Yokoso! Japan - 通訳ガイド的日本再発見

海外から日本に来る外国人観光客の方々に、通訳ガイドの視点から、日本の良さを伝えたい…日頃見慣れた風景もあらためて見れば新鮮に映る、そんな視点で日本を再発見し、通訳ガイドの方もすぐ活用できるように、英語で紹介します。

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ホイサムジャイ

Author:ホイサムジャイ
放浪癖あり(笑)。好きなTV番組は「モヤモヤさまぁ~ず」「ちい散歩」「タモリ倶楽部」「ぶらり途中下車の旅」などなど。。。良く言えば「自由人」、悪く言えば「鉄砲玉」(←出たら戻って来んのかい!)

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前回の記事「駄菓子屋」編からいまだ、日暮里にいる私・・・。
実はさっきから、頭上を走る電車が気になってしょーがないんです^^

その名は、舎人ライナー!
音の響きも私の好きな「仮面ライダー!」にちょっと似ているような気がしませんか(笑)

では、乗ってみましょう(←即行動型っ!)
・・・おぉ、丁度いいキップもあるんですね~
都営線1日フリーパスで超お得っ!

都営全線1日乗り放題ですか~(^o^)/
700円で、都営・都バス・舎人ライナー・都電まで全部いけるんですねっ。

いざ電車へと。
界隈の町からはなかなか姿を見ることができません(T-T)

ではココで、「舎人ライナー」について。

The Nippori-Toneri Liner is an automated guideway transit (AGT) system between Nippori Station in Arakawa and Minumadai-shinsuikouen Station in Adachi, Tokyo. The line opened on March 30, 2008. The operator is expecting 51,000 passengers per day. It is operated by the Tokyo Metropolitan Bureau of Transportation.

The western part of Adachi is poorly served by public transport and planning of the line started in 1985, with the initial intention of constructing a full-fledged subway. However, this was scrapped due to the high cost and projected low ridership, and a more cost-efficient AGT system was selected instead. Construction of the line started in 1997, and service commenced on March 30, 2008. The main contractor was the Tokyo Metropolitan Subway Construction Company, which also built the Toei Ooedo Line.

The fully elevated, double-tracked line is 9.7 km long with 13 stations, and it offers interchange to the Yamanote Line at both Nippori and Nishi-Nippori Stations. A journey from end to end takes 20 minutes, compared to as long as 60 minutes by bus during rush hour.

・・・端から端まで乗っても、20分なんですね。短っ!
でもこの電車ができて、みんな便利に通勤できるようになりました。
カンシャ、カンシャですm(_ _)m

ところでこの「舎人ライナー」、路線が高所を走るため、高い側壁で覆われております。このため街角からその電車の姿を確認するのが、なかなか難しいんですよね~。

側壁の切れ目に一瞬、通過音と共にその姿を見ることができるかどうかという程度で(T-T)

「音はすれども姿は見えず、ほんにあなたは屁のような」(笑)


・・・と、いつもならこんなノリで終わるのですが、やはりちょっと舎人ライナーさんに顰蹙かな?ということで、エンディング変更!

♪チャラッチャッチャッチャ チャ~ララ~ チャ~チャ~ チャ~・・・
次回は、熊野前駅から都電荒川線に乗り換えます。(←これでタイトルにつながったっす・笑)
スポンサーサイト

イマドキのお菓子を食べ過ぎて、ちょっと・・・というかもっとメタボがすすんだ私。。。
でも、何も食べない、という選択肢は絶対ありえないんですよね~(T-T)

・・・というわけで、少しはカロリーの低いものをと、日暮里の駄菓子問屋へ^^(←そこで何故「問屋」に行くっ!)

行き着けの日暮里の駄菓子問屋さんです^^

w(゜o゜)w わぁーおっ!(嬉)

あるはあるは・・・ボンタンアメ、都こんぶ、きなこ棒(←渋いっ!)
今のコドモにもウケるよう、駄菓子も進化してるんですね~。。。
なになに・・・都こんぶは上位版「北海道の昆布のみを使用したゴールド都こんぶ」まであるんだ~。

思わず箱買い、大人買いっと(笑)

大人買いってやつです!

