#wickerwork box

[cma-chinese-art]

Wickerwork Box, 1609, Cleveland Museum of Art: Chinese Art

Size: Overall: 7.7 x 13.8 cm (3 1/16 x 5 7/16 in.) Medium: lacquered wickerwork (of woven bamboo) framed in wood with circular scene inlaid in mother-of-pearl and gold

https://clevelandart.org/art/1965.30

[almaasi]

Circuitry and Dust

shopkeeper AU (demisexual antique store owner Cas & electrician-handyman-arcade owner Dean) // secretly requited feelings, fluff and pining + a talking bird

☆

The weather in town was reasonably decent at this time of year. Shattered sunlight breezed across the paved street and glowed in shiny little puddles, the patches of light racing each other from Mr. Winter’s barbershop – that was the one with the bench outside – to the Barnes & Noble directly opposite. The clouds bubbled like science experiments in slow-motion, hurried across the sky by a brisk wind. The air carried a chill; that was why everyone wore a fleece coat while they did their Friday-evening shopping.

Three walls along from the bookstore, there was a small and inconspicuous shop, brown-bricked, with a wooden sign above that read ‘Mr. Antiquarian’ in a golden old-style serif. The shop’s front comprised of an unpolished window split into angled thirds, lead-lined, with three asymmetrically-placed frames of bullseye glass amongst the plain frames. As a whole, the shopfront was dirty and quiet enough that it tended to blur out of people’s awareness, and their eyes would skip straight from the barbershop on the left to the gaming room and Internet cafe on the right.

Mr. Antiquarian’s front door, now pushed by a hand, swung open and hit a bell. The bell’s tinkle was lively and cheerful, but was barely audible over the sound of the shop itself. From the left came a tuneless tonking noise as a grandfather clock struck off the hour, and at the same time an exotic bird trilled unseen, an old kettle wheeeeeeeeeeeeeeeeew’ed sharply, a radio played white noise at a middling volume, and something clattered in the back of the shop. This was the shop’s usual ambience.

Now that he was inside, Dean Winchester stood motionless beside the snuff boxes closest to the door, noting the addition of a new one, Civil War era. It caught the murky light through the window, and it shone a brighter silver than all the others in its display case.

The room was filled with things. Clocks, furniture, teddy bears, books, jewellery. There was probably one of everything, everything ever invented. It was like a zoo exhibition of the inanimate – or, the very animate, if the talkative myna bird inside an original Victorian cage was to be counted.

“I’ll be – ah! – with you in a moment; feel free to browse,” a deep voice called, bustling and strained, from somewhere in the vicinity of the stacked mattresses. This was Castiel, he ran the shop. Well... he kind of existed to serve the shop. The shop malfunctioned at least six times a day; there were usually more problems than customers.

“It’s me,” Dean called, standing on his tiptoes to see over the cabinet of teacups. “I skipped out early, I was hoping I could finish your circuit map tonight.”

“AH!” Another tumbling thump came from a distant corner, and Dean’s eyes moved in time to see a lit chandelier begin to swing from its entwined cable and chain. The lights flickered, then died, and that entire corner of the shop was left in darkness. The chandelier continued to swing, squeaking as it did.

“Blast,” Castiel said.

Dean grinned, then began to make his way to where Castiel was. This place was a maze, layered with miscellaneous objects. Usually the piles were set heaviest at the bottom and lighter at the top, but Dean had once come across a wickerwork picnic basket wearing an entire letterpress machine as a hat. The items were harder to arrange than they were to navigate; the turnover rate here was remarkably decent, and Dean came by every day, so he always knew where the new paths would be. Thankfully, Castiel worked using the same logic of arrangement as Dean did, but with his prime interest being random discarded junk as opposed to fiddly bits of wire and electrical tape.

Dean found Castiel dusting off his hands, looking like he’d fallen victim to a cartoon explosion. The air around him smelled chalky and burnt, and his entire front was soot-black, cravat askew. When Castiel lifted his eyes, he met Dean’s gaze then glanced towards a new crate on the floor. The carpet around it was decorated with a black powder starburst.

“Gunpowder,” Castiel explained, then sighed. “It’s going to take a lot of careful vacuuming to get this cleaned up. She could’ve warned me when she dropped it off. Honestly, these people. They think I’m some...” He waved his blackened hands around, slim fingers grasping for words which didn’t come.

“They think you’re a rescue home for abandoned, unidentified attic relics,” Dean suggested. “Like a friendly thirty-something grandpa who hoards everyone else’s crap.”

“Exactly!” Castiel yapped, thrusting his finger in Dean’s direction. Dean leaned out of his way so the gunpowder wouldn’t soil his pristine Iron Man t-shirt. Castiel noticed him recoil, and he lowered his finger. More sadly, he said, “Exactly.”

☆

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[chanoyu-to-wa]

Nampō Roku, Book 3 (6, 7):  Concerning the Taji [簞笥]¹; and Rikyū’s Kiri-taji [桐簞笥]².

6) With respect to the taji [簞笥]³, Zeni-ya Sōtotsu [錢屋宗納]⁴ owned a wickerware box that had been imported from the continent.  This was the meibutsu example [of a taji]⁵.

    The way [the taji] is used as a cha-tansu: 

- in an ordinary room, it should be stood in proximity to the ro⁶;

- if there is a locking mechanism on the front [door of the taji], then, at the time when tea will be served, the latch should be opened [so the door can be opened]; and when [the host] is concluding [his temae], it should again be locked.

     Afterward, [Tsuda] Sōkyū and [Imai] Sōkyū, among others, began to use lacquered tansu that had [also] been imported from the continent⁷.  These were handled as was described above.

7) As for Rikyū’s kiri-taji [桐簞笥]⁸, it was made to be brought along during the siege of Odawara⁹.

_________________________

◎ The two pieces of furniture discussed in the entries covered by this installment have no connection with Jōō; and the second of them, Rikyū's tabi-dansu [旅簞笥], only appeared in 1590 (according to the text of entry 7), which was decades after Jōō’s death.  Therefore this material clearly must have been added to the collection later -- almost certainly years after Rikyū's death, to reflect the way the Sen family was using the tabi-dansu* as a kind of oki-dana [置き棚] during the Edo period†. __________ *The tabi-dansu was first used during Hideyoshi's siege of Odawara, in the summer of 1590.  Only those present would have seen it being used, and there do not appear to be any sources that document the procedure dating from that period.

    As Nambō Sōkei’s close involvement with Rikyū’s household ended when Rikyū moved from Ima-ichi machi (a short distance from the Nanshū-ji, and Sōkei's Shū-un-an) to Mozuno (on the opposite side of the city-state, on reclaimed land in what had originally been a marsh that separated Sakai from the outskirts of Ōsaka), it is unlikely that Sōkei ever saw the tabi-dansu; certainly he was not present outside of Odawara during the siege.

    Rikyū’s account (if it was even written by him -- I have translated it in full under footnote 3) of the taji, is little more than a copy of the specifications.

†In the early Edo period, there was an official push to use almost anything that was associated with one of the famous names from the earlier periods in the tearoom -- even when that usage was irrelevant or anachronistic.  A good examples of this being to arrange the shi-hō-dana [四方棚] (which Rikyū originally created to be placed next to the mukō-ro in a 3-mat room) on the utensil mat of an ordinary yojō-han during the ro season (and since the small size of the tana made it look incongruous, a new, larger version was made -- to better fit the setting).

    Since tea was almost never served outside of a properly constructed and appointed tearoom during the early Edo period, there would have been no need for a “portable dōko” of this sort.  Thus, perhaps taking a cue from the built-in dōko (which, in addition to its original place on the left side of the utensil mat, was now sometimes being located at the foot of that mat -- or even at its head), the tabi-dansu came to be placed out on the utensil mat, and used much like any other oki-dana.

