor Car (リニアモーターカー rinia mōtā kā), though there have been many technical variations.
Government permission to proceed with construction was granted on May 27, 2011. Construction of the line, which is expected to cost over ¥9 trillion, is expected to commence in 2014.[3] JR Central aims to begin commercial service between Tokyo and Nagoya in 2027, with the Nagoya-Osaka section to be completed in 2045.[4] JR Central is considering opening up partial maglev service between Kofu, Yamanashi and Sagamihara, Kanagawa around 2020.[5]
The line is intended to be built by extending and incorporating the existing Yamanashi test track (see below). An initial extension of the track from its present length of 18.4 km to 42.8 km is currently under construction.[1]
The line is expected to connect Tokyo and Nagoya in the first stage in 40 minutes, and eventually Tokyo and Osaka in an hour, running at a maximum speed of 505 km/h.[2]
The Chūō Shinkansen is the culmination of Japanese maglev development since the 1970s, a government-funded project initiated by Japan Airlines and the former Japanese National Railways (JNR). JR Central now operates the facilities and research.
The trainsets themselves are popularly known in Japan as Linear Motor Car (リニアモーターカー rinia mōtā kā), though there have been many technical variations.
Government permission to proceed with construction was granted on May 27, 2011. Construction of the line, which is expected to cost over ¥9 trillion, is expected to commence in 2014.[3] JR Central aims to begin commercial service between Tokyo and Nagoya in 2027, with the Nagoya-Osaka section to be completed in 2045.[4] JR Central is considering opening up partial maglev service between Kofu, Yamanashi and Sagamihara, Kanagawa around 2020.[5]
12.4.13
The Japanese Concept of "Ma"
Ma (間) is a Japanese word which can be roughly translated as "gap", "space", "pause" or "the space between two structural parts."[1][2][3][4]
In Japanese, ma, the word for space, suggests interval.
Isaac Stern described music as "that little bit between each note - silences which give the form"... The Japanese have a word (ma) for this interval which gives shape to the whole. In the West we have neither word nor term. A serious omission.[6]
In Japanese, ma, the word for space, suggests interval.
Isaac Stern described music as "that little bit between each note - silences which give the form"... The Japanese have a word (ma) for this interval which gives shape to the whole. In the West we have neither word nor term. A serious omission.[6]
Shintaidō
Shintaido (新体道, a Japanese
word translated as ‘New Body Way’) is a system of movement which aims
to use the body as a means of expression and communication.
Incorporating both physical and artistic elements, it was created in Japan in the 1960s.
Its roots lay in the traditional Japanese martial arts, Chinese medicine and Buddhist meditation techniques, while its creator Hiroyuki Aoki was also influenced by modern Western art and Christianity.
Shintaido assumes that the challenges facing modern people are more rooted in emotional and psychological matters than physical. Shintaido offers body movements that aim to build resources to live better and develop a new 'way of being' that is more intuitive, aware, and less tense; this stems from the belief that the freer the body, the more effective its movements can be.
The hope of founder Hiroyuki Aoki was to create a martial art that could reach the level of great art.[8] so beauty and fluidity are essential aspects.
As well as being a practical martial art Shintaido aims to be a form of artistic expression, a healthy exercise, and a path of self-discovery and transformation.[1]
Shintaido is practised with bare hands, but the curriculum also includes bojutsu (棒術), involving the use of the long staff (or bō, 棒), and kenjutsu (剣術), using a wooden sword (or bokuto, 木刀).
Incorporating both physical and artistic elements, it was created in Japan in the 1960s.
Its roots lay in the traditional Japanese martial arts, Chinese medicine and Buddhist meditation techniques, while its creator Hiroyuki Aoki was also influenced by modern Western art and Christianity.
The roots of Shintaido lie in karate(空手, empty hand), which had been brought to Tokyo from Okinawa by Gichin Funakoshi in 1922.[2]
Shintaido assumes that the challenges facing modern people are more rooted in emotional and psychological matters than physical. Shintaido offers body movements that aim to build resources to live better and develop a new 'way of being' that is more intuitive, aware, and less tense; this stems from the belief that the freer the body, the more effective its movements can be.
The hope of founder Hiroyuki Aoki was to create a martial art that could reach the level of great art.[8] so beauty and fluidity are essential aspects.