ではココで「駄菓子」について、まいりましょう!

Dagashi ("da" is "poor" or "cheap", and "gashi (kashi)" is "confection") originally referred to cheap candies of low quality, but over time the word came to be used for candies children can easily afford with their small allowances.

Until the 1960s-70s every Japanese town had a dagashi store, where coin-clutching children gather and hang out with their friends. Dagashi stores were filled with candiesand toys - Beegoma (spinning tops), menko playing cards, Mamagoto (handicraft) sets, Ohajiki (marbles), and so on.

The types of candies and snacks that can be bought include candy drops, chocolates, cakes, juice powders that you dissolve in water to make juice, rice crackers, flavored squid, and many more. Wrapped in colorful packages, and some come with a sort of lucky draw that allows you to claim a second candy or snack if you get a win.

Every sort of things sold at a dagashi store are very cheap costing 5-10 yen. Kids could compare their budget with what they wanted and consider carefully over what to buy or consult with their friends.

・・・駄菓子屋はコドモの社交場であり、またお店のオバちゃんからいろいろなことを学ぶ場でもあったんですよね。。。

懐かしいなぁ~・・・と思い出に浸る、こんな私を、人は「ノスタル爺(じい)」と呼ぶ。チャンチャン(笑)

♪この~木なんの木気になる(気になる)木・・・と某CMソングから始まりました本日。
さて、この木はいったい何の木でしょうか?
この松はいったい!?

「松」・・・そうなんです。ただこの松は特別なもので「船繋ぎの松」といい、西日暮里の駅すぐ、道灌山にあります。

話が突然、江戸末期に遡りますが、皆さんは1853年にペリー提督が黒船で来航し、翌1854年に日米和親条約が締結されたことはご存知ですよね^^

この1853年、ペリーさんの母国、アメリカ合衆国ではこの日本遠征が国家プロジェクトとなっていたんです。ペリー艦隊の日本遠征プログラムの発足に合わせ、アメリカ政府は更に、日本遠征にかかわる基本戦略を明確にし、ペリー提督には事細かな遠征指令書が与えられたそうです。過去の日本に向けた使節派遣には見られない、多くの用意周到な新機軸が画策され、また当時の合衆国大統領フィルモアさんも議会で演説を行いました。

アメリカ国民はこのプロジェクトを国を挙げて歓迎し、なんと1853年にはエド・ローブマン(Ed Loebmann)により、遠征を歓迎する「日本遠征ポルカ(The Japan Expedition polka)」まで作曲されたそうです。(←アメリカンっぽいっすね~^^)

で、この1853年に「じゃあ来年また来るね~」(←絶対こんなテンションではないと思う・・・)とペリーが言ったとき、当時江戸の湾岸界隈はだだっ広い原野で、目印になるものが何もなかったため、「んじゃあ、この“船繋ぎの松”を目指して来ればよかっぺ」(←だから絶対こんなテンションではないって!・笑)と言ったそうで、翌年の来航の際の「ランドマーク」になりました。

松の解説その1です^^

松の解説その2です^^

ここから日本の開国と本格的な国際交流が始まったんですね^^

では本日はちょいと趣向を変えて、「日米和親条約」の原文(英語)をお届けしてみましょう!

Treaty between the United States of America and the Empire of Japan.

The United States of America, and the Empire of Japan, desiring to establish firm, lasting and sincere friendship between the two Nations, have resolved to fix in a manner clear and positive, by means of a Treaty or general convention of peace and Amity, the rules which shall in future be mutually observed in the intercourse of their respective Countries; for which most desirable object, the President of the United States has conferred full powers on his Commissioner, Matthew Calbraith Perry, Special Ambassador of the United States to Japan: And the August Sovereign of Japan, has given similar full powers to his Commissioners, Hayashi, Dai_gaku no_kami; Ido, Prince of Tsus_sima; Izawa, Prince of Mima_saki; and Udono, Member of the Board of Revenue. And the said Commissioners after having exchanged their said full powers, and duly considered the premises, have agreed to the following Articles.

