#oki fuka

[degozarumyu]

gr 118

i love this frame btw

banger episode‼️‼️‼️‼️‼️‼️ :D

i'm glad damamu's back to normal (until next week at least lol) but ???? wasn't expecting monster reborn to be in there LOL

loved the 'thats not a pocket???' 'these aren't clothes, so...' scene

and asaka repeatedly being like 'im not trying to brag, but' *starts bragging* love her

and the zaidavelgear crash killed me 😭😭😭 how r u all not dead

i rly love transamu assault rainac its so cool looking!!!!! <- guy who loves ninja aesthetic

this weeks duel was just fun to watch in general :DD there were some nicely drawn cuts of yuudias during it too so im excited for subs/tuesday release so i can screenshot them lol

rip bruyea not knowing what udon is he's missing out

and fuckin. sabyuas having a monster with zwi- in the name too he's so stupid <3

its nice as well that they showed mitsuko in the boiled bagel requiem uniform !!!! my beloved

u know the scene will be good when they bring out the

oki screenshot spam time

look at my cat he is flying

hes so stupid i love him

TINY FUKAMURA LOOK AT HIMMMMMMMMMMMMMMMM

stress ball sized

speaking of fuka look how he;s sitting,,,, the silly

literally the coolest thing ever btw

:((((

:(((((((((((

:(((((((((((((((((((((

:)

i thought yuudias' arm was attached to chibi yuudi for a second and was so confused lol

but im so excited for next week's ep!!!!!!!!!! it looks like it has one of my fav animators in charge too so it'll definitely be a banger <3

[gp999discographies]

おき ふうか | 沖 楓花 | Oki Fuka

[chanoyu-to-wa]

Nampō Roku, Book 7 (52c):  the Kaki-ire [書入].

〽 Kaki-ire [書入].

    With respect to the chū-ō-joku, it should not be used in the wabi setting of the small room¹.  You should understand that it should be used [only] in the shoin, in the kusari-no-ma, and in the 4.5-mat room².

    When this monk was still immature, [I] used the chū-ō-joku with the mukō-ro -- and [Ri]kyū laughed heartily at [seeing] it³.  But [years] later, I heard that doing things like this had become acceptable⁴.  And that really struck me as curious⁵!

    Once [you] come to understand anything really well, you can [usually] find a use for it later⁶.  Things that were “wrong” when you were lacking in maturity are often like that⁷.

_________________________

◎ This kaki-ire, which makes several very important points, might also hint at the backstory behind the creation of Rikyū’s eponymous Kyū-dai [キウダイ = 休臺]*.  While the text is the same in all versions of the text, it is also likely that the basic story was modified (to make it conform to the approach favored by the ancestors of the modern schools). ___________ *The two mizusashi-dana (this is a tana only large enough to hold the mizusashi; the type was ultimately derived from the important half of the fukuro-dana, since the other half was rarely used during the temae), based in the kyū-dai daisu, that Rikyū created for use in a 3-mat room that had a mukō-ro.

    The shi-hō-dana [四方棚] (left) was placed beside the mukō-ro (where its relationship to that portion of the mat to the left of the mukō-ro was the same as the kyū-dai daisu’s relationship to a full-sized kyōma-tatami), and the maru-joku [丸卓] (right), which was created to be used when a furo was arranged on top of the closed mukō-ro in the same room (the maru-jōku elevates the mizusashi to the same height as when placed on the ji-ita of the daisu).

   The old fuka-san-jō [深三疊] in the Shū-un-an (this seems to have been the original room built by Nambō Sōkei’s predecessor, Giō Jōtei [岐翁紹禎; dates unknown], the illegitimate son of the great Ikkyū Sōjun [一休宗純; 1394 ~ 1481] -- who was the posthumous son of the last king of Koryeo, and who revolutionized Buddhism in Japan after his appearance during the first half of the fifteenth century) was possibly the room for which these tana were created.

    While three-mat rooms are now considered to be “small rooms,” this was not always strictly the case -- since the 3-mat room in particular is basically like a 4.5-mat room with the generally useless (when there are 3 guests or less) mat-and-a-half at the foot of the room cut off.  In Rikyū‘s day, even the daisu could be used in the 3-mat room.

¹Chū-ō-joku, ko-zashiki wabi ni mochii-bekarazu　[中央卓、小座鋪ワビニ用ベカラズ].

    Ko-zashiki [小座鋪] is an alternate way of writing ko-zashiki [小座敷] that is seen primarily in Edo period machi-shū writings on chanoyu.

    Ko-zashiki wabi ni mochii-bekarazu [小座敷ワビに用いべからず] means (because) the ko-zashiki (is a) wabi (environment), (the chū-ō-joku) should not be used (in that kind of room).

    The reason why this is stated in the beginning seems to be one key to understanding Nambō Sōkei’s mistake:  a mukō-ro was usually found only in the small room; yet the chū-ō-joku (or any sort of oki-dana*, really) is not supposed to be used in that kind of setting. ___________ *An oki-dana [置き棚] is a portable tana (as opposed to a built-in construction).

    Note that these “rules” were more a product of the Edo period than they were a feature of Jōō’s or Rikyū’s tea.

²Shoin kusari-no-ma, yo-jō-han ni te mo, kokoroete mochii-beshi　[書院クサリノ間、四疊半ニテモ、心得テ用ベシ].

    Some versions separate shoin and kusari-no-ma (書院・クサリノ間), which would suggest that the chū-ō-joku could be used in either the shoin or the kusari-no-ma*, while in other versions they are written as if the word shoin might be an adjective of kusari-no-ma (書院クサリノ間) -- which could be logical, since the kusari-no-ma only existed as an appendage of one version of the shoin (usually as a six-mat room attached to the lower end of an eight-mat shoin, as shown below).

___________ *At least according to the original conception of this dichotomy, the daisu was always supposed to be used in the shoin, and the ro (accompanied by some sort of tana -- preference was originally given to the fukuro-dana) in the kusari-no-ma.

    Kusari-no-ma [鏁の間] which literally means “chain room,” refers to the fact that the kama was suspended over the ro on a chain (the informality of which contrasted nicely with the rigidity of the tea of the daisu.

    At least at the beginning, the sumi-temae, service of kashi, and the service of koicha, all took place in the shoin, while kaiseki, go-zumi, and usucha were done in the kusari-no-ma -- which is what has been shown above.

³Kono-bō mijuku no toki, mukō-ro ni chū-ō-joku mochii-shi ni, Kyū itaku-warai-tamau　[コノ坊未熟ノ時、向爐ニ中央卓用シニ、休甚笑玉フ].

    Whether or not this documents an actual historical event, the fact is that some sort of tana had to have been placed in this way, for the first time, at some point in time.

    And whether or not Rikyū responded with incredulous mirth (assuming he was the observer rather than the perpetrator)*, his exposure to the idea certainly does seem to have set his wheels in motion.  His first solution† was the creation of the Kyū-dai [キウ臺休臺] (the pair of tana that are today known as the shi-hō-dana [四方棚], which was devised for use with the mukō-ro; and the maru-joku [丸卓], which was used when a large furo was placed on the lid of the closed mukō-ro).  This, in turn, would be followed (some years later) by the creation of the tsuri-dana by Rikyū, and the Shū-un-an-tana by Nambō Sōkei. ___________ *Though none of the history of this early period is clear, it is just as possible that it was the young Rikyū who began experimenting with placing a tana next to a mukō-ro.

    While Sōkei’s date of birth is not known, it appears from the Nampō Roku (and chance references found in other documents from the sixteenth and seventeenth centuries) that he was at least several years older than Rikyū.  Sōkei also seems to have been among Jōō’s original group of followers, which would have started their association years before Kitamuki Dōchin introduced Rikyū to the master.  Yet this entry certainly implies that Rikyū was the older of the two men.  Thus it would appear that the author of this kaki-ire was deliberately playing fast and loose with the historical record, in order to characterize Rikyū as the dominating tea sage -- which agrees with the direction such narratives were taking during the Edo period (which also agrees with certain linguistic usages found in this entry).

†As was mentioned in the previous post, the most likely actual objection was that the feeling of the chū-ō-joku (which was used by the Emperor during one of the most important ceremonies of the year) was completely out of keeping with the ro (which was adapted from the common-room of a farmhouse).

    Using a newly-made tana that was based on the chū-ō-joku, would have been more in keeping with the setting -- and this seems to have been Rikyū’s solution.  As has been mentioned elsewhere, the shi-hō-dana seems to have come first, and was based on interpreting the idea of the kyū-dai daisu through the space available to the left of a mukō-ro.  That is, when the kyū-dai daisu is arranged on a kyōma utensil mat, the ten-ita extends from heri to heri, while the ji-ita is 2-me away from the heri on both sides.  Rikyū’s shi-hō-dana carries this same relationship between the ten-ita and ji-ita and the heri to the section of tatami to the left of the mukō-ro.  (Note that the modern shi-hō-dana has different dimensions from Rikyū’s original:  the most common version seen today made its first appearance during the Edo period, and was intended to be used in the 4.5-mat room with an ordinary ro.  This version of the tana is too large to be placed beside a mukō-ro.)

⁴Sono ato, kaku-no-gotoki kekkō-naru-koto wo kikite　[ソノ後、如此結構ナルコトヲ聞テ].

    Once word of Rikyū’s use of the shi-hō-tana and maru-jōku began to spread among his contemporaries, acceptance would likely have followed -- so that what had been belittled at first now became increasingly acceptable*. ___________ *It is even possible that the actual use of certain types of chū-ō-joku with the ro would have come to be accepted.

    While nothing is said in any of these posts, in Rikyū’s writings on the chū-ō-joku he specifically states that only those versions of this joku that had two or three legs could be used for chanoyu, while those with four legs were to be rejected.

    His reason was that that if the joku had four legs, the leg would get in the host’s way when moving a hishaku of cold water from the mizusashi to the kama (regardless of whether the kama was on a furo, or in the ro).  According to Rikyū’s densho, the only four-legged tana sanctioned for use in the tearoom was the (shin) daisu.

⁵Makoto ni waga-nagara okashiki-goto nari　[マコトニ我ナガラヲカシキゴトナリ].

    Makoto ni [誠に] means truly, honestly.

    Waga-nagara [我ながら] means something like “if I do say so myself.”

    Okashii-koto nari [可笑しいことなり] means a situation that is amusing, funny, odd, or strange -- the sort of thing that will cause an onlooker to cock their head with a half smile on their face.

    In other words, Sōkei is wondering why something for which he was criticized severely before has now become a completely acceptable, indeed normalized, way of doing things -- and concludes that “the ways of the world” are strange.

⁶Nani-goto mo yoku-yoku-shite ato tori-mochii-beshi　[何事モヨク〰知テ後取用ベシ].

    Nani-goto mo [何事も] means, in this case, anything; whatever (experiences we have).

    Yoku-yoku-shirite [よくよく知りて] means (that we) know very well; (that we) understand well.

    Ato tori-mochii-beshi [後取り用いべし] means should be put into use later; should be used later.

⁷Mijuku no uchi ayamari-ari ha kayō no koto nari　[未熟ノ内アヤマリアルハカヤウノコトナリ].