As well as being a practical martial art Shintaido aims to be a form of artistic expression, a healthy exercise, and a path of self-discovery and transformation.[1]
Shintaido is practised with bare hands, but the curriculum also includes bojutsu (棒術), involving the use of the long staff (or bō, 棒), and kenjutsu (剣術), using a wooden sword (or bokuto, 木刀).
11.4.13
Shuriken and Maki-/Tetsu-/Ten'nen-bishi
A shuriken (Japanese 手裏剣; literally: "sword hidden in the hand") is a traditional Japanese concealed weapon that was generally used for throwing, and sometimes stabbing or slashing.
Shuriken is the name given to any small-bladed object, while shaken is traditionally used to indicate the well-known "throwing star".
Shuriken are commonly, and mistakenly, known in the West as "throwing stars" or "ninja stars" though they took many different shapes and designs during the time they were used. The major varieties of shuriken are the bō shuriken (棒手裏剣, stick shuriken) and the hira shuriken (平手裏剣, flat shuriken) or shaken (車剣, also read as kurumaken, wheel shuriken).
Shuriken were mainly a supplemental weapon to the more-commonly-used sword or other various weapons in a samurai warrior's arsenal, though they often played a pivotal tactical role in battle.[1]
Contrary to popular belief, shuriken were not primarily intended as a killing weapon, but rather as a secondary weapon that sometimes played a role supportive to a main weapon, usually the sword or spear.[3]
Shuriken were primarily used to cause either nuisance or distraction.
Targets were primarily the eyes, face, hands, or feet—the areas most exposed under armor. The shuriken would sometimes be thrown in a way that cuts the opponent and becomes lost, later causing the opponent to believe that they were cut by an invisible swordsman.[1]
The term makibishi (撒き菱 or 撒菱) refers to the Japanese version of the caltrop.
Makibishi (igadama), sharp spiked objects that were used in feudal Japan to slow down pursuers and also were used in the defense of samurai fortifications.[1][2]Makibashi were one of the items supposedly used by ninja. Iron makibishi were called tetsubishi while the makibishi made from the dried seed pod of the water chestnut formed a natural type of makibashi called tennenbishi. Both types of makibishi could penetrate the thin soles of the shoes such as the waraji sandals that were commonly worn in feudal Japan when the makibashi was dropped on the ground or planted in advance.[3]
Shuriken is the name given to any small-bladed object, while shaken is traditionally used to indicate the well-known "throwing star".
Shuriken are commonly, and mistakenly, known in the West as "throwing stars" or "ninja stars" though they took many different shapes and designs during the time they were used. The major varieties of shuriken are the bō shuriken (棒手裏剣, stick shuriken) and the hira shuriken (平手裏剣, flat shuriken) or shaken (車剣, also read as kurumaken, wheel shuriken).
Shuriken were mainly a supplemental weapon to the more-commonly-used sword or other various weapons in a samurai warrior's arsenal, though they often played a pivotal tactical role in battle.[1]
Contrary to popular belief, shuriken were not primarily intended as a killing weapon, but rather as a secondary weapon that sometimes played a role supportive to a main weapon, usually the sword or spear.[3]
Shuriken were primarily used to cause either nuisance or distraction.
Targets were primarily the eyes, face, hands, or feet—the areas most exposed under armor. The shuriken would sometimes be thrown in a way that cuts the opponent and becomes lost, later causing the opponent to believe that they were cut by an invisible swordsman.[1]
The term makibishi (撒き菱 or 撒菱) refers to the Japanese version of the caltrop.
Makibishi (igadama), sharp spiked objects that were used in feudal Japan to slow down pursuers and also were used in the defense of samurai fortifications.[1][2]Makibashi were one of the items supposedly used by ninja. Iron makibishi were called tetsubishi while the makibishi made from the dried seed pod of the water chestnut formed a natural type of makibashi called tennenbishi. Both types of makibishi could penetrate the thin soles of the shoes such as the waraji sandals that were commonly worn in feudal Japan when the makibashi was dropped on the ground or planted in advance.[3]
Koropokkuru
koropokkuru (コロポックル), also written Koro-pok-kuru, korobokkuru, or koropokkur, are a race of small people in folklore of the Ainu people of the northern Japanese islands.
The name is traditionally analysed as a tripartite compound of kor or koro ("butterbur plant"), pok ("under, below"), and kur or kuru ("person") and interpreted to mean "people below the leaves of the butterbur plant" in the Ainu language.
The Ainu believe that the koro-pok-guru were the people who lived in the Ainu's land before the Ainu themselves lived there. They were short of stature, agile, and skilled at fishing. They lived in pits with roofs made from butterbur leaves.