¹A taji [簞笥]* refers to a sort of box or hamper.  Those used for chanoyu were imported from the continent, where it seems they were purpose-made for carrying the utensils used for preparing and drinking steeped tea† out of the house (for example, on excursions to the countryside, to enjoy the scenery).

    It seems that, beginning around the middle of the sixteenth century, these containers were used (perhaps primarily) to store a chajin’s utensil collection‡.

    While Rikyū physically describes the taji in great detail in one of his densho**, he says nothing about how it was used during the service of tea.

    That said, Shibayama Fugen points out that originally the word taji referred to a basketry container in which food was kept or served, similar to the objects named by the word jikirō [食籠]. __________ *Taji [たぢ]:  this is the pronunciation found in Rikyū’s Tenshō Ku-nen Ki-mei Fukuro-dana Densho [天正九年記銘袋棚轉書], where the name is written phonetically.

    In Chinese, the characters are pronounced dān [簞], originally meaning a (bamboo) basketry container for cooked rice; and sì [笥], meaning a (wickerwork) hamper (for food or clothing).  Thus, “tansu” would be the cognate in Japanese.

†The drinking of oolong tea (wūlóng-chá [烏龍茶]) seems to have appeared early in the Ming dynasty (perhaps as part of the systematic suppression of Buddhist and/or Yuan [元] culture -- where drinking matcha had been the norm).  In China, the leaves for matcha were simply dried in the sun before being ground into a powder (steaming the leaves immediately after picking, and before the drying, seems to have been a uniquely Korean processing method -- which allowed the tea to be served as koicha:  this Korean process was transmitted to Japan in the early fifteenth century, along with chanoyu).  This is basically the same process used to produce the “light” oolong teas -- the difference being that oolong tea leaves are subsequently rolled and heat-dried, rather than dried and then ground into a powder (darker oolong teas are fermented for longer periods before drying).

‡In those days it was still common for most people to have only one representative example of each of the necessary utensils, thus the entire collection -- apart from the kama, mizusashi, and koboshi -- could be housed in a single box, as seen in the following photo.

    This vintage photo shows the tea utensil collection belonging to the daimyō Uesugi Kenshin [上杉謙信; 1530 ~ 1578], who was one of Jōō's senior disciples, along with the karamono taji in which the utensils were stored.  From the left, the photo shows: a small (Seto-temmoku) chawan, a chasen, an ivory chashaku, a (Seto) kake-hanaire, a large white Seto chawan, a yu-teki temmoku, a shin-nakatsugi, a bronze oki-hanaire, a temmoku-dai, and the shifuku for the nakatsugi (along with the taji, in the background).

    Seto-temmoku [瀬戸天目] refers to the type of glaze covering the bowl, rather than to its being a temmoku-chawan; white-Seto (shiro-Seto [白瀬戸]) was the precursor of what we now call Shino pottery (the name “Shino” did not come into use until the Edo period).  The kasane-chawan temae, where a small chawan stacks inside a larger one, was used when serving usucha to a number of people; while the dai-temmoku would have been used for koicha (or the service of a nobleman).  The kama and mizusashi were not kept together with the other utensils because their size and weight could easily cause damage to the other things if the storage box was handled roughly (they could also weigh down the box, perhaps damaging the carrying handle when it was lifted).  Meanwhile, since Jōō's day, the preferred koboshi had been a mentsū (which was used only once and then discarded).

    Notice the wickerwork panels (in the door, and also on the top and sides of the taji).  These were intended to allow air to flow through the taji, keeping the utensils stored within well aerated, so they would not develop mold.

    Precisely how (or even if) this kind of tansu was used while serving tea is not clear.  Perhaps it was placed on the outside of the fusuma located on the host's side (like a yoshi-dana -- the precursor of the dōko); or perhaps the taji was placed in the spot usually occupied by the mizusashi, as suggested here -- on occasions when the ro was being used.

**The passage is found only in the Shū-un-an document known as the Tenshō Ku-nen Ki-mei Fukuro-dana Densho.  More will be said about this later.  While he nominates the object being described as a taji [たぢ], the description contained in the entry roughly matches the tabi-dansu.

²Kiri-taji [桐簞笥].

    Here I have continued to use Rikyū’s reading of the kanji “簞笥”.  This tana is usually known as the tabi-dansu [旅簞笥] today.

    In fact, it seems to have been designed as a sort of portable dōko [洞庫]*, for use when serving tea in an ordinary (large) room that lacked such built-in facilities†.

__________ *A dōko [洞庫] is a box-like piece, with two sides, a floor and ceiling, and a shelf that spans the middle.  The front side (which is placed so that it faces a miniature fusuma or shōji that opens onto the side of the utensil mat) is open, and the back side is covered by a hinged (or, in later versions, sliding) door through which utensils can be introduced or removed from the interior.  The purpose of the dōko (like the fukuro-dana, when used in the wabi setting -- and which was its precursor and inspiration) was to reduce the number of times that the host had to go back and forth between the katte and the utensil mat, since the defining feature of the shoin is the host's numerous trips back and forth (during which he should carry himself with grace and elegance), while that of the wabi room the reduction of the number of these trips to the barest minimum.

    The dōko was originally used only in the 4.5-mat room (though probably also in rooms that were larger than this size); while the parallel innovation for the small room was the tsuri-dana (which was hidden behind a sode-kabe, at the head of the utensil mat).  A dōko first appeared in Rikyū's small room sometime after the Kitano ō-cha-no-e [北野大茶の會], which was held in the Tenth Month of 1587 (and seems to have been inspired by something that happened during that event).

    It is possible that, rather than Rikyū‘s tabi-dansu, this entry actually referred to the dōko (which was also -- and more directly -- inspired by Zeni-ya Sōtotsu’s taji).

†As mentioned in the previous sub-note, Rikyū began to add a dōko to his small rooms sometime after 1587, rendering the tsuri-dana no longer necessary (Rikyū seems to have always been uncomfortable about the tsuri-dana, even when using it allowed him to simply things by putting away the more elaborate fukuro-dana -- since arranging the utensils on it was technically a form of display, even if the actual purpose was to make the host's actions more efficient).  So, by the summer of 1590, a dōko would have become all but ubiquitous -- making a portable dōko desirable (for use in settings where a built-in dōko was not available), even if it was not strictly necessary.

    Since the loss of his family’s fortune, Rikyū was always uncomfortable with displaying things -- since display always implied that the objects were worth displaying (even if the things were, in fact, not valuable utensils at all).

³In the Tenshō Ku-nen Ki-mei Fukuro-dana Densho, the taji [簞笥] is described in this way (the description is broken in half, with an entry discussing the display of a bon-san [盆山] in the toko inserted between them): 

taji ha soto-nori isshaku issun yon-bu, yoko onaji hassun hachi-bu, takasa onaji isshaku go-sun, yoko-zan shita yori uchi-nori isshaku ku-bu no tokoro ni ari, san no haba go-bu san-rin, tadashi, men no tori ue no tana no haba go-sun hachi-bu, hishaku no kiri-kake hidari no waki issun yon-bu, [yon-]bu-han, kiri-kake fukasa, yon-bu, haba ni-bu [たぢハそとのり一尺一寸四分、よこ同八寸八分、高サ同一尺五寸、よこざん下より内のり一尺九分の所に有、さんのはゞ五分三リン、但、めんのとり上ノ棚ノハば五寸八分、柄杓のきりかけ左のわき一寸四分、分半、きりかけふかさ、四分、はゞ二分]

and then, the text continues,

shita no tana fukasa nana-sun yon-bu, hishaku tateru-tokoro maru ana, hidari no waki yori issun go-bu, okite mae yori fukasa issun ni-bu, ana ōkisa yon-bu, ue no tana no takasa, ue yori san no uchi nori yon-sun ichi-bu, san no haba san-bu, mata shita no tana no san no tokoro shita yori uchi-nori ni-sun hachi-bu, ue-shita no san no naka [no] nori nana-sun ichi-bu, mata nejikururu ue yori yon-bu, kururu rokukaku, haba roku-bun shiho nari [下の棚ふかさ七寸四分、柄杓立る所丸あな、左のわきヨリ一寸五分、置テ前よりふかさ一寸二分、あな大キサ四分、上ノたなの高サ、上ヨリサンの内のり四寸一分、さんのはゞ三分、又下ノ棚のさんの所下より内のり弐寸八分、上下のさんの中のり七寸一分、又ねぢくるゝ上ヨリ四分、くるゝ六角、はゞ六分四方也].