    Mijuku no uchi ayamari-ari [未熟の内誤りある] means there are mistakes that happen while one is still immature.

    Kayō no koto nari [斯様のことなり] means something like that is how it is, or that is to be expected.

    In other words, it is our lack of understanding that leads us into most of our mistakes when we are still learning (from which it follows that once we have completed our training -- when we have attained maturity in our practice -- we will understand how to do certain things in such a way as to avoid overstepping the bounds of propriety).

    Sōkei's unspoken conclusion appears to be that when we are still learning, we should concentrate on following the rules; but once we are mature in our practice, then things that formerly were “wrong” can now be attempted, since our training will guide us (subconsciously) so that we do not fall into error.  This, of course, was the argument that was being made by the schools at that time (as well as now), so this parable was probably created as a way to reinforce that idea.

[idolsgeneration]

[nenasspot]

~~my faves so far in girls planet 999~~

I have literally downloaded an apk for the universe app to be able to vote since it isn't in available in belgium for some reason,, so I have deserved the right to ramble about my favorite girls on this program.

yes, there ARE 10 trainees here instead of 9, but that's because I have a 4th J-GROUP trainee I want to talk about. other than mnet, I did want to keep the ratio to keep it fair, so I have 3 faves per group here!

let's go!

K-GROUP: kang ye seo (4mintue's crazy)

I've talked about her before, so I won't go too into this one, but I AM a sucker for talent+a good attitude (looks at jinhyuk and hangyul out of the corner of my eye), and yeseo really ticks these boxes! she's also very very adorable and pretty :) right now, she's at position 2 on the show, so I'm hopeful for her doing well

K-GROUP: huening bahiyyih (apink's mr. chu)

if y'all know me, this one was to be expected... I don't want to be biased purely because she's kai's sister, but it rlly was inevitable. honestly, though, I have a soft spot for all of the huening siblings (we know lea and bahiyyih through youtube) because they're so sweet. I also feel like it's inevitable that bahiyyih turns out to be really talented if she takes after her siblings, but I feel like she lacked some confidence in her audition which I honestly can't blame her for. I hope she gets a confidence boost!! her vocals and dance were both very stable, but due to the lack of aura or presence it didn't really stand out. so with some practice and getting used to this situation, I feel like bahiyyih will get pretty far! I hope she gets a good part in fiesta, because that could really leave a good mark.

K-GROUP: seo young eun (nct127's kick it)

HER KICK IT PERFORMANCE BLEW ME AWAY

that's sUCH a hard song to pull off, let alone for girls, let alone for girls who literally 10 seconds before were introducing themselves so bubbly. I really cannot wait for what she will do in the future and I'm also so happy for her that she's in top 9 right now. she really deserved it. her dancing and her voice are both very alluring, so she catches your eye and hoLDS it. she demands attention when she performs. I hope she keeps up her streak. I also really like her teammate ji ah, so I'm voting for her cell and not young eun's.

K-GROUP: choi yu jin (hyuna's bubble pop)

it takes so much confidence to present yourself like this, so I can't even imagine how it must be for an idol who has debuted 7 years ago. I felt really bad for her, but yujin is also an absolute angel as far as I know, and as we have established I like good attitudes. the calm way in which she handled that call-out made me really respect her even more. she will be pretty popular, so I'm currently not voting for her, but I'm voting for her cell instead!

J-GROUP: sakamoto mashiro ((g)i-dle's dumdi dumdi)

even if I'm not that big of a fan of the song, I can recognize how absolutely stable her vocals were while doing that choreo. aside from that, her talent has been proven before by being part of yup, so she has had a thorough training and I feel like she'll be quite strong!

J-GROUP: nonaka shana (blackpink's boombayah)

she looks so so sO sweet and her voice was clear as glass during that boombayah performance! she looks quite innocent but I feel like she'd be able to pull through with some reversed charms (like the girlies from the crazy stage did). I do hope she won't focus on purely cute, because that does get old for me fast. I wouldn't normally pick someone like shana out, but she grabbed my attention with her amazing vocals.

J-GROUP: oki fuka (mamamoo's gogobebe)

fuka did a lot of the rap bits in the stage, which really surprised me. it was stable and right, the opposite of what I expected her to do if you look at her profile pic (sorry!). she deservedly got top9 candidate, and I feel like she has some more to prove. I honestly fear for her a bit, but I hope the future performances make her stand out more!

C-GROUP: su rui qi (chungha's snapping)

I followed her in youth with you 2, so I was really excited to see her back! and she's just as good as I remember to be, maybe even better! she's really made to fill an ace position, and I feel confident she will. she's eye-catching and confident without seeming arrogant, a balance most struggle to find and which will be a strong plus going forward.

C-GROUP: gu yi zhou (hwasa's maria)

maria is such an incredibly hard song to pull off, with its advanced choreo and how the low pitch is followed by a full vocal line in the chorus. the way her and her teammate ate that without embarrassing themselves completely is sUCH a feat. gu yi zhou is also very very pretty and she really just stood out to me. I'm not too sure about her chances yet, so I look forward to seeing more of her hopefully!

C-GROUP: xu zi yin (sunmi's siren)

once again,, a super hard song to do, you either pull it off or you get ready to sink in the ground. even more so if the original singer is literally sitting right in front of you as you do it and is supposed to grade you after... I can't even imagine. xu zi yin also seems like quite the sweetheart, so I hope to get to know her better soon!

these are all of the girls I'm voting for right now! for cells, as I've said, I'm voting choi yu jin's and yoo ji ah's, and then also bahiyyih's since I'm sort of worried for her. I hope you'll give these and all other girls a lot of love during the program AND after!!! oh, and please tell me who you're voting (or just rooting) for in the reblogs/tags!

[ryujinwife]

SSFLW team 2 ending fairies

[shenxiaoting]

GP999 ELIMINATED + CURRENT CONTESTANTS' INDIVIDUAL INSTAGRAM ACCOUNTS

due to popular demand (6 likes). remember that if you do choose to seek out the girls and interact with them, do so respectfully!

k group

ma_li_mo_0123 (lee yunji)

y00n_jia_ (yoon jia)

guinn_mn (guinn myah ((shared account w/ her brother))

me_llifluous71 (jeong jiyoon)

hye_rim_7 (kim hyerim)

leehyewon.official (lee hyewon)

fxullmoon (kim sein)

im_yeonkyong (lee yeongyung)

5223_you (kim yubin)

all_of_dana (han dana)

dear_rin___ (choi hyerin)

leechaeyun.official (lee chaeyun)

lcirndxah (kim doah)

utokki_ (choi yujin)

dayeon_you (you dayeon)

ikhiiofl (kim chaehyun)

kim_yeeun_1019 (kim yeeun)

ravvexnle (lee rayeon)

c group

cb.binggg (cai bing)

mylllllll (ma yuling)

real_yzg (yang zige)

iamtammywu (wu tammy)

chereeeeena (leung cheukying)

linchanhan_mm (lin chenhan)

dxq_joess (liang twins)

guyizhou0_0 (gu yizhou)

s.zeehoo (ho szeching)

hellomila_0605 (chang ching)

y.oungjii (poon wingchi)

shuuuyun_1025 (lin shuyun)

im__0218 (li yiman)

lorinaxxq (huang xingqiao)

dollyyy0218 (zhang luofei)

xdoudou97 (wen zhe)

tttzuling (chien tzuling)

roada_96 (xu ziyin)

sury_777 (su ruiqi)

chiayilee_ (li chiayi)

j group

ruan_go_go (ikema ruan)

cotoc0la_ (kamimoto kotone)

noguririka (kishida ririka)

_ngi__ma_ (nagai manami)

reina_kubo_official (kubo reina)

h.hana__0227_ (hayase hana)

nonakashana (nonaka shana)

ayana12_12678 (kuwahara ayana)

beauty_feather0 (sakurai miu)

ayaka_fujimoto17 (fujimoto ayaka)

moana.nny17 (yamauchi moana)

yuna_kitajima (kitajima yuna)

myuuu.7 (kanno miyu)

danc_emoka (shima moka)

aloeswood_ (nakamura kyara)

rinka_ando (ando rinka)

mashiro12160143 (sakamoto mashiro)

okifuka_official (oki fuka)

plum_sumom0 (okuma sumomo)

viviennemiyabi (inaba vivienne)

rinkaisme (aratake rinka)

nago_mi_753 (hiyajo nagomi)

ito_m__iyu (ito miyu)

fuko_hayashi_ (hayashi fuko)

kawaguchi_yurina_official (kawaguchi yurina)

hina_official1229 (terasaki hina)

rei__kamikura (kamikura rei)

[kep1er-universe]

Ep. 01: Cells

The trainees are split up in small groups. These are called "cells". Each cell consists of three trainees. When a cell does not have enough votes, all three trainees in that cell will be eliminated.

However, trainees can change their cells. Those who rank in the TOP9, get to pick their cell first.

In episode 01, each cell consists of a Korean, a Japanese and a Chinese trainee. The first cells were put together based on their "connections" (something they have in common).

NOTE: Not every cell had that much screen time so not all connections will be included. Same goes for the trainees: not all of them were shown a lot so some cells might be based on speculation.

Cell 1: "Role Models" - Kim Ye Eun - Kawaguchi Yurina - Gu Yizhou

Cell 2: "Athleticism" - Lee Yun Ji - Murakami Yume - Liu Shiqi

Cell 3: "Acting Girls" - Lee Chaeyun - Ikema Ruan - Lin Chenhan

Cell 4: "Youngest" - Guinn Myah - Kuwahara Ayana - Liu Yuhan

Cell 5: "Crayon Shin-Chan" - Kim Chaehyun - Kanno Miyu - Huang Xingqiao

Cell 6: "Invertebrate Girls" - Kang Yeseo - Kamikura Rei - Chiayi

Cell 7: "Almost debuted together" - Lee Yeon Gyung - Sakamoto Mashiro - Cui Wenmeixiu

Cell 8: "Game Lovers" - An Jeongmin - Shima Moka - Ma Yuling

Cell 9: "Jin Goo Oppa" - Choi Yeyoung - Ito Miyu - Wen Zhe

Cell 10: "Good dancer" - Sim Seungeun - Ando Rinka - Chien Tzuling

Cell 11: "Main Vocalist" - Kim Hyerim - Kubo Reina - Xia Yan

Cell 12: "Number One Vocalist" - Jeong Jiyoon - Nakamura Kyara - Wang Yale

Cell 13: "All-rounder" - Kim Suyeon - Nonaka Shana - Fu Yaning

Cell 14: "Girls who love chicken feet" - Huh Jiwon - Sakurai Miu - Cai Bing

Cell 15: "Mint chocolate lovers" - Yoon Jia - Oki Fuka - Li Yiman

Cell 16: "I have an album on my own" - Choi Yujin - Okazaki Momoko - Xu Ziyin

Cell 17: "Girls Generation" - Kim Bora - Hayase Hana - Zhang Luofei

Cell 19: "Pretty Girls" - Kim Doah - Okuma Sumomo - Chen Hsinwei

Cell 20: "Top Ones" - Kim Dayeon - Ezaki Hikaru - Shen Xiaoting

Cell 21: "Survival Once Again" - You Dayeon - Kishida Ririka - Su Ruiqi

Cell 22: "26 Years of Experience in Dancing" - Lee Sunwoo - Hiyajo Nagomi - Poon Wingchi