Long ago, the koropokkuru were on good terms with the Ainu, and would send them deer, fish, and other game and exchange goods with them. The little people hated to be seen, however, so they would stealthily make their deliveries under cover of night.
One day, a young Ainu man decided he wanted to see a koropokkuru for himself, so he waited in ambush by the window where their gifts were usually left. When a koropokkuru came to place something there, the young man grabbed it by the hand and dragged it inside. It turned out to be a beautiful koropokkuru woman, who was so enraged at the young man's rudeness that her people have not been seen since. Their pits, pottery, and stone implements, the Ainu believe, still remain scattered about the landscape.
The name is traditionally analysed as a tripartite compound of kor or koro ("butterbur plant"), pok ("under, below"), and kur or kuru ("person") and interpreted to mean "people below the leaves of the butterbur plant" in the Ainu language.
The Ainu believe that the koro-pok-guru were the people who lived in the Ainu's land before the Ainu themselves lived there. They were short of stature, agile, and skilled at fishing. They lived in pits with roofs made from butterbur leaves.
Long ago, the koropokkuru were on good terms with the Ainu, and would send them deer, fish, and other game and exchange goods with them. The little people hated to be seen, however, so they would stealthily make their deliveries under cover of night.
One day, a young Ainu man decided he wanted to see a koropokkuru for himself, so he waited in ambush by the window where their gifts were usually left. When a koropokkuru came to place something there, the young man grabbed it by the hand and dragged it inside. It turned out to be a beautiful koropokkuru woman, who was so enraged at the young man's rudeness that her people have not been seen since. Their pits, pottery, and stone implements, the Ainu believe, still remain scattered about the landscape.
Scientific possibilities:
It has been suggested that this myth points to an actual neolithic people who existed separately from the Ainu, and may even have been examples of Homo floresiensis, the so-called "hobbit" hominid. Evidence cited for this has included pit dwellings which differ from Ainu dwellings, and pottery which does not fit in with what is known of Ainu culture.[1]10.4.13
Seiyū Awards, Tokyo Anime Center/Akiba 3D Theater
The Seiyu Awards (声優アワード Seiyū Awādo) are award ceremonies for the recognition of voice acting talent (known as seiyū in Japan) for outstanding performance in anime and other media in Japan.
The first Seiyu Awards were held on March 3, 2007 at the 3D Theatre of the Tokyo Anime Center in Akihabara.
The Tokyo Anime Center is a permanent facility that has been created, to market anime to residents of Japan, as well as Western visitors. The facility will host regular events, live radio interviews with creators and voice actors, and merchandising fairs. It includes the AKIBA3DTheater. It dubs itself as "The definitive "spot" for anime entertainment!"
It is located on the fourth floor of the Akihabara UDX building, near JR Akihabara Station.
Akihabara (Japanese: 秋葉原) "Field of Autumn Leaves", also known as Akihabara Electric Town (Japanese: 秋葉原電気街 Hepburn: Akihabara Denki Gai), is a district of Tokyo, Japan.
The first Seiyu Awards were held on March 3, 2007 at the 3D Theatre of the Tokyo Anime Center in Akihabara.
The Tokyo Anime Center is a permanent facility that has been created, to market anime to residents of Japan, as well as Western visitors. The facility will host regular events, live radio interviews with creators and voice actors, and merchandising fairs. It includes the AKIBA3DTheater. It dubs itself as "The definitive "spot" for anime entertainment!"
It is located on the fourth floor of the Akihabara UDX building, near JR Akihabara Station.
Akihabara (Japanese: 秋葉原) "Field of Autumn Leaves", also known as Akihabara Electric Town (Japanese: 秋葉原電気街 Hepburn: Akihabara Denki Gai), is a district of Tokyo, Japan.
Ōbaku-shū, Ōbaku no Sanpitsu ("Three Brushes of Ōbaku") and Senchadō (Way of Sencha Tea)
The Ōbaku-shū (黄檗宗) is, along with Sōtō and Rinzai, one of three school of Zen in Japanese Buddhism.
Often termed the third sect of Zen Buddhism in Japan, it was established in 1661 by a small faction of masters from China and their Japanese students at Manpuku-ji in Uji, Japan.