Article I.
There shall be a perfect, permanent, and universal peace, and a sincere and cordial amity between the United States of America, on the one part, and the Empire of Japan on the other part; and between their people respectively, without exception of persons or places.

Article II.
The Port of Simoda in the principality of Idzu, and the Port of Hakodade, in the principality of Matsmai, are granted by the Japanese as ports for the reception of American Ships, where they can be supplied with Wood, Water, provisions, and Coal, and other Articles their necessities may require as far as the Japanese have them. The time for opening the first named Port is immediately on signing this Treaty; the last named Port is to be opened immediately after the same day in the ensuing Japanese Year.
Note A tariff of prices shall be given by the Japanese Officers of the things which they can furnish, payment for which shall be made in Gold and Silver Coin.

Article III.
Whenever Ships of the United States are thrown or wrecked on the Coast of Japan, the Japanese vessels will assist them, and carry their Crews to Simoda, or Hakodade, and hand them over to their Countrymen appointed to receive them; whatever Articles the ship wrecked men may have preserved shall likewise be restored, and the expenses incurred in the rescue and support of Americans and Japanese who may thus be thrown upon the shores of either nation are not to be refunded.

Article IV.
Those Shipwrecked persons and other Citizens of the United States shall be free as in other Countries, and not subjected to confinement, but shall be amenable to just laws.

Article V.
Shipwrecked men and other Citizens of the United States, temporarily living at Simoda and Hakodade shall not be subject to such restrictions and confinement as the Dutch and Chinese are at Nagasaki, but shall be free at Simoda to go where they please within the limits of Seven Japanese miles (or Ri.) from a small Island in the harbor of Simoda, marked on the accompanying Chart, hereto appended : and shall in like manner be free to go where they please at Hakodade, within limits to be defined after the visit of the United States Squadron to that place.

Article VI.
If there be any other sort of goods wanted, or any business which shall require to be arranged, there shall be careful deliberation between the parties in order to settle such matters.

Article VII.
It is agreed that Ships of the United States resorting to the ports open to them, shall be permitted to exchange Gold and Silver Coin and articles of Goods for other articles of goods, under such regulations as shall be temporarily established by the Japanese Government for that purpose. It is stipulated however that the Ships of the United States shall be permitted to carry away whatever articles they are unwilling to exchange.

Article VIII.
Wood, Water, provisions, Coal and Goods required shall only be procured through the agency of Japanese Officers appointed for that purpose, and in no other manner.

Article IX.
It is agreed, that if at any future day the government of Japan shall grant to any other Nation or Nations privileges and advantages which are not herein granted to the United States, and the Citizens thereof, that these same privileges and advantages shall be granted likewise to the United States, and to the Citizens thereof, without any consultation or deley.

Article X.
Ships of the United States shall be permitted to resort to no other ports in Japan but Simoda and Hakodade unless in distress or forced by stress of weather.

Article XI.
There shall be appointed by the Government of the United States, Consuls or Agents to reside in Simoda at any time after the expiration of Eighteen months from the date of the signing of this Treaty, provided that either of the two governments deem such arrangement necessary.

Article XII.
The present Convention having been concluded and duly signed, shall be obligatory and faithfully observed by the United States of America and Japan, and by the Citizens and Subjects of each respective power; and it is to be ratified and approved by the President of the United States, by and with the advice and consent of the Senate thereof, and by the August Sovereign of Japan, and the ratification shall be exchanged within eighteen months from the date of the signature thereof, or sooner if practicable.
In faith whereof, we the respective plenipotentiaries of the United States of America and the Empire of Japan aforesaid have signed and sealed these presents.


Done at Kanagawa this thirty first day of March in the Year of our Lord Jesus Christ, One thousand eight hundred and fifty four; and of Kayei the Seventh Year, third month and Third‐day.