Cell 23: "Talkative ENFP" - Lee Hyewon - Kamimoto Kotone - Liang Jiao

Cell 24: "Crybaby" - Joung Min - Hayashi Fuko - Liang Qiao

Cell 25: "New Trainee" - Huening Bahiyyih - Sakamoto Shihona - Hsu Nientzu

Cell 26: "Girl who gnaws ribs" - Cho Haeun - Arai Risako - Xu Ruowei

Cell 27: "Cat Butler" - Ryu Sion - Terasaki Hina - Chang Ching

Cell 28: "Language Masters" - Lee Rayeon - Yamauchi Moana - Wu Tammy

Cell 29: "03s" - Han Dana - Aratake Rinka - Wang Qiuru

Cell 30: "Ballerinas" - Seo Youngeun - Inaba Vivienne - Ho Szeching

Cell 31: "K-POP self-educated" - Kim Sein - Nagai Manami - Leung Cheukying

Cell 32: "K-Drama fan" - Kim Yubin - Kitajima Yuna - Yang Zige

Cell 33: "Giant Girls" - Suh Jimin - May - Zhou Xinyu

[sxxft-yoon]

my ~spicy~ opinions about gp999 connect mission preformances because i'm bored asf and i'm scared to death✨

DISCLAIMER: these are just my opinions and you're allowed to disagree with them, just please be respectful💕

also, i'm at school right now so there miiight be some shitty grammar so sorry about it 🤷‍♀️

enjoy my controversial and biased opinions! also sorry for low quality images bwahahahhahah i suck

•yes or yes teams•

~team 1~ line-up: kim hyerim, huh jiwon, kim chaehyun, ma yuling, chiayi, li yiman, okuma sumomo, yamauchi moana, kuwahara ayana

my opinion: ok they absolutely slayed this one and definitely deserved the mcountdown performance, because everyone shined here. hyerim is an amazing main vocal and their team dynamic made me smile. kinda salty about moana not getting recognized and jiwon as a center made me cringe a tiny bit but i'll let it slide haha

mvp: kim hyerim (k-group)

~team 2~ line-up: lee chaeyun, kim sein, kim doah, leung cheukying, wen zhe, xu ziyin, kishida ririka, arai risako, okazaki momoko

my opinion: what's with the sein hate? she's fifteen, literally younger than me and a great vocalist. yes, she was a bit fast and that kinda brought the performance down, but she's a literal child! damn! doah as a center was sO cringy i almost cried laughing but overall my once ass is kinda satisfied

mvp: kishida ririka (j-group)

•how you like that teams•

~team 1~ line-up: choi yujin, seo youngeun, lee yeongyung, cai bing, shen xiaoting, xia yan, inaba vivienne, kawaguchi yurina, may

my opinion: i don't want to seem rude, i'm pretty sure they worked hard and all that, but the performance was...mediocre? i'm not talking about the mistakes, those are ok, they're humans but yujin, yurina and vivienne were almost invisible. tbh, the only one that i really loved in this performance was xia yan.

mvp: xia yan (c-group)

~team 2~ line-up: yoon jia, sim seungeun, kim dayeon, zhou xinyu, chen tzuling, wu tammy, shima moka, ando rinka, sakurai miu

my opinion: this is probably the most forgettable performance out of all 11. nothing stood out to me besides their kinda good facial expressions. so much wasted talent. they did ok, but definitely not outstandingly good to win.

mvp: yoon jia (k-group)

•fiesta teams•

~team 1~ line-up: lee sunwoo, kang yeseo, choi yeyoung, poon wingchi, huang xingqiao, chen hsinwei, hiyajo nagomi, sakamoto mashiro, kubo reina

my opinion: fiesta teams were done dirty with screentime but this one was really good, considering fiesta is in a ridiculous key! sunwoo should’ve got the planet pass, she did great, reina vocal queen and for once i agree with the judges about xingqiao, she improved so much! mashiro stood out to me the most.

mvp: sakamoto mashiro (j-group)

~team 2~ line-up: huening bahiyyih, kim yubin, suh jimin, hsu nientzu, lin shuyun, wang quiru, sakamoto shihona, nakamura kyara, ito miyu

my opinion: oh, boy. here we go. first, i don’t understand why judges didn’t suggest a main vocal change when miyu’s throat was so damaged from the high note, which ruined the already mediocre performance. on the brighter side, jimin and bahiyyih did great and were really stable! still, none of these girls had a chance to show off.

mvp: huening bahiyyih (k-group)

•ssfwl teams•

~team 1~ line-up: kim bora, ryu sion, lee hyewon, chang ching, zhang luofei, liang jiao, terasaki hina, hayase hana, nagai manami

my opinion: this is definitely my fav performance from this mission - everyone had their few seconds of fame, they complimented each other a lot and at one point they looked like a debuted group, especially when bora and luofei did the highnote. lalalalalala~

mvp: kim bora (k-group)

~team 2~ line-up: joung min, cho haeun, lee rayeon, liang qiao, ho szeching, cui wenmeixu, hayashi fuko, kanno miyu, oki fuka

my opinion: both ssfwl teams were actually bearable, even though i don’t like this team’s vocals that much. rayeon carried in vocals but again, i can’t get through the performance without being annoyed at mnet giving them black outfits instead of something actually fitting the dreamy concept, eh. 

mvp: lee rayeon (k-group)

•ebs teams•

~pretty u team~ line-up: kim yeeun, lee yunji, guinn myah, liu shiqi, gu yizhou, yang zige, ikema ruan, kamimoto kotone, murakami yume

my opinion: i’m kinda unsure if i find this adorable or ,,way too much’’ lol. yes, the concept is supposed to be like that but tbh i think myah overdid it a little bit, but she fit the concept and definitely made her team win, she’s super charismatic! another person that i’d love to highlight is kotone, she’s main rapper material. overall, i think the win was deserved.

mvp: guinn myah (k-group) 

~mic drop team~ line-up: an jeongmin, han dana, choi hyerin, lin chenhan, wang yale, liu yuhan, kitajima yuna, fujimoto ayaka, aratake rinka

my opinion: i’m fully aware that this team had no rappers which makes me question their song choice, but they did better than i expected them to! yale’s ,,yeah i’m on the mountain yeah i’m on the bay’’ is stuck in my head and even though they weren’t really charismatic, it wasn’t terrible. 

mvp: an jeongmin (k-group)

(it won’t let me post more than 10 images so here’s a gif lolol)

~the eve team~ line-up: you dayeon, kim suyeon, jeong jiyoon, xu ruowei, fu yaning, su ruiqi, ezaki hikaru, kamikura rei, nonaka shana

my opinion: i might be biased but they did amazing if we don’t count yaning’s eyebrow (im sorry yenny ily) and tbh, hikaru overdid it a little. jiyoon and shana are main vocal material and this performance made me a diehard ruiqi stan. the one that surprised me is dayeon, she did quite well with the vocal parts. 

mvp: su ruiqi (c-group)

so, this was a huuge mess and i have no idea why i’m doing this but yeah i just hope ruiqi gets in 

[dappyhelps]

bwahh thank you so much! this might get long, so apologies if this ends up in a couple asks. so i'm looking for a girl of unspecified asian descent (futuristic sci-fi world where all of asia has formed into one country called "the eastern commonwealth", her adopted family is vietnamese, she lives in "new beijing", she's described as 'tanned with mousy brown hair', the author based her off of mew azuma, idk what she's going for here). she's 16/17 in canon, but i'm gonna play her a little (cont)

older than that. the hardest part i’m having is that i would prefer to have an actress over a musician/model, since their icons look more natural to me, and i need someone who’s not super feminine. the character i’m playing starts out as a mechanic. (she ends up as a queen, but i’m not daring to hope i’d be able to find both of those in the same fc.) so i need someone who wears more dirty clothes, or at least not pink and soft and dainty. if you can think of anything, i’d appreciate any help ♥♥♥

Oki doki! Honestly, I took the majority of the description from her being based off of Mew Azuma, her age, and generally short hair with tomboy-ish roles. So here are some Japanese FC’s that might fit, I couldn’t find many at the exact age of that you’ve given, so some are a bit older. 

Yoshioka Riho (25) Japanese

Koike Rina (25) Japanese

Tateishi Haruka (23) Japanese

Nikaido Fumi (23) Japanese

Yoshizaki Aya (22) Japanese

Yamaya Kasumi (21) Japanese

Ohara Sakurako (22) Japanese

Hashimoto Ai (22) Japanese

Koshiba Fuka (20) Japanese

Wakana Aoi (20) Japanese

Okubo Sakurako (19) Japanese

Hirose Suzu (19) Japanese

Otomo Karen (18) Japanese

Kamishiraishi Moka (18) Japanese

Kawashima Ririka (16) Japanese

I found the majority of these off of @japanesefcs female list! 

[gp999discographies]

Masterlist

All Songs

Spotify

Contestants are listed with the name they used during Girls Planet with most recent stage names and groups in parentheses. Any other groups or stage names are listed in the linked posts.

김채현 | Kim Chaehyun (채현 | Chaehyun, Kep1er)

휴닝바히에 | Huening Bahiyyih (휴닝바히에 | Huening Bahiyyih, Kep1er)

최유진 | Choi Yujin (유진 | Yujin, Kep1er)

김다연 | Kim Dayeon (다연 | Dayeon, Kep1er)

서영은 | Seo Youngeun (영은 | Youngeun, Kep1er)

강에서 | Kang Yeseo (에서 | Yeseo, MADEIN)

えざき ひかる | Ezaki Hikaru (ヒカル | 히카루| Hikaru, Kep1er)

さかもと ましろ | Sakamoto Mashiro (マシロ | 마시로 | Mashiro, MADEIN)

沈小婷 | Shen Xiaoting | 션샤오팅 (沈小婷 | 샤오팅 | Xiaoting, Kep1er)

김수연 | Kim Suyeon (션 | Sheon, Billlie)

귄마야 | Guinn Myah (Upcoming debut in ODDYOUTH)

符雅凝 | Fu Yaning (符雅凝 | YENNY, Soloist)

苏芮琪 | Su Ruiqi (苏芮琪 | Sury, Soloist)

川口 ゆりな | Kawaguchi Yurina (川口 ゆりな | Kawaguchi Yurina, Soloist)

김보라 | Kim Bora (보라 | Bora, Cherry Bullet [disbanded])

のなか しゃな | 野仲 紗奈 | Nonaka Shana (シャナ | 紗奈 | 샤나 | Shana, LAPILLUS)

文哲 | Wen Zhe (文哲 | Wen Zhe, Hickey)

黄星侨 | Huang Xingqiao (黄星侨 | Lorina, Soloist)

陳昕葳 | Chen Hsinwei (陳昕葳 | Chen Xinwei, Soloist)

いけま るあん | 池間 琉杏 | Ikema Ruan (ルアン | รุอัน | Ruan, Gen1es)