Today Manpuku-ji serves as the Ōbaku's head temple, with 420 subtemples spread throughout Japan as of 2006.[1] In addition to their contribution to the culture of Zen in Japan, the Ōbaku also "disseminated many aspects of Ming-period culture" in the country.[2] Many of the monks who came from China were accomplished calligraphers, and Obaku's founder Yinyuan Longqi and two other Ōbaku masters, Mokuan Shōtō and Sokuhi Nyoitsu, became known as the Ōbaku no Sanpitsu (or, the "Three Brushes of Ōbaku").
Ōbaku no Sanpitsu (黄檗三筆) is a name given to a group of three famous Chinese calligraphers who lived in Japan:
The Ōbaku school is also well known for its style of vegetarian cooking known as fucha ryōri (普茶料理), its version of Buddhist cuisine (in Japan known as shōjin ryōri (精進料理, devotion cuisine)). This is similar to usual shōjin ryōri, but with more Chinese influence.
The Ōbaku school also introduced to Japan and practices a variant of the Japanese tea ceremony which uses sencha leaf tea, rather than the more usual matcha powdered tea – see sencha tea ceremony. Generally it involves the high-grade gyokuro class of sencha.
Uji (宇治市 Uji-shi) is a city on the southern outskirts of the city of Kyoto, in Kyoto Prefecture, Japan.
Often termed the third sect of Zen Buddhism in Japan, it was established in 1661 by a small faction of masters from China and their Japanese students at Manpuku-ji in Uji, Japan.
Today Manpuku-ji serves as the Ōbaku's head temple, with 420 subtemples spread throughout Japan as of 2006.[1] In addition to their contribution to the culture of Zen in Japan, the Ōbaku also "disseminated many aspects of Ming-period culture" in the country.[2] Many of the monks who came from China were accomplished calligraphers, and Obaku's founder Yinyuan Longqi and two other Ōbaku masters, Mokuan Shōtō and Sokuhi Nyoitsu, became known as the Ōbaku no Sanpitsu (or, the "Three Brushes of Ōbaku").
Ōbaku no Sanpitsu (黄檗三筆) is a name given to a group of three famous Chinese calligraphers who lived in Japan:
- Ingen Ryūki, 隱元隆琦 1592-1673
- Mokuan Shōtō,木庵性瑫 1611-1684
- Sokuhi Nyoitsu, 即非如一 1616-1671
The Ōbaku school is also well known for its style of vegetarian cooking known as fucha ryōri (普茶料理), its version of Buddhist cuisine (in Japan known as shōjin ryōri (精進料理, devotion cuisine)). This is similar to usual shōjin ryōri, but with more Chinese influence.
The Ōbaku school also introduced to Japan and practices a variant of the Japanese tea ceremony which uses sencha leaf tea, rather than the more usual matcha powdered tea – see sencha tea ceremony. Generally it involves the high-grade gyokuro class of sencha.
Uji (宇治市 Uji-shi) is a city on the southern outskirts of the city of Kyoto, in Kyoto Prefecture, Japan.
9.4.13
Yamabiko
A Yamabiko (山彦, mountain echo), is an echoing spirit[1] in Japanese folklore.
These tree spirits are believed to answer when one calls out.[2]
They appear as small, furry humanoid creatures often depicted in a sitting position.
They are found dwelling in mountains, valleys or caverns because this intensifies their echoes. They will always repeat the sounds of other noises such as those created by humans. Although they are often heard they are rarely ever seen. If anyone attempts to touch one it will feel like their hand is going through molasses.
These tree spirits are believed to answer when one calls out.[2]
They appear as small, furry humanoid creatures often depicted in a sitting position.
They are found dwelling in mountains, valleys or caverns because this intensifies their echoes. They will always repeat the sounds of other noises such as those created by humans. Although they are often heard they are rarely ever seen. If anyone attempts to touch one it will feel like their hand is going through molasses.
Freeter and Arubaito
Freeter (フリーター furītā) is a Japanese expression for young people subsisting on part-time work, who lack full-time employment or are unemployed, excluding housewives and students.
These people do not start a career after high school or university, but instead earn money from low skilled and low paid jobs.
If they work at all, freeters often work at convenience stores, supermarkets, fast food outlets, restaurants, and other low paying, low skill jobs.
The word freeter or freeta was first used around 1987 or 1988 and is thought to be a portmanteau of the English word free (or perhaps freelance) and the German word Arbeiter ("labourer").
Arubaito (part-time job) is a Japanese loanword from German. As German (along with English) was used (especially for science and medicine) in Japanese universities before World War II, Arubaito became common among students to describe part-time work for university students.