    Which means “with respect to the taji, measured on the outside, it is 1-shaku 1-sun 4-bu [wide], by (also on the outside) 8-sun 8-bu deep; and the height (also on the outside) is 1-shaku 5-sun.  The horizontal san*, measured from below to the bottom of the san, is 1-shaku 9-bu in this place; the thickness of these san is 5-bu 3-rin, but not uniformly so, because the edge has been scraped off [to make a finger-grip]†.

    “The upper shelf is 5-sun 8-bu deep; and the slot from which the hishaku is suspended is 1-sun 4-bu from the left side, or maybe it is [4-]bu and a half‡.  The depth of this slot is 4-bu, while its width is 2-bu....”

    After the interruption, the text continues, "the depth of the lower shelf is 7-sun 4-bu, [in which] there is a round hole into which the [end of the] hishaku[’s handle] is inserted**, 1-sun 5-bu from the left side; it is located 1-sun 2-bu from the front, the size [diameter] of the hole is 4-bu; the height of the upper shelf, [measured] from above, to the top of the san, 4-sun 1-bu, while the san is 3-bu thick;  and again, measured from below the san that supports the lower shelf, it is 2-sun 8-bu; the space between the upper and lower san is 7-sun 1-bu; furthermore, the slot in which the door pivots is 4-bu, measured from above, the pivot is six-sided, with the thickness being 6-bu in both directions.”

    While externally the tabi-dansu is essentially as described, on the inside things are rather different -- the upper shelf is deeper (8-sun 2-bu) than the lower (6-sun), while, in the description given above, the upper shelf is 5-sun 8-bu deep, versus 7-sun 4-bu for the lower shelf, so that the handle of the hishaku has to be inserted into a hole drilled in the lower shelf (which holds it upright); and also the spacing is different (though there is still not enough room for any of Rikyū’s mizusashi to be placed beneath the lower shelf).  As a result, it is not possible to know to which taji Rikyū is referring here††.  The text of the densho ends with this passage, which is the only known reference to such an object in any of Rikyū’s writings. __________ *San [棧] means a projecting bar.  Here it refers to the two bar-like handles that project on the left and right sides of the box.

    Below, however, the word refers to the pairs of bars affixed to the inner side-walls, on which the (removable) shelves rest.

†Men no tori [面の取り]:  the inner corner at the middle of the lower side of the san, on the side attached to the box, is carved away, making a narrow, rounded slot into which the tips of the fingers press when the taji is carried to its place.

‡This variability suggests that the author is describing things that exist, rather than writing out specifications from which something will be made to order.  This makes it impossible for Rikyū to have been the author; and it would also be impossible if the author had been someone who measured Rikyū's taji, and subsequently recorded its dimensions as the standard.

**More literally, “the place where the hishaku is stood” (hishaku tateru-tokoro [柄杓立る所]).  Because, suspended from the upper shelf, the hole in the lower shelf keeps it in a perfectly upright position.  The weight of the hishaku is borne by the upper shelf, while the hole in the lower shelf keeps it from moving enough that it will fall off when the tansu is carried out to the place where tea will be made.

††There is a machi-shū cha-dansu, shown above, that very closely resembles the “taji” that is being described here.  Perhaps this material was inserted into the Shū-un-an documents to give legitimacy to this tansu?

⁴Zeni-ya Sōtotsu [錢屋宗納].

    Zeni-ya Sōtotsu [錢屋宗納; ? ~ 1590] was a machi-shū chajin from Sakai.  His ya-gō [屋號] implies that his firm was involved in the business of money-changing, and related financial services (banking, financing, and so forth).

    Sōtotsu is said to have studied chanoyu with Jōō.   Sōtotsu's father (Zeni-ya Sōsen [錢屋宗仙; his dates are not known]). as well as his sons Sōan [宗安; 1586 ~ 1666] and Sōtoku [宗徳; ? ~ 1683] were also well known chajin (the sons being known as Matsue [松江] Sōan and Sōtoku during the Edo period).

    The family possessed a number of famous tea utensils.  In addition to the meibutsu taji being discussed here, these included three famous kakemono (one of which, by Mugaku Sogen [無學祖元; 1226 ~ 1286], survives to this day -- above), and the (formerly) Higashiyama-gomotsu cha-tsubo known as Shijukkoku [四十石].

⁵As has been mentioned before in this blog, the original meaning of meibutsu [名物] identified the utensil responsible for establishing a new usage -- usually on account of some unique characteristics (most often, when speaking of tea utensils, its size; and, to a lesser extent, its make).  The meaning of the word was later expanded to include other utensils that so closely matched the original (in terms of the special characteristic responsible for the new usage) that they could be handled in exactly the same way.

    Zeni-ya Sōtotsu's taji was “meibutsu,” then, because it was the first example of an object of this kind -- whether he employed it only to store his tea utensils when not in use, or he used the taji in some way (perhaps as a sort of oki-dana [置き棚]) during his service of tea.

⁶Jōjū no zashiki ro-atari ni okiawase-taterareshi nari [常住の座敷爐邊に置合たてられし也].

    Jōjū no zashiki [常住の座敷] means an ordinary room.  Presumably the word “ordinary room” was intended to connote that the room being used for serving tea was not a specially-constructed tearoom; or else a room, like a yojō-han, that lacks special architectural features (such as a sode-kabe) that makes it different from an “ordinary” sitting room.  The phrase, however, is not clear.

    Ro-atari ni [爐邊に]:  atari [邊り = 辺り] means vicinity, neighborhood. In a yojō-han, the place customarily occupied by the mizusashi could be described as ro-atari ni (“in the vicinity of the ro”).

⁷The two examples illustrated under footnote 1 are of this type.  The original taji that belonged to Zeni-ya Sōtotsu has not been identified as such (if it still exists).

⁸As discussed above, this entry appears to refer to Rikyū’s tabi-dansu [旅簞笥].  If used as a portable dōko, the objects in the tabi-dansu would probably be arranged as shown below (this differs from the way in which the modern schools use the tabi-dansu):  the tabi-dansu as it would be organized at the beginning of the temae is shown on the left; and at the end of the service of tea, on the right.  Also, it appears that the tabi-dansu was intended to be used indoors (in a room that lacked proper tea-serving facilities such as a built-in dōko), not outside (as most of the modern schools generally hold to be the rule).  When serving tea out-of-doors, Rikyū seems to have preferred to carry the small utensils in a cha-bako, while the larger things were arranged in situ, and in accordance with the demands of the setting.