ながい まなみ | 永井 愛実 | Nagai Manami

きしだ りりか | 岸田 莉里花 | Kishida Ririka (リリカ | 리리카 | Ririka, ILY:1)

周心语 | Zhou Xinyu (周心语 | 신위 | Xinyu, tripleS)

メイ | May (메이 | メイ | May, Cherry Bullet [disbanded])

かみもと ことね | 嘉味元 琴音 | Kamimoto Kotone (コトネ | 코토네 | Kotone, tripleS)

蔡冰 | Cai Bing (蔡语冰 | Cai Yu Bing, KSGIRLS)

徐紫茵 | Xu Ziyin (徐紫茵 | Roada Xu, Soloist)

김도아 | Kim Doah (도아 | Doah, Fanatics)

梁娇 | Liang Jiao (梁娇 | Liang Jiao, GNZ48 Team G, Nebulove)

くぼ れいな | 久保 玲奈 | Kubo Reina

윤지아 | Yoon Jia (윤지아 | Yoon Jia, mimiirose)

李伊蔓 | Li Yiman

さくらい みう| 櫻井 美羽 | Sakurai Miu (ミウ | Miu, ME:I)

정지윤 | Jeong Jiyoon (지윤 | Jiyoon, ICHILLIN')

杨梓格 | Yang Zige

くわはら あやな | 桑原 彩菜 | Kuwahara Ayana (みり | Miri, RIRYDAY)

안정민 | An Jeongmin (베아니 | veanii, Soloist)

王雅乐 | Wang Yale

やまうち もあな | 山内 若杏名 | Yamauchi Moana

이혜원 | Lee Hyewon

张洛菲 | Zhang Luofei

さかもと しほな | 坂本 志穂菜 | Sakamoto Shihona

김혜림 | Kim Hyerim (김혜림 | Kim Hyerim, Soloist)

許念慈 | Hsu Nientzu (許念慈 | 니엔 | Nien, tripleS)

あらい りさこ | 新井 理沙子 | Arai Risako

허지원 | Huh Jiwon (지원 | Jiwon, Cherry Bullet [disbanded])

李家儀 | Chiayi (李家儀 | 지아이 | Chiayi, Fanatics)

しま もか |島 望叶 | Shima Moka

최예영 | Choi Yeyoung (예영 | Yeyoung, Geenius)

吴甜蜜 | Wu Tammy

ふじもと あやか | 藤本 彩花 | Fujimoto Ayaka (藤本 彩花 | Fujimoto Ayaka, Produce 101 Japan The Girls Contestant)

이채윤 | Lee Chaeyun (이채윤 | Lee Chaeyun, Soloist)

梁卓瀅 | Leung Cheukying

はやせ はな | 早瀬 華 | Hayase Hana (하나 | Hana, ILY:1)

유다연 | You Dayeon (유다연 | You Dayeon, Soloist)

夏研 | Xia Yan夏研 | Xia Yan (夏研 | Xia Yan, Soloist)

いとうみゆ | 伊藤 美優 | Ito Miyu (ミウ | 미유 | MiU, MADEIN)

김세인 | Kim Sein

梁乔 | Liang Qiao (梁乔 | Liang Qiao, GNZ48 Team Z, Nebulove)

林 楓子 | Hayashi Fuko (��コ| 후코 | Fuko, I-LAND2 N/a Contestant)

심승은 | Sim Seungeun (승은 | Seungeun, BVNDIT [disbanded])

徐若惟 | Xu Ruowei

比屋定 和 | Hiyajo Nagomi (ナゴミ | 나고미 | Nagomi, ViV)

이연경 | Lee Yeongyung

顾逸舟 | Gu Yizhou

安藤 梨花 | Ando Rinka (リンカ | Rinka, Veil)

이나연 | Lee Rayeon (나연 | Rayeon, Fanatics) K23

張競 | Chang Ching (로나 | Rona, ILY:1)

荒武 凛香 | Aratake Rinka (荒武 凛香 | Aratake Rinka, Chuang Asia 2024 Contestant)

이선우 | Lee Sunwoo (이선우 | Lee Sunwoo, Universe Ticket Contestant)

马玉灵 | Ma Yuling (马玉灵 | Ma Yuling, SNH48 Team SII [graduated])

岡崎 百々子 | Okazaki Momoko (MOMOMETAL, BABYMETAL)

김예은 | Kim Yeeun

林辰涵 | Lin Chenhan

ヴィヴィアン | 稲葉 | Inaba Vivienne

이윤지 | Lee Yunji (아라 | Ara, ILY:1)

崔文美秀 | Cui Wenmeixiu

むらかみ ゆめ | 村上 結愛 | Murakami Yume (유메 | Yume, ViV)

최혜린 | Choi Hyerin (최혜린 | Choi Hyerin, Universe Ticket Contestant)

簡紫翎 | Chien Tzuling (簡紫翎 |쯔링 | Tzuling, ViV)

かみくら れい | 神藏 令 | Kamikura Rei (レイ | เรย์ | Rei, Chuang Asia 2024 Contestant)

류시온 | Ryu Sion (시온 | Sion, Geenius)

何思澄 | Ho Szeching (思澄 | Szeching, UNi [upcoming debut])

てらさき ひな | 寺崎 日菜 | Terasaki Hina

서지민 | Suh Jimin

潘穎芝 | Poon Wingchi

おおくま すもも大 | 大熊 李 | Okuma Sumomo

정민 | Joungmin

林書蘊 | Lin Shuyun

おき ふうか | 沖 楓花 | Oki Fuka

김유빈 | Kim Yubin

刘诗琦 | Liu Shiqi

かんの みゆう | 菅野 美優 | Kanno Miyu

조하은 | Cho Haeun

王秋茹 | Wang Qiuru (王秋茹 | Wang Qiuru, SNH48 Team SII [graduated])

きたじま ゆな | 北島 由菜 | Kitajima Yuna

한다나 | Han Dana (다나 | Dana, ViV)

刘钰涵 | Liu Yuhan

なかむら きゃら | 中村 伽羅 | Nakamura Kyara

[chanoyu-to-wa]

Nampō Roku, Book 7 (42, 43, 44):  the Sketches for Entries 39, 40, and 41.

42) Yojō-han tomoshibi no oki-dokoro [四疊半ノ置所]¹.

[The writing reads:  written on a diagonal, kono-hashira kugi-butsu kake-tomoshibi (此柱 釘打掛灯)², hi-guchi no takasa fukuro-dana no ue yon-sun no kokoro-e-subeshi (火口ノ高サ袋棚ノ上四寸ノ心得スヘシ)³; center, hi-guchi (火口)⁴.]

〽 Go-shaku-toko no toki kaku-no-gotoki [五尺床ノ時如此]⁵.

〽 Tankei oki-kata yoshi, Shukō no shin-no-yojō-han, Engo no ō-haba wo kakerare-shi yue ikken-toko nari, tankei mo sono toki made ha okazu, shokudai nari, Jōō yojō-han, toko-naki mo ari, toko wo tsukerare-taru ha go-shaku nari [短檠置方ヨシ、珠光ノ眞ノ四疊半、圜悟ノ大幅ヲ掛ラレシ故一間床也、短檠モ其時マデハ不置、燭臺也、紹鷗ノ四疊半、床ナキモアリ、床ヲ付ラレタルハ五尺也]⁶.

[The writing reads:  hi-guchi (火口)⁷.]

〽 Ikken-toko no toki, Sōkyū kaku-no-gotoki wo okaruru, Kyū ha tsu[w]i ni ji-ka ni te, sumi-kakete okare-taru wo mizu, aru-toki, Yodo-ya no yojō-han ikken-toko ni te ari-keru ni tōdai oki-taru ni, Kyū mi-tamaite, kore ni te koso aru-beki to no tamau, shikaraba sumi-kake ha konomarezu to oboe ni, Yodo-ya ha Kyū koni no montei nari [一間床ノ時、宗及如此ヲカルヽ、休ハツヰニ自家ニテ、スミカケテヲカレタルヲ見ズ、アル時、淀屋ノ四疊半一間床ニテ有ケルニ燈臺置タルニ、休見玉テ、コレニテコソアルベキトノ玉フ、シカレバスミカケハ不被好ト覺ニ、淀屋ハ休懇意ノ門弟也]⁸.

43.1) Fuka san-jō furu-zama [深三疊古様]⁹.

[The writing reads (right to left):  kono tokoro kakemono (此所カケ物)¹⁰; kono kabe chū-dan kōshi ari, mata chū-dan made ni shite, hashira nashi ni, ita no furo-saki mo ari, takasa kama no mie-kakure (此カヘ中段カウシアリ、又中段迄ニシテ柱ナシニ、板ノ風爐サキモアリ、高サ釜ノ見ヘカクレ)¹¹; isshaku go-sun ita (一尺五寸板)¹²; ro wo koko ni kirareshi ha, isshaku-yon-sun kiwamarite ato no koto nari, hajime ha ita no ue ni daisu no gotoku, kane no furo mizusashi nado gu-shite oki-shi nari (爐ヲコヽニ切ラレシハ、一尺四寸キハマリテ後ノコト也、初ハ板ノ上ニ臺子ノコトク、カネノ風爐・水サシナト具シテヲキシナリ)¹³; kake-tomoshibi koko ni (カケ灯コヽニ)¹⁴.]

43.2) Ato kaku-no-gotoki ni mo [後如此ニモ]¹⁵.

[The writing reads:  isshaku go-sun ita (一尺五寸板)¹⁶; ro (炉)¹⁷.]

44.1) Naga-yojō furu-zama [長四疊古様]¹⁸.

[The writing reads, from right to left:  kakemono koko ni (カケ物コヽニ)¹⁹; furosaki (風炉サキ)²⁰; go-sun ita (五寸板)²¹; ro (炉)²²; furo no toki kono ro no futa no ue ni oku-koto fuka-sanjō no i-fū nari (風炉ノ時コノ炉ノフタノ上ニヲク事深三疊ノ遺風也)²³, ro hidari no sumi ni mo kiru nari (炉左ノ隅ニモ切ル也)²⁴.]

44.2) Ato kaku-no-gotoki ni mo [後如此ニモ]²⁵.

[The writing reads, from right to left:  kakemono koko ni (カケ物コヽニ)²⁶; ro (炉)²⁷; ro hidari no sumi ni mo (炉左ノ隅ニモ)²⁸; go-sun-ita koko ni naoshite (五寸板コヽニホシテ)²⁹.]

_________________________

◎ This entry contains the six drawings that graphically memorialize the details of entries 39 (Lighting the 4.5-mat Room for the Shoza*), 40 (the Fuka-sanjō [深三疊] Room†), and 41 (the Naga-yojō [長四疊] Room‡).  Even though these sketches have already been published in the posts to which they relate, I am repeating them here in order to maintain the series of entries as found in the Enkaku-ji manuscript version of Book Seven of the Nampō Roku.