These people do not start a career after high school or university, but instead earn money from low skilled and low paid jobs.
If they work at all, freeters often work at convenience stores, supermarkets, fast food outlets, restaurants, and other low paying, low skill jobs.
The word freeter or freeta was first used around 1987 or 1988 and is thought to be a portmanteau of the English word free (or perhaps freelance) and the German word Arbeiter ("labourer").
Arubaito (part-time job) is a Japanese loanword from German. As German (along with English) was used (especially for science and medicine) in Japanese universities before World War II, Arubaito became common among students to describe part-time work for university students.
8.4.13
Yoshino, Nara Prefecture: Kinpusen-ji and the thousands of sakura trees.
Yoshino (吉野町 Yoshino-chō) is a town located in Yoshino District, Nara Prefecture, Japan.
Located in the northern portion of Yoshino District, the majority of the town is covered by mountains.
For adherents of Shugendo, Yoshino is the traditional beginning of the Mount Ōmine pilgrimage trail; however, many hikers to begin and end their trek from the Dorogawa district of Tenkawa Village.
Mount Yoshino is famous for its many thousands of sakura trees.
These flowering specimen trees were planted in four groves at different altitudes, in part so that the famed trees would come into bloom at different times of the spring. A 1714 account explained that, on their climb to the top, travelers would be able to enjoy the lower 1,000 cherry trees at the base, the middle 1,000 on the way, the upper 1,000 toward the top, and the 1,000 in the precincts of the inner shrine at the top.[1]
Kimpusen-ji (金峯山寺 Kinpusen-ji) is the head temple of a branch of the Shugendō religion called Kimpusen-Shugendō in Yoshino district, Nara prefecture, Japan. According to tradition, it was founded by En no Ozunu, who propagated a form of mountain asceticism drawing from Shintō and Buddhist beliefs. The temple's main building "Zaō-Hall" (Zaōdō) is the second largest wooden structure in Japan, right after the daibutsuden at Tōdai-ji in Nara. Kimpusen-ji is a junction in a series of stops on pilgrimage routes.
In 2004, it was designated as part of a UNESCO World Heritage Site under the name Sacred Sites and Pilgrimage Routes in the Kii Mountain Range.
A Shinto shrine dedicated to Inari is attached to the main compound.
Inari Ōkami (稲荷大神, also Oinari) is the Japanese kami of fertility, rice, agriculture, foxes, industry, and worldly success and one of the principal kami of Shinto.
Located in the northern portion of Yoshino District, the majority of the town is covered by mountains.
For adherents of Shugendo, Yoshino is the traditional beginning of the Mount Ōmine pilgrimage trail; however, many hikers to begin and end their trek from the Dorogawa district of Tenkawa Village.
Mount Yoshino is famous for its many thousands of sakura trees.
These flowering specimen trees were planted in four groves at different altitudes, in part so that the famed trees would come into bloom at different times of the spring. A 1714 account explained that, on their climb to the top, travelers would be able to enjoy the lower 1,000 cherry trees at the base, the middle 1,000 on the way, the upper 1,000 toward the top, and the 1,000 in the precincts of the inner shrine at the top.[1]
Kimpusen-ji (金峯山寺 Kinpusen-ji) is the head temple of a branch of the Shugendō religion called Kimpusen-Shugendō in Yoshino district, Nara prefecture, Japan. According to tradition, it was founded by En no Ozunu, who propagated a form of mountain asceticism drawing from Shintō and Buddhist beliefs. The temple's main building "Zaō-Hall" (Zaōdō) is the second largest wooden structure in Japan, right after the daibutsuden at Tōdai-ji in Nara. Kimpusen-ji is a junction in a series of stops on pilgrimage routes.
In 2004, it was designated as part of a UNESCO World Heritage Site under the name Sacred Sites and Pilgrimage Routes in the Kii Mountain Range.
A Shinto shrine dedicated to Inari is attached to the main compound.
Inari Ōkami (稲荷大神, also Oinari) is the Japanese kami of fertility, rice, agriculture, foxes, industry, and worldly success and one of the principal kami of Shinto.
Ekiden: Hakone Ekiden
Ekiden (駅伝) is a term referring to a long-distance relay running race, typically on roads.[1][2]
The Japanese term originally referred to a post-horse or stagecoach which transmitted communication by stages.