    In the left photo, the tabi-dansu (when used as a dōko -- and so placed on the host’s left side, next to the utensil mat) contains (from the top) the hishaku and go-sun-hane (habōki) on the top shelf, the chawan on the middle shelf, and the koboshi and futaoki below,  And on the right, the shifuku (oriented with the open side facing forward, and the uchi-dome toward the right, as per Rikyū’s teachings addressing these points) and go-sun-hane, the chawan, chashaku (on the shelf between the chawan and the chaire), and chaire, and the koboshi.  (While there are various ways to arrange the utensil mat at the beginning of the goza, in preparation for the service of tea, the above photos assume that the mizusashi and chaire were displayed there together with the ro or furo; and, as per Rikyū’s densho, at the end of the temae, the mizusashi, futaoki, and hishaku are left on the utensil mat, while the other things are returned to the dōko.)

◎ Note the orientation of the hishaku in the left photo.  This is how it would be found if suspended on a bamboo peg (as is usual in the case of the dōko).  While, if the hishaku is placed the way the modern schools teach, with the mouth of the cup facing the back of the box,it is inherently unstable if the tabi-dansu is picked up and carried (hence the need for a baseboard with a hold drilled in it to hold the end of the hishaku’s handle -- this board is later taken out and used as a base for the chawan during the temae, which is meaningless if the temae is being performed on a tatami mat -- a feature unknown prior to the Edo period), suspending the hishaku as shown securely braces it against the side of the slot in the shelf (where the handle contacts the wood in two places) while the end of the handle perfectly matches the corner.  Even if the tabi-dansu is jiggled back and forth,the hishaku will not move when placed in this way.

    As mentioned above (under footnote 3), the taji described in the passage ascribed to Rikyū differs in its internal particulars from the Rikyū tabi-dansu (but very closely resembles the sketch of a machi-shū cha-dansu from the early Edo period that was shown in the sub-notes under footnote 3).  Other than by arguing that the description in the Tenshō Ku-nen Ki-mei Fukuro-dana Densho was deliberately planted to distort historical fact, there is no other way to explain away the conundrum.

⁹The siege of Odawara took place during the spring and summer of Tenshō 18 [天正十八年] (1590), lasting from the Second Lunar Month (March) to the fifth day of the Seventh Month (August 12).  Since this was not a pleasure outing, Rikyū had to make do with the already existing buildings in which Hideyoshi and his courtiers were housed, and such places probably lacked tearooms.

    The tabi-dansu seems to have been used when serving tea during war councils.  As these discussions would have been held in a large room (such as one of the halls or reception rooms in a temple) and involved a number of participants (who would likely assemble in order of rank or seniority, with the most important persons entering last), the furo and mizusashi would have been arranged beforehand (probably on something like a naga-ita, which would physically demarcate the utensil mat), with the tabi-dansu (containing everything else that would be necessary -- chawan, chaire, hishaku, futaoki, and koboshi) being carried out by Rikyū as the other participants were taking their seats (to prevent anyone from tampering with its contents).  The tabi-dansu, then, was intended to be prepared elsewhere (probably by Rikyū, and in his private chamber -- after which the latch was sealed with a paper tape, the ends of which would have been pasted to the tana and marked with Rikyū’s hankō), and then carried out to facilitate the service of tea.

    At the end of the council, the tabi-dansu would have been removed -- thus requiring Rikyū to make no more than one trip either time.

    The small size of the tabi-dansu, then, would have allowed it to remain at Rikyū‘s side prior to the meeting, without it inconveniencing anyone.

[englishlistwords]

Crate

noun

A container, such as a slatted wooden case, used for storing or shipping.

A container, usually of plastic, metal, or wood, used to house or transport an animal.

An old rickety vehicle, especially a decrepit automobile or aircraft.

A kind of basket or hamper of wickerwork, used for the transportation of china, glass, crockery, and similar wares; hence, any openwork casing, as a box made of slats used for packing or transporting commodities, as peaches.

The amount held by such a casing.

In glass manufacturing, a lot of twelve tables or disks of crown-glass. See table, 1 .

transitive verb

To pack into a container, such as a slatted wooden case.

To put (an animal) into a crate.

[designerbagauctions-blog]

Christian Dior - Lady Dior MM en cuir cannage noir et garniture en métal doré Handbag

New Post has been published on https://designerbagauctions.com/christian-dior-lady-dior-mm-en-cuir-cannage-noir-et-garniture-en-mtal-dor-handbag-4/

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Christian Dior Handbag Details

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Object type: Handbag

Material: Leather

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[cma-chinese-art]

Wickerwork Box, 1609, Cleveland Museum of Art: Chinese Art

Size: Overall: 7.7 x 13.8 cm (3 1/16 x 5 7/16 in.) Medium: lacquered wickerwork (of woven bamboo) framed in wood with circular scene inlaid in mother-of-pearl and gold

https://clevelandart.org/art/1965.30

[123designsrq]

This Stool Supports Craftsmen as well as the Person Sitting on it

Named aptly following the very celestial body it showcases in the seating detail, the Ciro stool combines machine-based production and hands-made craftsmanship, to produce furniture that celebrates both new and old types of furniture-making. Greek for Sun, Ciro’s most powerful detail is its seat, a circular wooden seat that's woven in position to some cast-aluminum frame store the entire stool together. The stool includes multiple components that combined efforts to form a furniture piece co-produced between machines and native craftsmen. The stool’s cast-aluminum frame supports the entire product together, as the Bamboo legs plug in it, giving its stability and height. The circular Bamboo seat sits inside the hollow decline in the aluminum frame, and it is by hand woven into position with cane strips by local craftsmen. keter knit cool stool,keter cool stool graphite, keter cool stool black, keter cool bar, pacific cool bar, keter cool stool canada, garden cooler box, keter knit cool stool outdoor 39l cool bar ice cooler garden furniture - beige, urban cozy poufs Ciro celebrates a pleasing that distinctively pushes new production processes whilst encouraging dying arts. Metal casting and cane wickerwork combined efforts to produce a distinctively eye-catching seating device that showcases bespoke hands-made design and machine precision together inside a raw-yet-end product!

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[chanoyu-to-wa]

Nampō Roku, Book 3 (18.18):  Zeni-ya Sōtotsu's Taji¹ [簞笥].

18.18) Zeni-ya Sōtotsu's taji [簞笥].

[The writing reads:  (on the right, above) taji ・ Zeni-ya Sōtotsu shoji no zu (簞笥 ・ 錢屋宗納所持之圖)²; (to the upper right of the upper sketch) tori-te (取手)³; (in the middle of the upper sketch) jō kamae (錠カマヘ)⁴; (to the left of the upper sketch) fukusa-mono wo musubu (フクサ物ヲムスフ)⁵, habōki, ue ni mo oku (羽帚、上ニモ置)⁶; (to the right of the lower sketch) onaji, uchi no zu (同、内ノ圖)⁷.]

_________________________

¹While many people pronounce this compound tansu [簞笥] today, Rikyū (when referring to this specific object) wrote the name phonetically as taji [たぢ] in the document that has come to be known as the Tenshō ku-nen ki-mei fukuro-dana densho [天正九年記銘袋棚轉書].  Since the Nampō Roku is ostensibly supposed to be a collection of Rikyū’s teachings, it seems appropriate to accept his version of the name as the precedent for the way it should be read.

²Taji ・ Zeni-ya Sōtotsu shoji no zu [簞笥 ・ 錢屋宗納所持之圖].

    “Taji:  [this is] a sketch of [the one] owned by Zeni-ya Sōtotsu.”

    Shibayama Fugen writes that the taji was originally used, in China, to carry the utensils needed for drinking steeped tea* (a practice which arose during the Ming dynasty) to the site of a picnic or other outing.  In order to make them light-weight (as well as keep the utensils stored in them mold-free), they are always made (at least in part) of wickerwork.  He also points out that the dimensions of these objects do not really make them amenable to the idea of kane-wari.