    In addition, I have included a translation of a related entry, from the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加 ] (A Record of Excerpted Passages for Internal Use, Supplementary Material)**, that deals with certain points related to the three- and four-mat rooms, and their seating arrangements.  This appears as an appendix, at the end of this post. ___________ *The URL for the post of entry 39 is:

https://chanoyu-to-wa.tumblr.com/post/702018933860040704/namp%C5%8D-roku-book-7-39-lighting-the-45-mat

† The URL for the post of entry 40 is:

https://chanoyu-to-wa.tumblr.com/post/702653075106742272/namp%C5%8D-roku-book-7-40-the-deep-three-mat

‡ The URL for the post of entry 41 is:

https://chanoyu-to-wa.tumblr.com/post/703015465673441280/namp%C5%8D-roku-book-7-41-the-long-four-mat-room%C2%B9

**In these translations, I usually refer to this pair of documents as the Book of Secret Teachings, and Second Book of Secret Teachings (the original Sumibiki no uchinuki-gaki only has 10 entries; most of the material that has drawn our attention is found in the much more expansive supplementary book, which contains 54 entries) for the sake of simplicity.

￭ The translations found in footnotes 1 to 29 are pretty perfunctory, since everything has been discussed, in detail, in the posts (the URLs of which are given above) where these drawings first appeared.  I have only provided explanations where circumstances seemed to make this appropriate.

¹Yojō-han tomoshibi no oki-dokoro　[四疊半ノ置所].

    This means the place to put the lamp in the 4.5-mat room.

²Kono-hashira kugi-butsu kake-tomoshibi　[此柱 釘打掛灯].

    “[If] a hook has been nailed into this pillar, a hanging lamp [may be hung here].”

³Hi-guchi no takasa fukuro-dana no ue yon-sun no kokoro-e-subeshi　[火口ノ高サ袋棚ノ上四寸ノ心得スヘシ].

    “Regarding the height of the hi-guchi, you should understand that it should be 4-sun above the fukuro-dana.”

⁴Hi-guchi　[火口].

    Hi-guchi refers to the place where the wicks extend above the rim of the lamp; the place where the flame is burning.  The meaning here is that the hi-guchi should face toward the ro.

⁵Go-shaku-toko no toki kaku-no-gotoki　[五尺床ノ時如此].

    “When [the room has] a 5-shaku toko, it is like this.”

    In other words, the drawing illustrates the arrangement in a room that has a 5-shaku toko.

⁶Tankei oki-kata yoshi, Shukō no shin-no-yojō-han, Engo no ō-haba wo kakerare-shi yue ikken-toko nari, tankei mo sono toki made ha okazu, shokudai nari, Jōō yojō-han, toko-naki mo ari, toko wo tsukerare-taru ha go-shaku nari　[短檠置方ヨシ、珠光ノ眞ノ四疊半、圜悟ノ大幅ヲ掛ラレシ故一間床也、短檠モ其時マデハ不置、燭臺也、紹鷗ノ四疊半、床ナキモアリ、床ヲ付ラレタルハ五尺也].

    “The way the tankei has been placed is suitable.  In Shukō's shin [眞] 4.5-mat room, because he wanted to hang the wide scroll [that had been written by] Engo, [the room] had a 1-ken toko.  Up to that time, the tankei was still not placed [in the tearoom]; [they] used a candlestick.

    “Jōō also had a 4.5-mat room that did not have a toko.  And when he wanted to attach a toko, it was 5-shaku [wide].”

⁷Hi-guchi　[火口].

    Again, the word hi-guchi indicates the orientation of the tankei.  In this case, it is placed on a diagonal, so that the lamp gives light not only to the ro, but to the interior of the toko as well.

⁸Ikken-toko no toki, Sōkyū kaku-no-gotoki wo okaruru, Kyū ha tsu[w]i ni ji-ka ni te, sumi-kakete okare-taru wo mizu, aru-toki, Yodo-ya no yojō-han ikken-toko ni te ari-keru ni tōdai oki-taru ni, Kyū mi-tamaite, kore ni te koso aru-beki to no tamau, shikaraba sumi-kake ha konomarezu to oboe ni, Yodo-ya ha Kyū koni no montei nari　[一間床ノ時、宗及如此ヲカルヽ、休ハツヰニ自家ニテ、スミカケテヲカレタルヲ見ズ、アル時、淀屋ノ四疊半一間床ニテ有ケルニ燈臺置タルニ、休見玉テ、コレニテコソアルベキトノ玉フ、シカレバスミカケハ不被好ト覺ニ、淀屋ハ休懇意ノ門弟也].

    “When [the room] had a 1-ken toko, Sōkyū wanted to place [the tankei] like this.  But [as for] Rikyū, [the tankei]  was never seen to be placed so that it rested in the corner [of the  mat] in his own home.

    “On one occasion, in Yodo-ya’s 4.5-mat room with a 1-ken toko, the tōdai was placed out in the aforementioned way.  When [Ri]kyū saw it, he declared ‘this is exactly the way it should be done!’

    “In light of this, perhaps we should consider that he did not [really] like [the way Sōkyū had arranged it].  Yodo-ya [Gentō] was one of [Ri]kyū’s most intimate disciples.”

⁹Fuka san-jō furu-zama　[深三疊古様].

    “The old style of the deep 3-mat [room].”

¹⁰Kono tokoro kakemono　[此所カケ物].

    “The kakemono is [hung] in this place.”

¹¹Kono kabe chū-dan kōshi ari, mata chū-dan made ni shite, hashira nashi ni, ita no furo-saki mo ari, takasa kama no mie-kakure　[此カヘ中段カウシアリ、又中段迄ニシテ柱ナシニ、板ノ風爐サキモアリ、高サ釜ノ見ヘカクレ].

    “In the middle of this wall is a lattice-work.   But again, with respect to this, including the making of [the lattice in] the middle, when the pillars [that would support the wall] are absent, a furosaki made from boards can also be [used].

    “It should be high enough to hide the kama from view.”

¹²Isshaku go-sun ita　[一尺五寸板].

    “The board [measures] 1-shaku 5-sun.”

¹³Ro wo koko ni kirareshi ha, isshaku-yon-sun kiwamarite ato no koto nari, hajime ha ita no ue ni daisu no gotoku, kane no furo mizusashi nado gu-shite oki-shi nari　[爐ヲコヽニ切ラレシハ、一尺四寸キハマリテ後ノコト也、初ハ板ノ上ニ臺子ノコトク、カネノ風爐・水サシナト具シテヲキシナリ].

    “As for wanting to cut the ro here, this only appeared after the ro was fixed at 1-shaku 4-sun [square].

    “Originally, a metal furo, mizusashi, and so on, were [all] placed on top of the board, just like [on] the daisu.”

¹⁴Kake-tomoshibi koko ni　[カケ灯コヽニ].

    “A hanging lamp is [suspended] here.”

¹⁵Ato kaku-no-gotoki ni mo　[後如此ニモ].

    “After, [the fuka-sanjō room] was also [arranged] like this.”

¹⁶Isshaku go-sun ita　[一尺五寸板].

    “The board [measures] 1-shaku 5-sun.”

¹⁷Ro　[炉].

    The ro is shown on the right.  However, it was also permissible to cut it on the left side of the mat, adjoining the wall of the katte.

¹⁸Naga-yojō furu-zama　[長四疊古様].

    “The old style of the long 4-mat [room].”

¹⁹Kakemono koko ni　[カケ物コヽニ].

    “The kakemono is [hung] here.”

²⁰Furosaki　[風炉サキ].

    This furosaki could refer either to a free-standing screen made of two boards, or to one (or more) boards suspended between a pair of pillars.  In either case, the height should be equal to that of the lid of the kama (when arranged on the furo).

²¹Go-sun ita　[五寸板].

    “The board [measures] 5-sun [wide].”

²²Ro　[炉].

    The ro is shown as being cut on the right side of the mat.  While this was the orthodox position (according to the classical understanding that the fire should always be located between the part of the room where the guests were seated, and the mizusashi and chaire), it was also permitted for the ro to be cut on the left side (which corresponded with its position on the ji-ita of the daisu).

²³Furo no toki kono ro no futa no ue ni oku-koto fuka-sanjō no i-fū nari　[風炉ノ時コノ炉ノフタノ上ニヲク事深三疊ノ遺風也].

    “When the furo is being used, there is the case where it is placed on top of this lid of the ro.  This was a practice of long standing that began with the fuka-sanjō.”

²⁴Ro hidari no sumi ni mo kiru nari　[炉左ノ隅ニモ切ル也].

    “The ro may also be cut in the left corner [of the mat, in front of the board].”

²⁵Ato kaku-no-gotoki ni mo　[後如此ニモ].

    “After, [the naga-yojō room] was also [arranged] like this.”

²⁶Kakemono koko ni　[カケ物コヽニ].

    “The kakemono is [hung] here.”

²⁷Ro　[炉].

    This was the more common location for the ro [based on the argument that the fire should be moved closer to the guests when the weather was cold].

²⁸Ro hidari no sumi ni mo　[炉左ノ隅ニモ].

    “The ro may also be [cut] in the left corner [of the utensil mat].”

²⁹Go-sun-ita koko ni naoshite　[五寸板コヽニホシテ].

     “The go-sun-ita is repositioned here.”

    “Repositioned” (naoshite [直して]) because, in the original form of the room, the board appeared to be oriented between the utensil mat and the mat that was functioning as the tokonoma.  According to that idea, the board should have been found on the right side of the mat.  However, that is mistaken.  The board should be found at the end of the utensil mat, to make it seem to be an inakama-datami.

==============================================

❖ Appendix:  Entry 39 from the Second Book of Secret Teachings.

    Because the deep 3-mat room was originally [just] the [enclosed] veranda of Jōō's sitting room, there was only one way [for the guests] to advance [through the room]³⁰.  Later this [problem] was resolved [by changing the orientation of the mats]; but even if this gave [the guests] more freedom [to move about]³¹, it did not really solve [the problem]³².  As a result, in the present day [the three-mat room] has largely been discarded³³.

० The deep three-mat room:

〽 (①) If the shōkyaku [takes his seat] here, his position will be the same as when the room has an ordinary mukō-ro³⁴.

〽 (②) If [the guests] take their seats as shown [in this drawing, with the shōkyaku seated in the spot indicated near the katte-guchi], the host will have appropriate access [to all of them]³⁵.

〽 If, during the furo season, [the utensils are arranged] only on the board, [the host] will not be able to gain access to [all of the guests]³⁶.

〽 In any case, it is appropriate for the shōkyaku to sit near the katte-guchi (as shown in this sketch), during both the sho[za], and the go[za]³⁷.

० The long four-mat room:

〽 When the host is serving the guests, there is no way for [him] to gain access to the [guest in the] last seat³⁸.  Consequently, the shōkyaku should undertake to act as his intermediary, passing things along to the [person in the] last seat³⁹ -- because, otherwise, there will be no way for the host to be able to serve [that guest]⁴⁰.

    [A guest who understands] such [things] is what we mean when we say that a “man of experience” enters [the tearoom]⁴¹.

_________________________

³⁰Fuka-sanjō ha Jōō i-ma no engawa naru yue, ippō agari nari　[深三疊ハ紹鷗居間ノ椽カハナル故、一方アカリナリ].