The term originated in Japan, although the concept of a long distance relay race is not unique to any country.
The first ekiden race was sponsored by the Yomiuri Shimbun in 1917, and was run over three days between the old Japanese capital of Kyoto and the modern capital of Tokyo, a distance of 508 km, to celebrate the anniversary of the moving of the capital to Tokyo.
As written in Japanese, Ekiden combines the characters for "station" (駅) and "transmit" (伝). This name was coined by the poet Toki Zemmaro (1885–1980), who was head of the Yomiuri Shimbun's Social Affairs Department at the time.
One of the most popular modern ekiden in Japan is the Hakone Ekiden, which features teams of 10 male students from various Japanese universities of the Tokyo (Kanto) region.This race from central Tokyo along Tokyo Bay, past Yokohama to Hakone and back is held over two days at the New Year, covering 219 kilometers. It is a popular spectator sport that draws large crowds (a million or more) along the whole route and receives full network television coverage nationwide over the two days.[2][3][4]
The Japanese term originally referred to a post-horse or stagecoach which transmitted communication by stages.
The term originated in Japan, although the concept of a long distance relay race is not unique to any country.
The first ekiden race was sponsored by the Yomiuri Shimbun in 1917, and was run over three days between the old Japanese capital of Kyoto and the modern capital of Tokyo, a distance of 508 km, to celebrate the anniversary of the moving of the capital to Tokyo.
As written in Japanese, Ekiden combines the characters for "station" (駅) and "transmit" (伝). This name was coined by the poet Toki Zemmaro (1885–1980), who was head of the Yomiuri Shimbun's Social Affairs Department at the time.
One of the most popular modern ekiden in Japan is the Hakone Ekiden, which features teams of 10 male students from various Japanese universities of the Tokyo (Kanto) region.This race from central Tokyo along Tokyo Bay, past Yokohama to Hakone and back is held over two days at the New Year, covering 219 kilometers. It is a popular spectator sport that draws large crowds (a million or more) along the whole route and receives full network television coverage nationwide over the two days.[2][3][4]
7.4.13
History of Irezumi
Irezumi (入れ墨, 入墨, 紋身, 刺花, 剳青, 黥 or 刺青) is a Japanese word that refers to the insertion of ink under the skin to leave a permanent, usually decorative mark; a form of tattooing.
The word can be written in several ways, each with slightly different connotations. The most common way of writing irezumi is with the Chinese characters 入れ墨 or 入墨, literally meaning to "insert ink".
Tattooing for spiritual and decorative purposes in Japan is thought to extend back to at least the Jōmon or paleolithic period (approximately 10,000 BC).
The Ainu people, the indigenous people of Japan, are known to have used tattoos for decorative and social purposes. There is no known relation to the development of irezumi.
Until the Edo period (1600–1868 AD) the role of tattoos in Japanese society fluctuated.
Tattooed marks were still used as punishment, but minor fads for decorative tattoos, some featuring designs that would be completed only when lovers' hands were joined, also came and went. It was in the Edo period however, that Japanese decorative tattooing began to develop into the advanced art form it is known as today.
At the beginning of the Meiji period the Japanese government, wanting to protect its image and make a good impression on the West and to avoid ridicule, shoguns outlawed tattoos, and irezumi took on connotations of criminality. Nevertheless, fascinated foreigners went to Japan seeking the skills of tattoo artists, and traditional tattooing continued underground.
Despite the majority of modern tattooing being done by needle gun, irezumi is still done traditionally. The ancient tattoo style is still done by specialist tattooists whom might be difficult to find. Unlike western style tattoo artists, the majority of traditional irezumi artists aren’t located in the Tokyo area. Traditional irezumi is still done by specialist tattooists.
The word can be written in several ways, each with slightly different connotations. The most common way of writing irezumi is with the Chinese characters 入れ墨 or 入墨, literally meaning to "insert ink".
Tattooing for spiritual and decorative purposes in Japan is thought to extend back to at least the Jōmon or paleolithic period (approximately 10,000 BC).
The Ainu people, the indigenous people of Japan, are known to have used tattoos for decorative and social purposes. There is no known relation to the development of irezumi.
Until the Edo period (1600–1868 AD) the role of tattoos in Japanese society fluctuated.
Tattooed marks were still used as punishment, but minor fads for decorative tattoos, some featuring designs that would be completed only when lovers' hands were joined, also came and went. It was in the Edo period however, that Japanese decorative tattooing began to develop into the advanced art form it is known as today.