    In Japan, such boxes (most seem to have been fitted with carrying handles) were used for chanoyu, first as a place to store the host’s collection of tea utensils* when not in use†, and not until later used to locate the prepared utensils near the fusuma that opened onto the side of the utensil mat (so that, by simply opening that fusuma, the host could lift these things directly onto the utensil mat, without having to stand up repeatedly and carry them in individually).

    Zeni-ya Sōtotsu [錢屋宗納; ? ~ 1590], meanwhile, was a machi-shū chajin from Sakai.  His ya-gō [屋號], Zeni-ya [錢屋], implies that the family was involved in the business of money-changing, and related financial services (banking, financing, and so forth).

    Sōtotsu is said to have studied chanoyu with Jōō; and his father (Zeni-ya Sōsen [錢屋宗仙; his dates are not known]), as well as his sons Sōan [宗安; 1586 ~ 1666] and Sōtoku [宗徳; ? ~ 1683], were all renowned chajin (the latter were referred to as Matsue Sōan [松江 宗安] and Matsue Sōtoku [松江 宗徳] during the Edo period -- during the period when the immigrant populations of Sakai and Hakata were being Japanized as part of the bakufu’s revision of chanoyu history).

    The Zeni-ya house possessed a number of famous tea utensils.  In addition to the meibutsu taji that is discussed here, these included three famous kakemono (only one of which -- by Mugaku Sogen [無學祖元; 1226 ~ 1286] -- survives to this day), and the (formerly) Higashiyama-gomotsu cha-tsubo known as Shijukkoku [四十石].

    Both Shibayama Fugen and Tanaka Senshō (and, apparently, all of the other scholars affiliated with the Enkaku-ji) accepted the argument that the taji should be placed on the utensil mat, just like any other tana, which then colored their interpretation of the sketches included in this entry‡. ___________ *In the early days people rarely had more than one of each of the necessary utensils.  Thus, a chajin’s entire collection -- apart from the kama and the koboshi (which, in the case of Jōō’s adherents -- as was Sōtotsu -- was usually a disposable mentsū) could not only be stored in this box, but also easily carried to somewhere else when circumstances invited.

†It probably would strike us as reckless to use such an elaborate, imported, box for such a mundane purpose.  But we have to put this in context by remembering that, prior to Jōō‘s decision to use a take-wa [竹輪] as a lid-rest in the mizuya, it was the meibutsu pieces of metal or ceramic that were used for this purpose.  The general attitude seems to have been that expensive pieces should be accompanied by expensive accessories -- regardless of whether anybody but the host sees them.

    The same was true when a meibutsu chaire was paired with an imported chaire-bon.  Even in Rikyū’s day, there were still people who always kept the chaire on its tray -- even when filling it, in the preparation room.  The contrast between this kind of attitude and the casual way that even experienced people handle priceless antiques today would have struck Jōō or Rikyū as truly shocking.

‡That said, neither of these men make any real suggestions regarding how the taji is actually employed during the temae -- though Shibayama, at least, does discuss how to handle the lock (see sub-note “‡” under footnote 4, below).

��Tori-te [取手].

    “Carrying handle.”

    As mentioned elsewhere, this kind of box was made to transport the utensils needed for the enjoyment of steeped tea out-of-doors, and the handle made that task easier.

⁴Jō kamae [錠カマヘ].

    “[The taji is] locked* by a latching mechanism.”

    The latch was often secured by paper cord, the edges of which were pasted onto the taji, which guaranteed that its contents had not been tampered with† (the taji stood in the hallway outside of the tearoom, and so may have been unattended while the host was speaking with his guests at the beginning of the goza)‡. ___________ *Kamaeru [構える] more literally means “to enclose.”  The jō [錠], which means "a device used to make a door unopenable,” enforces the enclosure.  It could be something as simple as a wooden or metal pin that is pushed into a hole in the frame.  (The sketch seems to have been inspired by the locking mechanism found on Rikyū’s tabi-dansu -- which seems to be anachronistic, in this case.)

†Shibayama Fugen comments that a lock was often necessary in that disturbed period, when the use of poison was always to be feared (though, in fact, there seems to be no evidence that any of the chajin were ever implicated in any suspected cases of poisoning -- which seem to have been exceedingly rare in any event).  These horror-tales seem to have been concocted during the Edo period as a kind of government-sponsored propaganda -- to contrast the peace and security of the (repressive) Tokugawa system with the supposedly insane lawlessness of the centuries that preceded it.

‡If the taji is provided with a metal lock (that is opened with a pin-like key), Shibayama Fugen states that the host should keep the key in his futokoro.  After opening the lock, he should put the lock (with the key remaining in it) on the side of the taji toward the katte during the temae, and not return it to the taji until the end of the goza.

⁵Fukusa-mono wo musubu [フクサ物ヲムスフ].

    “The fukusa is tied [onto the carrying handle].”

    The fukusa is folded in half, and then into thirds, and this is tied around the handle “like a love-letter” (that is, in a flat knot).

    Since the earliest times, the fukusa was originally folded and placed in the futokoro of the host's kimono when he was making his preparations for the chakai.  As a result -- since the host usually carries many other things in his futokoro at the same time -- it was easy for the host to loose track of it, and so have difficulty finding the fukusa when it was needed to wipe the chaire during his temae*.  Thus, it is not surprising that Sōtotsu was inspired to tie his temae-fukusa to the handle of his taji. __________ *It is said that Rikyū began to suspend his temae-fukusa from his obi precisely because, on one occasion (in his younger days), he was unable to find it in his futokoro expediently, and so embarrassed himself in front of his guests.

⁶Habōki, ue ni mo oku [羽帚、上ニモ置].

    “The habōki may also be placed on top.”

    Presumably the alternative was placing the habōki inside the taji*, or perhaps resting it across the rim of the sumi-tori†,  While it is usually assumed that, in this case, it was suspended from the peg on which the hishaku would later be hung‡, this idea shows a lack of understanding of the habōki’s use**.

    Different ways to orient the habōki were considered by the authors of the several versions of Book Three consulted by Tanaka Senshō:  but since the temae is taking place in a yojō-han (or larger room), a long habōki would be appropriate, and this kind of habōki could only be oriented on a diagonal, with the handle on the right (despite the sketch seemingly suggesting that it should be placed parallel to the left side of the taji)††. __________ *Or perhaps carrying it in resting across the sumi-tori.

    The context suggests that this sketch illustrates what should be done with the habōki when the taji is being prepared for the shoza.

†In the 4.5-mat room setting, the feathers used for the habōki are always around 1-shaku long.

    In any case, the smaller go-sun-hane [五寸羽] did not appear until many years after Sōtotsu began to use the taji to hold the utensils during his chakai.

‡In China, the peg was used to hang a small, long-handled uchiwa [團扇] -- which was used to fan the charcoal used to heat the water.  It seems that the elongated ceramic furo is what originally fit in the same compartment.

**Hanging the habōki on the peg (on the inside of the taji) during the shoza, and the hishaku during the goza, shows that the person responsible for this idea did not understand that the habōki was also used to clean the utensil mat at the end of the goza (and sometimes at other times during the goza as well).

    Indeed, it would be quite possible to hang the habōki inside the taji when preparing for the shoza, and then place it on top when arranging the taji for the goza.  Of course, the habōki could also be kept outside the room, near the sadō-guchi, and brought out at the end of the goza, though the original purpose of the taji was to make such things unnecessary.  (This idea will be discussed further below.)

††It is not correct to use a go-sun-hane [五寸羽] in any setting other than a small room.  This rule disqualifies several of the suggestions, since they would only be possible if a small habōki were used.

⁷Onaji, uchi no zu [同、内ノ圖].

    “The same*; a sketch of the interior [of the taji, showing how the utensils are arranged].” __________ *I.e., the taji.