    Jōō i-ma no engawa [紹鷗居間の縁側]:  i-ma [居間] means a living room, a residential room, or a sitting room (a room that could be used to receive guests); engawa [椽カハ = 縁側] usually means a porch or veranda, but here it seems to refer to a sort of room created by arranging mats on a veranda, which are then enclosed by banks of shōji along the exposed sides to protect them from the weather*.  This space was then used as a dedicated tearoom.

    Fuka-sanjō ha Jōō i-ma no engawa naru yue [深三疊は紹鷗居間の縁側なるゆえ] means “because the deep 3-mat room was originally (just) the (enclosed) veranda of Jōō's sitting room....”

    Ippō agari nari [一方上がりなり] means something like “there was only one way to advance (into the room).”

    In other words, due to the limited space available on the preexisting veranda, the area of the mats available for the guests to enter were limited to a single line.  Thus, there would be no room for two-way traffic.  Once a person moved to the end of this line of mats, and he was followed by others, he could not get out again unless the other guests left the room first. __________ *However, according to Kotobank [コトバンク] https://kotobank.jp/, this kind of enclosed veranda only appeared during the first half of the seventeenth century (jū-shichi seiki zenhan ni fuki hanashi no irigawaen kara naibu ni torikoma reta engawa ni henka shite iru [17世紀前半に吹き放しの入側縁から内部に取り込まれた縁側に変化している]).  This would make the argument that Jōō purportedly enclosed his veranda to create this kind of room an anachronism -- a concept possibly generated by the machi-shū to give historical legitimacy their 3- and 4-mat rooms.

³¹Ato ni naoshite jiyū ni shitaru jūkyo mo aredomo　[後ニナホシテ自由ニシタル住居モアレドモ].

    Ato ni naoshite [後に直して] means later this (problem) was resolved (by changing the orientation of the mats so that the utensil mat was perpendicular to the two mats on which the guests would sit).

    Jiyū ni shitaru jūkyo mo aredomo [自由にしたる住居もあれども] means even if (this) were done so that (the guests) would be free (to move about as they wished)....

³²Jū-bun naki yue　[十分ニナキユヱ].

    Ju-bun ni nai yue [十分にないゆえ] means this was not enough.

    In other words, while rearranging the room and so give the guests free reign to move around the two mat area was an improvement over the original form of the three-mat room, it still meant that, regardless of how the mats were arranged, one of the guests would still be sitting within the same one-mat space as the kakemono.  Thus, this was not ideal.

    Apparently, the argument that is being made is that, because this 3-mat area was being appended to the outward-facing side of Jōō's preexisting 4.5-mat reception room, he was thereby limited with regard to the length of the room -- which could not exceed the width of the room to which it was attached (namely 9-shaku 4-sun 5-bu, or a mat and a half).

³³Tō-sei chari-tari　[當世捨リタリ].

    Tō-sei [當世] means in the present day (i.e., the early Edo period, when this text was written).

    Shari-tari [捨りたり]:  shari [捨り = 捨離] means to abandon (specifically, all worldly desires), so here shari-tari seems to be roughly equivalent to sute-tari [捨てたり], and so means that the three-mat room had largely been relegated to the dustbin of history by the time this text was written.  It was no longer used, because it could not fully free itself from the danger of inconveniencing the guests.

³⁴Koko ni shōkyaku tsugi-taraba tsune no mukō-ro no mi-gamae　[コヽニ上客ツキタラバ常ノ向炉ノ身構].

    Tsugi-taraba [次たらば] means to want to sit beside, will sit beside.

    In other words, if the shōkyaku decides to sit in that place*, everything will be done as if they were in a 2-mat room with a mukō-ro. __________ *This seems to mean that the shōkyaku enters the room last (so that he will take his “rightful” seat in front of the toko).  Then, after he has finished inspecting the toko, he moves onto the next mat (so that the other two guests will have to move closer to the lower end, so that all three are sitting on the same mat).

³⁵Kaku-no-gotoki za-tsuki-sōraeba shu no mi-gamae hirakite yoshi　[如此座着候得バ主ノ身構ヒラキテヨシ].

    Kaku-no-gotoki za-tsuki-sōraeba [かくの如き座着き候えば] means if the guests all take their seats as shown (in the drawing)....

    Shu no mi-gamae hirakite yoshi [主の身構開きてよし　] means that the host will have suitable access (to all of the guests); the host will be able to serve them appropriately.

³⁶Ita bakari ni te furo no toki ha hiraku-koto nashi　[板斗ニテ風炉ノ時ハヒラクコトナシ].

    Ita bakari ni te furo no toki [板ばかりにて風炉の時] means when, during the season of the furo, (all of the utensils) are (arranged only) on the mukō-ita [向板]*....

    Hiraku-koto nashi [開くこと無し] means (the host) will not have access (to all of the guests).

    This is because, when the utensils will be arranged on the board, not only are the furo and kama placed out during the shoza, but also the mizusashi, shaku-tate, koboshi, and futaoki -- just as if these things were arranged together on the o-chanoyu-dana (from which this arrangement was actually derived).  As a result, the host will be unable to pass as close to the board as he could when there was nothing on it. __________ *The large board measuring 3-shaku 1-sun 5-bu by 1-shaku 5-sun.

³⁷Shōkyaku to-kaku katte-guchi no kata ni zu no gotoku sho-go tomo ni ite yoshi　[上客トカク勝手口ノ方ニ図ノコトク初後トモニ居テヨシ].

    Tokaku [とかく] means anyways, in any case, at any rate.

    Katte-guchi no kata ni [勝手口の方に] means in the place closest to the katte-guchi.

    Zu no gotoku [図の如く] means as is show in the sketch.

    Sho-go tomo ni [初後ともに] means during both the shoza and (also) the goza.

    Ite yoshi [居てよし] means it is appropriate to remain (in that seat).

³⁸Shu tamai-suru toki ha matsu-za made tōru-beki michi nashi　[主給スル時ハ末座マデ通ルベキ道ナシ].

    Shu tamai-suru toki [主給いする時] means when the host is serving the guests -- the reference is to his serving of the kaiseki (and specifically to things like handing each guest his own tray of food, pouring sake for each of the guests, and so forth).

    Matsu-za made tōrubeki michi nashi [末座まで通るべき道なし] means there is no path for (the host) to gain access to the (guest in the) last seat.

³⁹Shōkyaku tori-tsukite matsu-za [h]e yaru nari　[上客取次テ末座ヘヤルナリ].

    Shōkyaku tori-tsukite [上客取り次ぎて] means the shōkyaku (should) act as an intermediary; the shokyaku should pass (that thing) along.

    Matsu-za [h]e yaru [末座へ遣る] means pass (it) along to (the person in) the last seat.

    In other words, with respect to something like the tray of food, the shōkyaku should receive it from the host and then pass it over to the last guest; and as for the pouring of sake, the shōkyaku should request the chōshi [銚子] or tokuri [徳利] from the host, and then pour for the last guest.

⁴⁰Sa nakereba shōkyaku [h]e shu no kyuji-jika ni watasu-koto narazaru-koto nari　[サナケレバ上客ヘ主ノ給仕直ニ渡スコトナラザルコトナリ].

    Sa nakereba [さなければ] means otherwise.

    Shōkyaku [h]e shu no kyuji-jika ni watasu-koto narazaru-koto [上客へ主の給仕直に渡すことならざること] means if the host does not pass this task over to the shōkyaku, the host will be unable to serve (the last guest).

⁴¹Kōsha no iru to iu ha kayō no koto nari　[功者ノ入ルト云フハカヤウノコトナリ].

    Kōsha no iru to iu ha [功者の入ると云うは] means when we speak about a man of experience entering (the tearoom)....

    Kayō no koto nari [斯様のことなり] means that is what we are talking about.

[chanoyu-to-wa]

Nampō Roku, Book 7 (40):  the Deep Three-mat Room¹.

40) The deep three-mat [room] was first devised in ancient times:  a sketch [of this room] has been added, at the end².  In the case of this [early version of the] room, the furo and kama were placed on top of the board when serving tea³.

    Later, a 1-shaku 4-sun ro was cut [in the mat] in front of the board, and so tea was served [in a way that ignored the presence of the board]⁴.

    This development followed [Ri]kyū’s [creation of the] box-like 2-mat room⁵.

￮ The ancient form of the 3-mat [room]⁶.

[The writing reads (right to left):  kono tokoro kakemono (此所カケ物)⁷; kono kabe chū-dan kōshi ari, mata chū-dan made ni shite, hashira nashi ni, ita no furo-saki mo ari, takasa kama no mie-kakure (此カヘ中段カウシアリ、又中段迄ニシテ柱ナシニ、板ノ風爐サキモアリ、高サ釜ノ見ヘカクレ)⁸; isshaku go-sun ita (一尺五寸板)⁹; ro wo koko ni kirare-shi ha, isshaku yon-sun kiwamarite ato no koto nari, hajime ha ita no ue ni daisu no gotoku, kane no furo mizusashi nado gu-shite oki-shi nari (爐ヲコヽニ切ラレシハ、一尺四寸キハマリテ後ノコト也、初ハ板ノ上ニ臺子ノコトク、カネノ風爐・水サシナト具シテヲキシナリ)¹⁰; kake-tomoshibi koko ni (カケ灯コヽニ)¹¹.]

〽 Later, [the 3-mat room] was also [arranged] like this¹².

[The writing reads:  isshaku go-sun ita (一尺五寸板)¹³; ro (炉)¹⁴.]

_________________________

◎ This entry is the same in all of the versions of the Nampō Roku to which reference has been made in this blog.  While Shibayama combines this entry (on the deep 3-mat room) with the next (discussing the long 4-mat room), they are formatted as separate entries in the Enkaku-ji manuscript, and I will follow that precedent (since this translation is ostensibly based on the Enkaku-ji text*).

    As I mentioned before, the drawings associated with this entry are (most strangely) not found in proximity to the text, but were gathered together with those illustrating the placement of the lamp in the 4.5-mat room, and the sketches that should be associated with entry 41 (the long 4-mat room), at the end of these three entries.  The precise reason why someone decided to do this is unclear. ___________ *Because the text preserved in the Enkaku-ji manuscript was intended to represent the definitive version of the Shū-un-an material, according to Tachibana Jitsuzan.

¹The fuka-sanjō [深三疊], which means “deep 3-mat (room),” is so called because, in comparison to the earlier 4.5-mat room (which is square), this kind of room appears “deep” (when viewed from one end, such as from the guests’ entrance).

    The hermitage of the great monk-poet Saigyō [西行; 1118 ~ 1190], which is still extant (albeit having been rebuilt -- and surely modified -- many times since the twelfth century), was of 3-mats (as were many other huts of this sort), so this may be the reason for believing that the 3-mat tearoom was of great antiquity*.  However, none of the dedicated tearooms† of this sort that have survived into the present predate the Edo period. ___________ *This kind of room sometimes featured a board that replaced part of the tatami, as a place to store the monk’s bedding during the daytime -- since leaving such things on top of the matting would result in moldering of both the bedding and the mat -- often with a shelf and/or bamboo pole (over which the monk draped his clothing) suspended above.  And, at night time, things like the monk’s bundai [文臺] -- writing stand (on which things like books or sūtra scrolls were also opened flat while reading) -- and suzuri-bako [硯箱] (box of writing implements) would be placed there, to keep them out of the way.  This would have inadvertently enhanced the resemblance of the cell to the variety of tearoom that is under consideration here.