M.C. Perry


・・・以上でございます m(_ _)m

いや、しかしまぁ・・・この松を目指して来いとはいったものの、ちゃんとたどり着けるかどうか不安もあったでしょうね~いつ来るのかな、いつ来るのかな、と。こんな時は、歌でも歌って・・・

♪私、待~つ~わ、いつ~までも、松~わ(←やっぱり最後はしょーもない終わり方なんですね・笑)

春眠暁を覚えず・・・というか夏眠ですね~。
そんなわけで、仮眠をとりに新宿御苑へ(←またダジャレから始まりましたね~^^)
新宿御苑の入口です^^

ここは2万本以上の木が植樹され、桜の名所でもあります。
さて今日はどんな花が見られるんでしょうか・・・↓
今日はどんな花が見れるのかな~

職員の方が毎日、標識を手作りしてくれてるんですね~^^

では中へと進みましょう。
新緑の眩しい木立を抜けて・・・と
木陰は涼しくて・・・

・・・いい塩梅の芝生がありましたっ!u(^o^)u
しかもうたた寝にちょうどいい芝生がっ!

では、ひと眠り前の、ひと仕事をば(笑)

Shinjuku Gyoen National Garden is a large park with an eminent garden in Shinjuku and Shibuya, Tokyo, Japan. It was originally a residence of the Naito family in the Edo period. Afterwards, it became a garden under the management of the Imperial Household Agency of Japan. It is now a park under the jurisdiction of the national Ministry of the Environment.

The imperial gardens, which were once meant for the royalty, were completed in 1906, and destroyed in 1945, during the later stages of World War II. The jurisdiction over the Imperial Palace Outer Garden and the Kyoto imperial garden was transferred to the Ministry of Health and Welfare (now part of the Ministry of Health, Labour and Welfare) with Shinjuku Imperial Gardens in 1947.

It was on May 21, 1949 that the gardens became open to the public as "National park Shinjuku Imperial Gardens". It came under the jurisdiction of the Ministry of the Environment in January, 2001 with the official name "Shinjuku Gyoen National Garden".

The gardens have more than 20,000 trees, including approximately 1,500 cherry trees which bloom from late March (Shidare-Zakura or Weeping Cherry Blossom), to early April (Somei-Yoshino or Tokyo Cherry Blossom), and on to late April (Kanzan Cherry). Other trees found here include the majestic Himalayan cedars, which soar above the rest of the trees in the park, tulip trees, cypresses, and plane trees, which were first planted in Japan in the Imperial Gardens.

・・・と、こんな感じでしょうか。

それでは、おやすみなさいませm(_ _)m

zzZZZ

「あの~すみません!」
「んんんっ・・・ハイ!?」
「そろそろ閉園時間でして (-_-#)」

あぁ・・・ゴメンなさい、もうそんな時間なんですね・・・って、このやりとり、どこかであったような・・・

あ、思い出した!昨日電車乗り過ごして、終点の駅で起こされたのと、まったく一緒!(T-T)

・・・今回のタイトル、舌噛みそうですね(笑)

そんなわけで本日は新宿の都庁へおじゃまします。
都庁にやってまいりました^^

高くそびえ立っております^^
ではエントランスへと進みましょう。
さて、窓の数はいくつ・・・って、多すぎるわいっ!

どれどれ、んっ? 展望台が2箇所ありますね。・・・北展望台はお土産ショップが充実していて、南の方は360度パノラマなんですか~。そこは買い物好きの私め、北を選んでみますっ!

↑↑↑↑↑↑↑↑↑↑↑↑↑・・・・・(エレベーターで昇っております)

あ、着いたようですね。ではお土産グッズ見ましょ^^

ショップも充実していますね~

・・・いっぱいありますね。ではコレと、コレと・・・。

おや、横にはイタリアンもあるんですね・・・それも「サバティーニ」!!!
丁度いいや、メシ食ってこ(喜)
あの「サバティーニ」も入っているんです。

ではココで「東京都庁の建物」について(←相変わらず視点が違うねっ)

The Tokyo Metropolitan Government Building, also referred to as Tokyo City Hall or Tochou for short, houses the headquarters of the Tokyo Metropolitan Government, which governs not only the 23 wards, but also the cities, towns and villages that make up Tokyo as a whole.