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

I. The upper sketch shows the exterior of the taji, with the fukusa tied onto the carrying handle, and the habōki resting on top of the taji.

    Nothing is said to indicate whether this sketch refers specifically to the shoza*, or whether it should be understood more generally -- though an illustration of the initial arrangement would be consistent with the series of sketches that we have encountered heretofore.

    Likewise, nothing is said here regarding the placement of the taji†.

    In the Yamanoue Sōji Ki [山上宗二記] is a sketch of Jōō’s residence (which has been redrawn below).  Setting aside the fact that the sketch was probably inverted when this document was copied in the early Edo period (while Sōji is purported to have written several different versions of this work, none of the originals have survived‡), so that it shows the room with the preferred orientation (guest seated on the host’s right), a “tana**” (colored red) is clearly shown in the passageway that separates the 4.5-mat room in which the ro was cut from the other two, more formal (shoin-style) rooms.  It is most likely that the taji was handled in much the same way as the tana depicted in this sketch.

    As mentioned in the commentary appended to entry 6††, the taji was probably used both to store Zeni-ya Sōtotsu’s collection of tea utensils, as well as to hold the prepared utensils in readiness in proximity to the fusuma that acted as the side-wall of the utensil mat (in a manner similar to that for which the dōko would later be used)‡‡. ___________ *During Tachibana Jitsuzan’s period (as now), the habōki was used only during the sumi-temae.  For which reason this sketch is generally understood to show how the tana should be arranged when the guests entered the tearoom for the shoza.  Precisely what is done with the kōgō is unclear -- though by Jitsuzan’s day carrying it into the room inside the sumi-tori was already a long-established practice (this was how Sōtan had always handled it).

†In entry 6, however, it states that the taji should be placed close to the ro.  This, however, was an Edo period error.

‡If any of them ever existed -- or existed in the form that has been handed down to us.

    The primary purpose of this work was to establish the rather exorbitant prices of the various meibutsu utensils; and the Yamanoue Sōji Ki was used by the Tokugawa bakufu to fix the value of the various pieces when they were “awarded” to the daimyō (in lieu of increases in their fiefs).

    Secondarily, this document was used to validate the style of chanoyu sponsored by the bakufu, namely the machi-shū practice of Sen no Sōtan (and so everything that could be changed to reflect their practices surely was changed when the copies were made).

**Probably a yoshi-dana [蘆棚 or 葭棚], or even an early version of the wooden dōko itself, since Sōji’s age (he was 2 years older than Rikyū’s only son, Dōan) would have precluded his having been exposed to any of the earlier arrangements that the yoshi-dana supplanted.

    A yoshi-dana was a box-like structure, with a shelf in the middle, and covered with reed blinds on three sides and on top, that was the immediate precursor to the wooden dōko (which is really a very similar object, though covered with wood rather than reed blinds; and it also included a wooden floor to prevent the mizusashi and koboshi from dampening the matting in the hallway).

    Prior to the creation of this tana (which was an expression of Jōō’s deepening inclination toward wabi -- as he grew older), various other four-legged “mizusashi-dana” (as well as box-like objects such as the taji) -- often pieces of furniture that had been imported from the continent -- were used in the same way.  Rikyū’s san-jū-dana [三重棚] was also created for this purpose (though, like the taji and the other tana of this sort, it came to be used in the tearoom during the Edo period).  Both Jōō’s mizusashi-dana and Rikyū’s san-jū-dana are shown below.

    In every case, the purpose was to locate the various “portable” utensils as close as possible to the temae-za, so that they could simply be lifted into the room, rather than carried in through the sadō-guchi.

††The post entitled Nampō Roku, Book 3 (6, 7):  Concerning the Taji [簞笥]; and Rikyū’s Kiri Tansu [桐簞笥].

     The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/185717715183/namp%C5%8D-roku-book-3-6-7-concerning-the-taji

‡‡Since the taji was not placed in the tearoom, there is no discussion of the kane-wari associated with it.  This is probably why nothing was marked on the original sketch -- which would have been done if the taji was supposed to be displayed on the utensil mat (as Jitsuzan supposed).

——————————————–———-—————————————————

II. The second sketch shows the arrangement of the utensils inside the taji.

    While this shows the chaire together with the chawan on the upper shelf, and the mizusashi on the lower shelf (as they would be arranged if the taji was displayed on the utensil mat like an ordinary tana), if the taji was located on the outside of the fusuma at the side of the utensil mat, it is possible that the mizusashi, and possibly the chaire and hishaku as well, were displayed in the room as usual -- in which case, the koboshi would probably have been placed on the lower shelf.

    The person responsible for drawing the sketch assumed that the taji was placed on the utensil mat; whereas, historically speaking, that kind of thing was never done in Zeni-ya Sōtotsu’s period.

    Once again, the lack of any kane-wari-related notations shows that the taji was not intended to be placed in the tearoom when Nambō Sōkei added this sketch to his collection -- even though displaying the taji on the utensil mat came to be fashionable during the Edo period.

[drewebowden66]

Tribal Chic Apartment Tour

The tribal chic trend is a strong look that evokes a specific natural ambience. This open plan studio apartment designed by Li Jun Chen & aTng 糖 achieves a sophisticated African look by sticking to a base palette of grey and white. Interesting layers of raw rustic accents are then introduced through textures found in nature, woven into organic handmade accessories and bold tribal pieces. Wickerwork, jute rugs, leather look items, smooth wood tone and large emerald green leafy plants act as the key to executing this exotic luxurious look. See how modern tribal decor is a style that exudes a warmth and embraces a creative mix of cultures.

In this elongated open plan, every area of the home is visible from the next. A centrally built sofa forms the living room, which looks over a bedroom by the window and a bathroom on the opposite side. No dividing walls have been implemented so that the natural light from the floor to ceiling window remains unobstructed all the way to the back of the room. Therefore, the style in this space also continues seamlessly. Tribal decor flows over each section in one united scheme.

There is no wall art hanging in the rustic living room, but decorative tribal shields are propped against the wall from the back of the concrete sofa structure. The African shield theme continues over in the neighbouring bedroom scheme too – as does the concrete. The base of the bed is a continuation of the volume that forms the couch base and sides. This industrial material keeps the scheme looking sharp and contemporary amidst all of the wicker furniture and accents.

The bedside pendant light has a wicker basket style shade and hangs over a white rustic storage chest, which acts as a bedside unit. A few books and candles are arranged simply over its surface. At the foot of the bed a jute rug matches a natural bed throw. One concrete side of the sofa runs the full length of the bed, providing a low level visual divide and an opportune spot for placing a couple of items, like a wooden bowl and chunky ceramic vase of dried flowers.

A pale grey Moroccan leather pouffe acts as an extra seat by a wooden coffee table in the lounge area, set atop a round sisal mat. It’s colour matches the grey sofa cushions and throw pillows as well as the bespoke concrete installation.

The concrete decor continues right across the floor and climbs up the opposite wall in the form of an entertainment wall. A flat screen television is recessed into the concrete and a console shelf extrudes out of it. The shelf morphs into a higher surface at one end, where it provides a desk surface for working at home. To counteract the cool hard material, a collection of twinkling candles have been set out on a wooden tray and contained inside black lanterns. Ebony black provides a great base note in a modern tribal scheme, it adds weight and depth. There is a black lamp placed on the work surface, and the desk chair has a black metal frame to contrast with its bamboo seat.

A large swiss cheese plant fills one corner of the room with vitality and life. It provides the only colour pop inside the entire home.

A piece of art portrays a buffalo skull, an ideal subject in tribal decor.