†Many monk’s cells were of three mats (including Nambō Sōkei’s room in the Shū-un-an), and, after the introduction of chanoyu, many monks served tea to their guests in their cell (as did Sōkei).  But these constructions were not usually purpose-built as tearooms, and so should not be used to justify the argument that the 3-mat tearoom is of great antiquity.

²Fuka-sanjō ha ko-saku no shitsurai nari, zu sue ni shirusu　[深三疊ハ古作ノシツラヒ也、圖末ニシルス].

    Ko-saku no shitsurai [古作の設い]:  ko-saku [古作] means something made in ancient times, something produced by ancient people*; shitsurai [設い] means an installation, facilities.

    In other words, the fuka-sanjō room is supposed (according to this) to have been the early form of small room (a room smaller than 4.5-mats†).

    Zu sue ni shirusu [圖末に記す] means a drawing has been set down, or (more literally) entered into the record, “at the end‡.”  The sketch, which is actually found in entry 42, has been included here (following Shibayama’s commentary); the details of this drawing will be discussed in the footnotes below. ___________ *The word is occasionally used in such a way that it implies something is “old fashioned.”

†A 4.5-mat room was traditionally considered the minimum space necessary for a person to live comfortably.

‡“At the end” (sue ni [末に]) is difficult to understand:  specifically, why entries 39 (on the way to arrange the lamp in the 4.5-mat room), 40 (the 3-mat room) and 41 (the 4-mat room) were considered, by their author, to form a unit (the idiom is consistent across all three), with their sketches collected together “at the end.”  As I mentioned before, this seems to suggest that, rather than being a part of the Nampō Roku (because, if that were the case, then at “the end” would presumably mean after entry 83, not several entries hence), these were actually part of another book or collection of teachings that somehow found their way into Book Seven of the Nampō Roku.

    Entry 41 does not seem to be the end of anything, as entry 42 turns to a detailed discussion of Jōō’s 4.5-mat room which, if anything, would seem to be another part of this series (though it would have been more logical to begin with that material, and locate the discussion of the placement of the lamp in such a room afterward).

³Kore ha ita no ue ni furo-kama wo okite, cha wo tate-shi-koto nari　[コレハ板ノ上ニ風爐釜ヲヽキテ、茶ヲ立シコト也].

    Kore ha ita no ue ni furo-kama wo okite, cha wo tate-shi-koto [これは板の上風爐釜を置きて、茶を立てしこと] means “in this case, the furo-kama was placed on top of the board, and so tea was served.”

    As shown in the sketch included in sub-note “*” under footnote 9, the furo and kama (and, at least according to the note found in entry 42, the mizusashi and other members of the kaigu, too) were arranged on the board, which was then used as if it were the ji-ita of the o-chanoyu-dana [御茶湯棚]* when serving tea. __________ *The fact that the machi-shū were either ignorant of the existence of the o-chanoyu-dana, or else turned a willfully blind eye on it, means that understanding the evolution of the wabi setting from the daisu is much more difficult to apprehend.

     However, the drinking of matcha, in Japan, began with the tea being prepared (originally by a monk -- because the preparation of matcha was, from the beginning, an act of offering the tea to the Buddha, with the person receiving the tea acting as a substitute for the Buddha) at the o-chanoyu-dana, with the tea carried out to the guests in the shoin.  This was followed by the daisu being set up in the shoin, so that the preparation of tea could be performed before the guests’ eyes (sometimes by the host, such as Yoshimasa, and sometimes by one of his attendants, such as Nōami), and so chanoyu, where tea was prepared in the tearoom, came to be associated with the 4.5-mat room until the middle of the sixteenth century there.  In Korea, however, in step with the suppression of Buddhism during the second half of the fifteenth century, the serving of tea ceased.  And when Buddhism was rehabilitated (at the beginning of the sixteenth century), rather than setting up the daisu again (which had come to be associated with the courtly service of matcha -- and perhaps because most of the utensils had been destroyed during the suppression), the guests were invited into the 2-mat anteroom to be served tea directly from the o-chanoyu-dana.  Thus, when Rikyū returned from the continent, he considered the 2-mat room to be the true venue for the service of tea.

⁴Sono ato ita no mae ni isshaku yon-sun ro wo kitte cha tateru-koto ha　[其後板ノ前ニ一尺四寸爐ヲ切テ茶立ルコトハ].

    Sono ato [その後] means at some point after the 3-mat room originally came into use (with the board used as if it were the ji-ita of the o-chanoyu-dana), once the dimensions of the ro had been decided upon, a ro was cut in the mat in front of the board -- in front of the place where the furo had been displayed (which paralleled its original position on the daisu).  This was primarily a matter of mindlessly mimicking the earlier convention (by moving the fire directly from the board to the same place in front of the board)*, as it was superseded not long afterward by moving the ro to the side of the mat closest to the guests (albeit once the arrangement of the mats had been reorganized†, thereby placing a full mat between the utensil mat and the guests’ mat).

    Ita no mae ni isshaku yon-sun ro wo kitte [板の前に一尺四寸爐を切って]:  the sode-kabe is the reason why the ro abuts the board -- because the sode-kabe cuts away approximately 2-sun 5-bu from the far end of the utensil mat.

    The ro could not extend any lower than the middle of the mat, since the host required the lower half of the mat for his seat‡. ___________ *Though possibly the necessity for the host to be able to have access to the guests -- particularly the person who would be seated on the lower end of the mat that was oriented perpendicularly to the other two -- was a valid consideration, especially when serving the kaiseki.

    We must remember that the idea of serving tea, prior to Jōō, meant the  physical act of serving of tea only.  There was no sumi-temae, and there was no meal (and it is even unclear whether kashi were necessarily served).  But also, there does not seem to have been a special room used for chanoyu prior to Jōō’s creation of the chakai.  Theretofore, tea was served in the room that the host (depending on his status) used as his reception room -- generally a room of 4.5-mats for “ordinary” commoners; and of larger sizes, as appropriate, for members of the upper classes.

†Perhaps under the influence of the 4-mat room.

‡Traditionally the seat for an “ordinary” person was half of a tatami.

⁵Kyū no ni-jō-shiki hō-sun i-go no koto nari　[休ノ二疊敷方寸已後ノコト也].

    Ni-jō-shiki hō-sun i-go no koto [二疊敷方寸以後のこと]:  hō-sun [方寸] seems to mean a small (in contrast to the 4.5-mat room), box-like space*.  Rikyū’s 2-mat rooms with mukō-ro resemble a box, in that the entire 2-mat area is open.

    The original 3-mat room had a sode-kabe erected between the board (that originally was used as if it were the ji-ita of the o-chanoyu-dana) and the part of the room used as a tokonoma; and the 2-mat daime had a sode-kabe that sequestered the part of the utensil mat where the utensils were arranged from the rest of the room.  But now, the sode-kabe had been removed and the utensil mat was the mat that was located at one end of the open, rectangular, box-like space. ___________ *Hō-sun [方寸] also came to have the meaning of “(existing within) one’s mind,” and then “an expression of one’s (true) mind” -- since a “square” (probably visualized as a cubic) sun was considered to be the space (within the body cavity) occupied by one’s heart.  And while Rikyū’s 2-mat rooms can certainly be thought of as a direct expression of his mind -- especially the Mozuno ko-yashiki [百舌鳥野小屋敷] -- this expression is rather too philosophically poetic for Rikyū’s way of expressing things (though it would have been completely in character for chajin writing during the Edo period).

⁶Fuka san-jō furu-zama　[深三疊古様].

    This is the title for the first sketch.  Furu-zama [古様] means the ancient style, the old form (of something).

    The details of this room will be discussed in the subsequent footnotes.

    From this point onward, the illustrations, as well as their associated texts, have been taken from entry 42.

⁷Kono tokoro kakemono　[此所カケ物].

    This means that the kakemono was to be hung on the far wall (as indicated), within this recess.

    As a result of the far half of this mat being removed from the space available to the guests, this room could accommodate only three guests comfortably (both the “tokonoma” and the fact that the number of guests is limited argues against its being of great antiquity, though suggesting that certain details were ultimately derived from Shukō’s 2-mat cell -- please refer to footnote 10, and its sub-notes, for more on this).

⁸Kono kabe chū-dan kōshi ari, mata chū-dan made ni shite, hashira nashi ni, ita no furo-saki mo ari, takasa kama no mie-kakure　[此カヘ中段カウシアリ、又中段迄ニシテ柱ナシニ、板ノ風爐サキモアリ、高サ釜ノ見ヘカクレ)].

    Kono kabe chū-dan kōshi ari [この壁中段格子あり] means in the middle of this (sleeve-)wall is a lattice-work (window).

    In other words, an opening resembling the furosaki-mado or bokuseki-mado (the window-like opening in this sode-kabe actually derives from both of these, though it serves the purpose of neither*), where the latticework is simply the result of leaving an area of the wall unplastered, so that the bamboo and reed laths are visible.

    Mata chū-dan made ni shite hashira nashi [又中段までにして柱なし] means that everything (including the wall and the pillar at the end of the sleeve-wall) is not (erected).

    In other words, the sleeve-wall is not erected, so only a board replaces the end of the utensil mat.

    Ita no furosaki mo ari [板の風炉先もあり]:  “furosaki,” in this case, is a sort of Edo-period shorthand for furosaki-byōbu [風爐先屛風].  In the absence of a sode-kabe, a byōbu of this sort may be (set up around the board) instead†.  This may be suggesting that a furosaki-byōbu should be made from two wooden boards, that were hinged in the middle so they could be oriented at a right angle, surrounding the mukō-ita [向板] (the board, measuring 3-shaku 1-sun 5-bu by 1-shaku 5-sun, that replaces the end of the utensil mat, and on which the furo and kama and other utensils were arranged).

    Just as if the board was a daisu, a furosaki-byōbu was set up (only in a room of this sort that lacked a sode-kabe), with the panels on the left and on the far side of the utensils that are arranged on the board.  The primary purpose of the folding screen was to keep sparks from shooting out of the furo and damaging the kakemono.

    Takasa kama no mie-kakure [高さ釜の見え隱れ] means that the furosaki-byōbu should be high enough to hide the kama from view (from the “toko” side).  This rule remains the same even today, when a furosaki-byōbu is set up around the furo in any setting. ___________ *Technically, the purpose of the furosaki-mado and bokuseki-mado is to work together to provide ventilation for the room.  In summer (since the fire is located closer to the furosaki-mado), the air enters through the bokuseki-mado and exits through the furosaki-mado (thereby helping to keep the room cool).  In winter, when the fire is farther away from the window, fresh air enters through the furosaki-mado, and exits through the bokuseki-mado (bringing the warm, moist air toward the guests).

    This is why both of these windows are covered (during the shoza, when the fire is weak) with a shōji-like panel that is loosely suspended from above on a pair of hooks that are nailed into the wall (so that the panel can move somewhat freely, and thus act like a sort of damper).  It is also why both panels are removed during the naka-dachi, since the strongly burning fire will give off too much heat and steam (and fumes), so the venting of the air should not be impeded.