At the beginning of the Meiji period the Japanese government, wanting to protect its image and make a good impression on the West and to avoid ridicule, shoguns outlawed tattoos, and irezumi took on connotations of criminality. Nevertheless, fascinated foreigners went to Japan seeking the skills of tattoo artists, and traditional tattooing continued underground.
Despite the majority of modern tattooing being done by needle gun, irezumi is still done traditionally. The ancient tattoo style is still done by specialist tattooists whom might be difficult to find. Unlike western style tattoo artists, the majority of traditional irezumi artists aren’t located in the Tokyo area. Traditional irezumi is still done by specialist tattooists.
- Irezumi (入れ墨, 入墨, 文身 (also pronounced bunshin), 剳青, 黥 or 刺青): tattoo (noun or verb)
- Horimono (彫り物, 彫物, literally carving, engraving): tattoo. This is another word for traditional Japanese tattoos.
- Horishi (彫り師, 彫物師): a tattoo artist.
- Bokukei, bokkei (墨刑): punishment by tattooing.
- Tebori (手彫り, literally to carve by hand): describes the technique of tattooing by hand.
Kanbutsu-e, Hana Matsuri and Amacha
In Japan, Buddha's birth is also celebrated according to the Buddhist calendar but is not a national holiday.
On this day, all temples hold Kanbutsu-e (Japanese: 灌仏会), 降誕会 (Gōtan-e), 仏生会 (Busshō-e), 浴仏会 (Yokubutsu-e), 龍華会 (Ryūge-e), 花会式 (Hana-eshiki) or 花祭(Hana-matsuri, meaning 'Flower Festival').
The first event was held at Asuka-dera in 606. Japanese people pour ama-cha (a beverage prepared from a variety of hydrangea) on small Buddha statues decorated with flowers, as if bathing a newborn baby.
Amacha (甘茶, literally 甘いamai=sweet and 茶 cha=tea, also transcribed as あまちゃ) is a Japanese herbal tea made from fermented leaves of Hydrangea macrophylla var. thunbergii.
Amacha means sweet tea.
This tea contains tannin and phyllodulcin, a sweetener 400-800 times sweeter than table sugar (sucrose)[1] or 2 times sweeter than saccharin. It does not contain caffeine.
The beverage is credited with antiallergic properties. It is also used in the prevention of periodontitis.
This tea is often used in ceremonies celebrating Buddha's Birthday, in Japanese Buddhism on April 8. At that occasion, Japanese people pour amacha on small Buddha statues decorated with flowers, as if bathing a newborn baby.
Buddha's Birthday is the birthday of the Prince Siddhartha Gautama.
On this day, all temples hold Kanbutsu-e (Japanese: 灌仏会), 降誕会 (Gōtan-e), 仏生会 (Busshō-e), 浴仏会 (Yokubutsu-e), 龍華会 (Ryūge-e), 花会式 (Hana-eshiki) or 花祭(Hana-matsuri, meaning 'Flower Festival').
The first event was held at Asuka-dera in 606. Japanese people pour ama-cha (a beverage prepared from a variety of hydrangea) on small Buddha statues decorated with flowers, as if bathing a newborn baby.
Amacha (甘茶, literally 甘いamai=sweet and 茶 cha=tea, also transcribed as あまちゃ) is a Japanese herbal tea made from fermented leaves of Hydrangea macrophylla var. thunbergii.
Amacha means sweet tea.
This tea contains tannin and phyllodulcin, a sweetener 400-800 times sweeter than table sugar (sucrose)[1] or 2 times sweeter than saccharin. It does not contain caffeine.
The beverage is credited with antiallergic properties. It is also used in the prevention of periodontitis.
This tea is often used in ceremonies celebrating Buddha's Birthday, in Japanese Buddhism on April 8. At that occasion, Japanese people pour amacha on small Buddha statues decorated with flowers, as if bathing a newborn baby.
Buddha's Birthday is the birthday of the Prince Siddhartha Gautama.
6.4.13
Hokuto no Ken and Tankōbon
A tankōbon (単行本, translation close to "independently appearing book") is the Japanese term, originally borrowed from classical Chinese, for a book that is complete in itself and is not part of a series or corpus (similar to a monograph), though modern Japanese publisher may use it for volumes which may be in a series and as a term as opposed to 雑誌 (magazine).[1][2]
Tankōbon may be of any dimensions, from a miniature-sized book (i.e. mamehon, 豆本) to a sumptuous folio-sized one.