Continuing in the concrete furniture theme, the bathtub is a concrete build and the back of the vanity has its bronze faucets mounted on concrete tiles. A small selection of carefully coordinated toiletries perch on top of the bathroom boxing behind twin white basins.

The shower cubicle is part concrete, part glass.

A wooden bath shelf bridges the tub, holding more natural toiletries.

The flooring across the entire wash area is a grey tile instead of the concrete surface found in the rest of the home.

The slope of the bathtub faces away from the desk so that relaxing bubbles can be enjoyed without thinking about workload.

A large round mirror with a black frame is centrally placed over the double sink bathroom vanity. An extra shave mirror is wall mounted at one side. On a shelf beneath the wooden double vanity is a stock of fresh white towels and a fluffy robe, on hand for when one climbs out of the adjacent tub. At this angle we can see that the shower screen also acts as a door to separate off the WC.

Opposite the open plan bathroom area is the kitchen and utility, complete with a concrete breakfast bar and concrete countertop. Wooden bar stools, shelving and a wooden cabinet door add visual warmth and rustic tribal flavour to the grey kitchen. The two simple bar stools form the only dining area in this compact home.

The home plan reveals that a further cooking area is located around a corner, next to the visible utilities, separated off by a glass door. Prep units span each side of the concealed kitchen. To the other side of the open plan utility is a storage area. We can also see that there is a balcony on this home that is equipped with a comfortable outdoor chair and footstool set. Another planter completes the look.

Recommended Reading: Tribal Decor

Related Posts:

Modern Monochrome Tribal Decor

Cool Apartment with Contemporary Calming Color Scheme

Dark Grey, White & Wood Tone Decor With Personal Flair

Interesting Light Wood Accents and Furnishings Add Sophistication and Simplicity

The Magic of Wood and Light

4 Sleek Interiors Where Wood Takes Center Stage

[badaikrohit9-blog]

Event Ideas for Storage space Shelves and Holders

Cutoff shelves with bushels are conventional for house laying out and supporting giving at whatever point. Regardless, the occasions provide a public event of chances to use them in vibrant courses in your house - or provide them with as endowments. A little innovation will go far towards using obtaining shelves, spaces or tube sorts out in your trip stimulating and in making create presents to see relatives and accessories.

Canister Seats

Place a section obtaining chair in the entrance of your house or in the living space, sanctum or shop area. Implement chair top of the chair to demonstrate a nativity set, Xmas city or vintage dolls. Form those techniques on an overhauling desk surface area, velvety surface area or a touch of shone cotton or cotton hitting.

Trim the owners under the chair to activate the lighting topic on the chair deal with. Tie strands of general or colored raffia around the section manages to create your display. Or then again clearly, group the carefully thread owners of star, favored development individual, or Baby Christ extras through the most difficult inspiration generating the section manages. For a Xmas city, improve some brief bits of passed on mom grape vines or maple plants around the bushel manages. Feature perfect vintage items with velvety or gold pieces and bows tied through the bushel manages. Implement bushels to keep understood factors in the "Holders" section underneath.

Racks for Holders

Bookshelf shelves, what-not results in and open-plot shelves for bushels provide occasion enhancing and restrict regions for any space of the house. Improve the spaces to style the course of action of the space they are set in. You may in like way need to move a specialist holder or a bushel leave close to your Xmas tree or into a space where it isn't regularly set looked for after to provide some additional occasion obtaining. Many bound what-not shelves can fit into tight spots, yet withstand four bushels for obtaining conventional factors. Position occasion elaborations on the most important inspiration generating on no brief of what one of the shelves of your thin assembling unit.

Tie wide remove bows through the section manages to breath life into any owners you put in the loading units. Think about utilizing lace to tie lovely sticks, occasion formed cure blades, Xmas leggings or Xmas elaborations onto the section manages. Cover occasion finger shower over the owner sides for use in the bathroom or kitchen area. Organize unimportant red or green doilies over the owner sides for passage or space section shelves.

Compartments

Store favoring wrapping materials, for example, favoring products, level wrap, remove and bows, favoring names, tape and scissers in a possessor. Implement another tube to keep your perceived card list with cards, pens, relaxing package decals and postage stamps.

Fill a bushel with little shows for your postal transporter, document deliverer and other remarkable individuals at house or in a workplace. Get more details about business then you can always consider storage baskets. Consider, in the same way, candle lights, fragrant space fresheners, smokestack matches, fire matches, and extra Xmas manages and breakers for your indoor and outside lights.

In your kitchen area, utilize loading with spaces to support conventional serviettes and document mugs and dishes for sudden visitors. Keep the preparing issues you hope to use all through 12 months in bushels. Put heavier factors like flour and sugar owners or a Xmas cure incapacitate on the most raised explanation behind your obtaining shelves. Containers can take out cure blades and mint or lovely shape from pushing carbs and sprinkles for your snacks and desserts. Keep some stunning plastic wrap or cure packs in a section to have the ability to rapidly summary a few snacks to send house with sidekicks.

Use bushels without setting them on a holder. Fill up a wickerwork section with fragrant maple cones or live plants for a conventional fragrant desk focal point. Put decorating chemicals and occasion shower in a surface area owner for a bathroom modify. Implement wickerwork spaces for blessing stores to suit partners. Cover filled spaces with clear wrapping wrap, and tie a remove around the storage facility.

Breaker section shelves into your escape redesiging topic. Get more insights about business then you can simply consider decorative baskets. `The loading with bushels can shop members of the family or Xmas factors. Implement pieces and your inventive criticalness to amazingly update the spaces. The wood results in with no other person's data can demonstrate side interests, conglomerations or a snow scene, a lit city or nativities. All through your house boxes might be set in different configurations for a spread of founder covering. Cut them to complete a public event topic, to sort and display favoring factors or to provide as degrees of progress to members of the family, partners or partners. Re-energizing public event shelves, spaces and tube putting away seats in your house will ring in the soul of the year, warm your heart and develop into an important occasion conference.

[thequaksonclackson-blog]

Kaspersky Discount

So, improving your bathroom will help to bring a fresh new look to whole home and to your life as well. Get your Oxyfresh business on the inside track to success! The computer's hard drive and external drives are also included in the scanning process. The thing about the virtual private server is that websites are not cramped on the same server. At present, a small business owner could use a Seo service/Internet internet marketing provider which at the same time presents corporate Webpage Creating and Progression. Dedicated servers also give Kaspersky coupon code you total control, and allows for installing software on your website that opens doors for gaining extra performance. It means the difference between an author selling 10 copies in a lifetime - or selling 100,000 copies a year The money to hire one can be the amount of around $600 though. Many of the threats discussed in this article are historical. 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[zackorama-blog]