†The language clearly dates from the Edo period, after these slang usages had already been long-established.

⁹Isshaku go-sun ita　[一尺五寸板].

    The board measures 3-shaku 1-sun 5-bu by 1-shaku 5-sun.  However, this is just the size of the board, and does not take into account the space used by the sode-kabe (which removes an additional 2-sun 5-bu or so from the end of the mat).

    This board is technically called a mukō-ita [向板] (which means a board located at the far end of something); and it is also referred to as an ita-datami [板疊] (because the surface of the board is at the same height above the floor-boards as the surface of the mats that cover the room).

¹⁰Ro wo koko ni kirare-shi ha, isshaku yon-sun kiwamarite ato no koto nari, hajime ha ita no ue ni daisu no gotoku, kane no furo・mizusashi nado gu-shite oki-shi nari　[爐ヲコヽニ切ラレシハ、一尺四寸キハマリテ後ノコト也、初ハ板ノ上ニ臺子ノコトク、カネノ風爐・水サシナト具シテヲキシナリ].

    Ro wo koko ni kirare-shi [爐をここに切られし] means (the idea for) cutting a ro here....

    Isshaku yon-sun kiwamarite ato no koto nari [一尺四寸極まりて後のことなり] means this case arose only after the size of the ro had been fixed at 1-shaku 4-sun (so that this kind of usage could not have appeared before the end of Jōō's middle period).

    Hajime ha ita no ue ni daisu no gotoku, kane no furo・mizusashi nado gu-shite oki-shi nari [初めは板の上に臺子の如く、金の風爐・水指など具して置きしなり] means at first the board was treated as if it were the daisu -- a metal furo*, mizusashi, and the other (members of the kaigu) were assembled and arranged on the board.

    This was all derived from the o-chanoyu-dana [御茶湯棚], including the size of the board†. ___________ *The furo used in this way was originally the large iron furo (usually a kimen-buro that measured 1-shaku 1-sun or 1-shaku 2-sun across the ears) that had been made for use on the o-chanoyu-dana.  Later, a ceramic “Nara-buro” [奈良風爐] -- once again, measuring between 1-shaku 1-sun and 1-shaku 2-sun in diameter -- was also used on the o-chanoyu dana, and so, too, in this setting (note that the futaoki is always placed on the katte-side of the group).

    This convention was carried over into the small room (even after the board had been eliminated), hence the (original) rule that only a furo of that size (and make) could be used in the wabi small-room setting.  It was for a furo of this size that Jōō created the 9-sun 5-bu square ko-ita [小板].

†The first use of something like this in the tearoom, at least in Japan, appears to have been in Shukō’s 2-mat cell, where he arranged the furo and other utensils within a wood-floored alcove (which was probably originally intended as the place where a monk stored his bedding during the daytime, as mentioned above -- since leaving the bedding on top of the tatami would encourage the development of mold, the wooden floor replaced part of the mat in this area).

    This room, however, was reconstructed to resemble the Sen family’s style of room by adding a mat in between the guests’ mat and the utensil mat, in which the ro was cut, and installing a sode-kabe so that the “new” room would be used like a daime.

    After this modified version of the room was constructed, the original two-mat room was reimagined as shown below.

    By referring to the above drawing, the reader should be able to understand how the old form of the 3-mat room arose -- and why the kakemono was hung at the head of the mat adjacent to the board.

¹¹Kake-tomoshibi koko ni　[カケ灯コヽニ].

    Kake-tomoshibi [掛け燈, 掛け灯] means an oil-lamp that is suspended -- either against a wall (often on something resembling the thin board on which a kake-hanaire is hung up when a hook has not been inserted into the wall), or from a hook nailed into the toko-bashira -- on an “L”-shaped bracket of various sorts.

    Kake-tomoshibi koko ni [掛け灯ここに] means that the kake-tomoshibi is supposed to be suspended from the post that forms one side of the frame for the shōji (by means of which the host entered and exited the room).  However, it is unclear why it was supposed hung from that post, rather than somewhere closer to the center of activity (traditionally, the kake-tōdai [掛燈臺] was suspended from the pillar closest to the furo or ro during the shoza, so that the host could see what he was doing when arranging the charcoal; and then moved into the toko during the naka-dachi, though the purpose here was to give light to the room -- especially the shōkyaku’s seat -- while also keeping it from getting in anyone’s way).

    Perhaps the phrase kake-tomoshibi koko ni [カケ灯コヽニ] originally was associated with the pillar at the end of the sode-kabe [袖壁] (the wall that separates the board from the end of the mat that is perpendicular to the other two, which functioned as a sort of tokonoma), and had its place accidentally shifted when the drawing was copied by someone who was not aware of the importance of this detail; or, perhaps, the reason behind the hanging of the lamp had already been forgotten by the time the drawings were set down (several decades after Rikyū’s death), and it was believed that suspending the lamp there, even though at the foot of the room, would best illuminate the whole room (the presence of the kōshi [格子] would allow light from the lamp to reach even deep into the recess)†. ___________ *The location of the guests’ entrance is not indicated in the drawings.

    It is generally assumed that their entrance was at the lower end of the mat the upper end of which functioned as the tokonoma, but this might be anachronistic.  There was, of course, nothing resembling a nijiri-guchi (even though many scholars reconstruct the room in that way), so they would have entered via a shōji panel (though whether this was a single panel, or one of a pair, is not known -- certainly Jōō and Rikyū seem to have preferred that the guests’ entrance be made via a pair of shōji).

    The use of the early rooms is generally understood (and explained) through the chanoyu of the Edo period -- which may not always be accurate.

†Though the text clearly states that such rooms were “a product of the earliest period” (ko-saku no shitsurai [古作の設い]), in fact details of the construction such as this suggest that these rooms only appeared in the Edo period (after the furosaki-mado and bokuseki-mado had become standard features of small-room architecture -- and after Kobori Masakazu, Enshū, had introduced the idea of opening a window of this sort in the wall of the toko that separated it from the adjoining utensil mat, ostensibly so that the host could also draw inspiration from the kakemono while preparing the tea).  Why, then, they are ascribed to the early days (apparently referring to the period before Rikyū returned from the continent) is unclear.

    In his writings, Rikyū unambiguously states that the 2-mat room (with a mukō-ro) was the original, historical version of the small room; and this arrangement was faithful to Shukō’s 2-mat room (where the furo arranged within the alcove took the place of the mukō-ro, since the ro had obviously not been incorporated into the tearoom yet; but the mukō-ro locates the kama in the same relative place as it originally occupied on the o-chanoyu-dana, or on the daisu -- between the tea and the mizusashi and the part of the room in which the guests were seated).

    Please recall that in the early rooms (including Shukō’s 2-mat cell) the guests were usually seated on the host’s left, while, beginning around the middle of the sixteenth century (and more pointedly in the years following Hideyoshi’s rise to power), seating them on the host’s right became more common.  (Hideyoshi preferred this orientation because it makes everything the host is doing easier for the guests -- especially the shōkyaku -- to see, a result of his lingering fear of the Ikkō-shū [一向宗], whose adherents were rumored to prefer poison as their way of eliminating their enemies.  Chanoyu, of course, was originally a practice espoused by followers of this Buddhist sect, and even in Hideyoshi’s day, most chajin were affiliated, at least nominally, with the Ikkō-shū.)

¹²Ato kaku-no-gotoki ni mo　[後如此ニモ].

    This is the title of the second sketch.

    In the sketch, as it was drawn in entry 42, only the utensil mat is delineated.  The rest of the room is left as an undefined square.  Now that the sode-kabe had been removed, and the utensil mat was the mat that was located at one end of the rectangular space, how the other two mats were handled was up to the host*):  the kakemono was hung directly on the wall.

    Usually the kakemono was hung as far away from the ro as possible (especially if the host owned a scroll that he treasured greatly), so it would not be put in danger.  But also the place where it was hung should not have been so close to the guests’ seats that there would be a danger of their bumping into it (which could cause serious damage to an old scroll†). ___________ *The sketch, as it is found in entry 42, does not indicate (through the presence of a line) how the mats were oriented.  Only the utensil mat is delineated.  This is a convention found in Edo period machi-shū (where, even in a room covered with many mats, only the utensil mat is outlined).  The idea seems to have been that someone who had been initiated into the teachings would understand, while remaining incomprehensible (and so “secret”) to anyone outside of the discipline.

†This could be avoided by placing an oshi-ita [押し板] -- a Korean table (in this case used with the legs folded up into the box-like top) -- on the mat in front of the kakemono, thereby preventing anyone from taking a seat too close to the scroll.

    A table of this sort, with the legs folded up, was generally 2-sun 5-bu high.  Therefore, anything displayed on top of the table would be at the same height as when displayed on the floor of the tokonoma.

    Things like the flower arrangement, or an incense burner, were arranged on the table, in front of the kakemono.

¹³Isshaku go-sun ita　[一尺五寸板].

    Once again, the mukō-ita measures 1-shaku 5-sun.  However, in this kind of room it is only that measurement that is subtracted from the length of the utensil mat (since there is no sode-kabe to use up any more of the space).

¹⁴Ro　[炉].

    What is not shown in the sketch is that, in this case, a board measuring 1-shaku 4-sun by 2-sun 5-bu should be inserted between the mukō-ita and the ro.  This moves the front side of the ro to the middle of the mat.

    This room seems to have been the immediate precursor to the 2-mat daime room (which was created by simply cutting off the board-floored area:  documents from the period say that the 2-mat daime was the first small room, appearing sometime during 1554, so perhaps the 3-mat rooms were in use among the machi-shū somewhat earlier).

    Jōō’s Yamazato-no-iori [山里ノ庵] (left) and Rikyū’s Jissō-an [實相庵] (right) were said to be the first two small rooms -- or, at least the first two small rooms erected by these masters (sometime during 1554).

    As for Rikyū’s two-mat rooms (which this entry suggests established the precedent that invited the reinterpretation of the 3-mat room), the time of their appearance is unclear -- though he does not seem to have used this kind of room prior to entering Hideyoshi’s household* (sometime between 1583 and 1585).  The first two-mat room in his Sakai residence was the one he erected after relocating his household to Mozuno (prior to that time he continued to use his 2-mat daime room in Sakai, which he donated to the Nanshū-ji when his residence in Imai-ichi was pulled down following the move to Mozuno). ___________ *Hideyoshi seems to have had a particular fondness for 2-mat rooms.

    What has to be kept in mind (by the modern student of chanoyu) is that the Sen family’s understanding of Rikyū was based on what he was doing between 1586 or 1587 (when Hideyoshi invited Rikyū to take Shōan’s mother Sō-on into his Kyōto household), and his death in 1591. And even here, their ideas were based on intelligence gleaned second-hand, for the most part, which was then interpreted through the chanoyu of Imai Sōkyū (Shōan and his son Sōtan were members of Sōkyū’s machi-shū faction), which was then reviewed in light of those of Rikyū’s papers and utensils that were given to Shōan when Hideyoshi reinstated the Sen family name.  Thus their view was always highly skewed, and rarely aligned with actual fact.

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