Located in Shinjuku, it held title of the tallest building (by roof height) in Tokyo, at 243 meters (799 feet), from 1991 to late 2006, when it surrendered its title upon the completion of Midtown Tower. The two top-floor panoramic observation decks are free of charge to the public and contain many gift shops. They are open till 11 pm on weekdays. Use of cameras is permitted, but tripods are forbidden.

The building consists of a complex of three structures, each taking up a city block. The tallest and most prominent of the three is Tokyo Metropolitan Main building No.1, a tower 48 stories tall that splits into two sections at the 33rd floor. The building also has three levels below ground. The design of the building (which was meant to resemble a computer chip), by architect Kenzo Tange (and associates), has many symbolic touches, most notably the aforementioned split which recreates the look of a Gothic cathedral.

Finished in 1991 at the expense of 157 billion yen of public money, a popular nickname for Tochou is "Tax Tower".

The other two buildings in the complex are the eight-story Tokyo Metropolitan Assembly Building (including one underground floor) and Tokyo Metropolitan Main Building No.2, which has 37 stories including three below ground.

・・・金かかってるんです!

なので都民としてはココで寛ぐ権利ありですっ。
それでは都会を見下ろしてみましょう↓
天空から見下ろす景色は最高っ!

偉くなった気分でヒトコト
「下々の者たちは今、あくせく仕事をしておるんじゃろうな~」(←まさに「上から目線」!敵増やすぞっ・笑)

そういえばこの所、海外旅行してないな~・・・。
英語って使わないと、どんどん学力が落ちてしまうんですよねっ(T-T)。

せめて「異国情緒」を味わいに、裏原宿の「キャット・ストリート」へまいりました。
裏原宿のキャット・ストリート!
ね、何となく外国の小道っぽいでしょ?

この界隈はスタイリッシュなお店が立ち並びます。・・・まあそりゃ、原宿ですもんね^^

異国情緒が漂います・・・

で、まずはこの原宿の成り立ちについて。

The beginnings of Harajuku began when World War II ended. During that time U.S. soldiers and their families began to occupy the area known as Harajuku. Harajuku became an area where curious young people flocked to experience a different culture. Soon after in 1958, Central Apartments were built in the Harajuku area and were quickly occupied by fashion designers, models, and photographers. In 1964, when the Summer Olympics came to Tokyo the Harajuku area was further developed and the idea of “Harajuku” slowly began to take a more concrete shape. After the Olympics the young people who hung out in the Harajuku area, frequently referred to as the Harajuku-zoku or the Harajuku tribe, began to develop a distinct culture and style unique to their different groups and the area. From this distinct style grew the notion of Harajuku as a gathering ground for youths and as a fashion mecca.

・・・と、こんな感じです。

さて、折角の原宿なので、ちょいと「竹下通り」へと足を伸ばしてみましょう!
出たっ!日本で最も混雑しているストリート!

・・・めっちゃ混んでますぅ(T-T)
でも勇気出して(←何でココで勇気がいるんだっ!)、中に入ってみましょう。

毎日が初詣のような混雑ぶりです(T-T)

なかなか前に進めません。。。まるで、初詣のよう(笑)。
ですので、英語の解説を加えつつ、歩きましょう。

Located directly across from the exit of JR Harajuku Station, Takeshita Street (Takeshita-douri) is very popular with young teenagers, particularly those visiting Tokyo on school trips, or local young people shopping for small "cute" goods at weekends.

Takeshita Street is a pedestrian-only street lined with fashion boutiques, cafes and restaurants in Harajuku in Tokyo, Japan. Stores on Takeshita Street include major chains such as The Body Shop, McDonald's and others, but most of the businesses are small independent shops that carry an array of styles. The shops on this street are often a bellwether for broader fads, and some are known as "antenna shops," which manufacturers seed with prototypes for test-marketing.

Takeshita Street was a reliable place to go and purchase fake Japanese and American street brand goods from the early 1990s to 2004. Since 2004, a stronger metropolitan government stance on counterfeit merchandise has led to a decrease of such items being available to the public.