Fist of the North Star (北斗の拳 Hokuto no Ken)[1] is a Japanese manga series written by Buronson and drawn by Tetsuo Hara that was serialized in Weekly Shōnen Jump from 1983 to 1988, spanning 245 chapters, which were initially collected in a 27-volume tankōbon edition by Shueisha.
The manga was adapted into to anime TV series produced by Toei Animation which aired on Fuji TV affiliates from 1984 through 1988, comprising a combined total of 152 episodes.
Tetsuo Hara has stated that he came up with the idea of Hokuto no Ken from his editor Nobuhiko Horie. According to Hara, Horie suggested to him that he should draw a manga about "a martial artist who destroys his opponents by striking their acupressure points" based on Hara's aspiration to draw a manga about martial arts and his knowledge of pressure points.
Fist of the North Star was one of Weekly Shōnen Jump's most popular titles during the 1980s. It is one of the magazine's best-selling manga series of all time.[23]
Tankōbon may be of any dimensions, from a miniature-sized book (i.e. mamehon, 豆本) to a sumptuous folio-sized one.
Fist of the North Star (北斗の拳 Hokuto no Ken)[1] is a Japanese manga series written by Buronson and drawn by Tetsuo Hara that was serialized in Weekly Shōnen Jump from 1983 to 1988, spanning 245 chapters, which were initially collected in a 27-volume tankōbon edition by Shueisha.
The manga was adapted into to anime TV series produced by Toei Animation which aired on Fuji TV affiliates from 1984 through 1988, comprising a combined total of 152 episodes.
Tetsuo Hara has stated that he came up with the idea of Hokuto no Ken from his editor Nobuhiko Horie. According to Hara, Horie suggested to him that he should draw a manga about "a martial artist who destroys his opponents by striking their acupressure points" based on Hara's aspiration to draw a manga about martial arts and his knowledge of pressure points.
Fist of the North Star was one of Weekly Shōnen Jump's most popular titles during the 1980s. It is one of the magazine's best-selling manga series of all time.[23]
Utsuho Monogatari
Utsuho Monogatari (うつほ語物, "Tale of the Hollow Tree") is a late 10th century Japanese story.
It is Japan's oldest full-length narrative.[1][2]
The author is unknown.
Minamoto no Shitagō is cited as a likely candidate[1]; however, it may have had multiple authors spanning a number of years.[2]
The title of the story, "Tale of the Hollow Tree", is taken from an incident early in the text. The protagonists Nakatada and his mother flee to the mountains and live in hollow cedar tree. [1][2]
The story is twenty volumes in length and revolves around a mystical harp that passes through four generations.
It is Japan's oldest full-length narrative.[1][2]
The author is unknown.
Minamoto no Shitagō is cited as a likely candidate[1]; however, it may have had multiple authors spanning a number of years.[2]
The title of the story, "Tale of the Hollow Tree", is taken from an incident early in the text. The protagonists Nakatada and his mother flee to the mountains and live in hollow cedar tree. [1][2]
The story is twenty volumes in length and revolves around a mystical harp that passes through four generations.
5.4.13
Musha Shugyō and Shugyōsha: Warrior in Training
Musha shugyō (武者修行) is a samurai warrior's quest or pilgrimage. The concept is similar to Knight Errantry in feudal Europe.
A warrior, called a shugyōsha, would wander the land practicing and honing his skills without the protection of his family or school. Possible activities include training with other schools, dueling, performing bodyguard or mercenary work, and searching for a daimyo to serve.
Daimyo (大名 daimyō,
Pronunciation (help·info)) (dah-ee-myoh) is a generic term referring to the powerful territorial lords[1] in pre-modern Japan who ruled most of the country from their vast, hereditary land holdings. In the term, "dai" (大) literally means "large", and "myō" stands for myōden (名田?), meaning private land.[2]
A warrior, called a shugyōsha, would wander the land practicing and honing his skills without the protection of his family or school. Possible activities include training with other schools, dueling, performing bodyguard or mercenary work, and searching for a daimyo to serve.
Daimyo (大名 daimyō,
Pronunciation (help·info)) (dah-ee-myoh) is a generic term referring to the powerful territorial lords[1] in pre-modern Japan who ruled most of the country from their vast, hereditary land holdings. In the term, "dai" (大) literally means "large", and "myō" stands for myōden (名田?), meaning private land.[2]
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