Mannequin

A mannequin (also called a manikin, dummy, lay figure or dress form) is an often articulated doll used by artists, tailors, dressmakers, windowdressers and others especially to display or fit clothing. The term is also used for life-sized dolls with simulated airways used in the teaching of first aid, CPR, and advanced airway management skills such as tracheal intubation and for human figures used in computer simulation to model the behavior of the human body. During the 1950s, mannequins were used in nuclear tests to help show the effects of nuclear weapons on humans. Mannequin comes from the French word mannequin, which had acquired the meaning "an artist's jointed model", which in turn came from the Flemish word manneken, meaning "little man, figurine". In early use in the United Kingdom, it referred to fashion models themselves, the meaning as a dummy dating from the start of World War II. Shop mannequins are derived from dress forms used by fashion houses for dress making. The use of mannequins originated in the 15th century, when miniature "milliners' mannequins" were used to demonstrate fashions for customers. Full-scale, wickerwork mannequins came into use in the mid-18th century. Wirework mannequins were manufactured in Paris from 1835. The first fashion mannequins, made of papier-mâché, were made in France in the mid-19th century. Mannequins were later made of wax to produce a more lifelike appearance. In the 1920s, wax was supplanted by a more durable composite made with plaster. Modern day mannequins are made from a variety of materials, the primary ones being fiberglass and plastic. The fiberglass mannequins are usually more expensive than the plastic ones, tend to be not as durable, but are significantly more impressive and realistic. Plastic mannequins, on the other hand, are a relatively new innovation in the mannequin field and are built to withstand the hustle of customer foot traffic usually witnessed in the store they are placed in. A mannequin outside a shop in North India. Mannequins are used primarily by retail stores as in-store displays or window decoration. However, many online sellers also use them to display their products for their product photos (as opposed to using a live model). While the classic female mannequin has a smaller to average breast size, manufacturers are now selling “sexy/busty mannequins” and “voluptuous female mannequins” with 40DDs and Barbie doll-sized waists. Historically, artists have often used articulated mannequins as an aid in drawing draped figures. The advantage of this is that clothing or drapery arranged on a mannequin may be kept immobile for far longer than would be possible by using a living model. In first aid courses manikins may be used to demonstrate methods of giving first aid (e.g., resuscitation). Fire and coastguard services use mannequins to practice life-saving procedures. The mannequins have similar weight distribution to a human. Special obese mannequins and horse mannequins have also been made for similar purposes. The Twilight Zone episode "The After Hours" involves mannequins taking turns living in the real world as people. Mannequins are a common theme in horror fiction. Many people find mannequins disturbing (due in part perhaps to the uncanny valley effect), especially when not fully assembled. Military use of mannequins is recorded amongst the ancient Chinese. A CIA report describes the use of a mannequin ("Jack-in-the-Box") as a countersurveillance measure, intended to make it more difficult for the host country's counterintelligence to track the movement of CIA agents posing as diplomats. A "Jack-in-the-Box" – a mannequin representing the upper half of a human – would quickly replace a CIA agent after he left the car driven by another agent and walked away, so that any counterintelligence officers monitoring the agent's car would believe that he's still in the car

[alisonfloresus]

China First National Willow Cultural and Art Museum Opened

[Source: http://www.wickerchina.com , http://www.gov.cn Author: Wickerchina (editting) 2011-11-24] To demonstrate the historical and cultural connotations of China wickerwork, and enhance its visibility and influence of the “Capital of Wickerwork in China” and “Town of Willow”, this museum with a total area of 2600 square meters is launched this year. History, materials, processes, products, development and prospects in six major exhibition are included inside it, and a comprehensive and multi-level, multi-forms of the development pattern of wicker weaving will be demonstrated to all visitors by text, pictures, objects, videos and high-tech information systems and other modern forms. 100 pieces of pictures in the form of pictures mixed with characters are served and 12 large special exhibits are displayed. And there are also more than 2000 kinds of antique wickerwork across the country on display (such as that for home decoration, decorating, gardening, packaging, etc.), a combination of set collection, research, appreciation and practicality. In 2008, the county’s wickerwork industry realized an output value of 1.69 billion yuan; in 2009, wickerwork crafts exports reached 80 million U.S. dollars, accounting for 56% of the county’s total exports, and was awarded “Capital of Wickerwork in China” honorary title by China Arts and Crafts Association. In recent years, as people’s consuming concepts have undergone great changes, more and more people advocating wickerwork crafts, making them a promising market future.

In pictures – Chinese wickerwork craft photo exhibition: In 2011, an art exhibition named “Handcraft in the Rural” is held at National Art Museum of China in Beijing. One of the important parts is the China wickerwork craft exhibition. Four Chinese characters woven with wicker and rattan 2 basket weavers from Linyi County, Shandong Province, are displaying wicker weaving techniques. Fine and delicate handicrafts Colorful wicker boxes and wicker baskets Unfinished and finished wicker works (Chinese basket making)

Linshu wickerworks moving forward for GI certification trademark: In October 20, “Linshu wickerwork” was approved by the State Administration for Industry and and Commerce to obtain the exclusive right to use, thus it now become an official GI certification trademark in Lishu City. Linshu is the well recognized “Capital of China Wickerwork” and “Town of Salix integra in China”. Though weaving wicker is one of the traditional industries there, in the county, there’re 128 enterprises of wicker processing, 86 of who enjoy the self-determination right for import and export, and have employed more than 100,000. Roughly 1/3 of average annual wickerwork output value in China is created in Linshu County, and it is the leading export industry as well. According to statistics, Linshu County’s wickerwork output value accounts for 58% in the industry this year, going against the raise on situation — In the first half of this year, exports of wickerwork crafts grew 11.1 percent over the same period last year, which account for more than 68% that of the city’s; wicker cultivation area is up to almost 7,200 hectares throughout the county with an annual output of 65 million kg dried wicker strips, and local farmers have income of more than 1 billion yuan from growing that, accounting for 20% of farmers’ total income. Merchants go Linshu to buy dried wicker strips. A store selling wickerwork baskets

Wheat straWheat straw craft is nurturing the new bright spot In Tancheng County, Shandong Province, the wheat straw weaving industry is highlighted as a new bright spot in foreign trade and thousands of farmers have gotten rich. Currently, there are 21 leading leading enterprises that success in wheat straw weaving, with the annual export volume of more than 9 million U.S. dollars, whose products are sold in Japan, the United States, Italy, Australia of more than 30 countries and regions. When it’s time to harvest wheat, wheat straw will be used as raw materials to weave wheat straw crafts that will be processed into fine pieces and exported abroad, until drying disinfecting them. In this way, farmers both avoid the environmental pollution caused by straw burning, and increase foreign exchange earnings. In Tancheng County, Shandong Province, farmers are weaving craft with wheat straw being exported to Europe and America. Source: http://www.wickerchina.com , http://www.gov.cn Author: Wickerchina (editting) 2011-11-24

from JournalsLINE http://journalsline.com/2017/06/10/china-first-national-willow-cultural-and-art-museum-opened/ from Journals LINE https://journalsline.tumblr.com/post/161674838125

[uk-garden-furniture-tools]

New Post has been published on http://www.uk-rattanfurniture.com/product/high-quality-rectangular-dining-table-in-grey-rattan-lounge-garden-furniture-dinner-set-dinner-lounge-light-grey-garden-with-corner-table-and-two-stools/

High-quality Rectangular Dining Table in Grey Rattan Lounge Garden Furniture Dinner Set Dinner Lounge Light Grey Garden with Corner Table and Two Stools

Sit back and relax? Favorite outdoors. The complete table set made from easy-care and weatherproof poly rattan wickerwork in the colour light grey convinces with puristisch/Elegant design and a very comfortable seat. With an extra light, rust-proof aluminium frame is the furniture effortlessly in whatever way you desire to move around. The cushions in a subtle dark grey are made from high quality polyester that as well as the rattan is woven plastic for full, water ? and dirt repellent, making it especially durable. Elegant and trendy at the same time to make these table set any garden or terrace. The dining table is manufactured by hand, so is particularly carefully made. Quality table Group/poly rattan Colour: Light Grey/rust-free aluminium frame Box contents: 1x corner sofa and 1 x table & 2 stools/Seat Pad included/decoration with glass panel NOT Side: 200 x 270 cm Table Corner Bench Dimensions: 145 x 80 cm/stool: 40 x 40 cm Kerbside delivery Delivery with Telefonischem Advance

[cma-chinese-art]

Wickerwork Box, 1609, Cleveland Museum of Art: Chinese Art

Size: Overall: 7.7 x 13.8 cm (3 1/16 x 5 7/16 in.) Medium: lacquered wickerwork (of woven bamboo) framed in wood with circular scene inlaid in mother-of-pearl and gold

https://clevelandart.org/art/1965.30