しんどっ!。。。でもどうにか、抜け出ることができました(疲)・・・???あれ、そういえばココは、アイドルのスカウト達のメッカと聞いていましたが、私にはいっこうに声がかからなかったですね~。。。

・・・どうも私は、ジャニーズ事務所さんとは意見が合わないようで(←ポジティブ過ぎっ!・笑)

業務連絡、間もなくジューンブライドが増殖いたします!

・・・っていったい何のこっちゃ!?。。。実は友人から披露宴の司会依頼が舞い込んできた私。
この時期、司会を頼まれることが多いんですよね~。

町歩きをしておりましても、やはり出くわしたのが↓
厳かな結婚式に出くわしましたw(゜o゜)w

おごそかな結婚式ですね~。艶やかで気品漂う御召物に身を包んだ花嫁さんが、目の前を通り過ぎて行きます^^

・・・そういえば、結納をしたって言ってたな~。でも結納って「結婚の約束」でしょ?指輪以外に色んな物を取り交わすんですよね。。。
結納品一式です^^
あ、こんなに色々あるんですね^^

それぞれ意味があるそうです↓
で、その解説!

・・・なるほど、ではその結納について。

When a couple decides to get engaged, they will pick a married couple as go-betweens (nakoudo). The bride and groom-to-be usually request the groom-to-be's boss or a former teacher to be their mentor. The go-betweens will serve as a helper for various events from the engagement ceremony to the wedding. The go-betweens are also supposed to give advice to the couple even after they are married.

When the go-betweens are selected, they will decide to plan for "yuinou."

Traditionally, the engagement gifts used to be brought by the go-betweens or another delivery person to the fiancee and fiancee's houses.

Nowadays, instead of delivering the gifts, both the bride and groom-to-be, their parents and the go-betweens gather at one place to hold the Yuinou ceremony to save troubles.

In addition to the monetary gift from the fiance and the return gift from fiancee, they exchange several other items. They are called "Yuino-Hin", consisting of five, seven or nine items.

・・・と、こんな感じでしょうかね~。

これで結納品について聞かれても大丈夫・・・You know, Yuinou!(笑)

・・・いえいえ、別に怪しいモンじゃないんです(汗)。お茶会に誘われたので、当日粗相のない様に、かつ下見かたがたお茶席体験に!(笑)

離れの茶室です^^

カフェでワイワイ、ガヤガヤ、もいいんですが、たまには日本の「心」を味わってみましょう!
たおやかな時間の中に一服の清涼感・・・特にこの時期は緑も美しいので、オススメです^^

縁側で~アルバムを~開いては~♪・・・ってね。。。

あいにく中は撮影できないとのことで、外観のみですが。。。

・・・うむ、実に素晴らしい!日本人であることを誇りに思える瞬間です。抹茶のほろ苦さと干菓子の優しい甘さが、心を落ち着かせてくれるんですよね~。

ではいつもの如く、「お茶会」について・・・ですが、特にその流れについて説明してみましょう。

If the gather is to be held at a tea house having a waiting bench along the roji (dewy path), the guests will wait at the bench until summoned by the host. They ritually purify themselves by washing their hands and rinsing their mouths with water from a small stone basin, and proceed along the roji to the tea house. Guests remove their footwear and enter the tea house through a small door, and proceed to the tokonoma scroll alcove, and are then seated seiza-style on the tatami in order of prestige.

The host may build the charcoal fire in the presence of the guests, to heat the water for making the tea. This is done in a prescribed manner.

Guests may be served a light, simple meal called a "tenshin", or a full-course meal called "kaiseki" or "chakaiseki". The full-course meal comes with sake, Japanese rice wine. They will then return to the waiting shelter until summoned again by the host.

If no meal is served, the host will proceed directly to the serving of a small sweet or sweets. Sweets are eaten from special paper called kaishi, which each guest carries, often in a decorative wallet or tucked into the breast of the kimono.

Each utensil - including the tea bowl, whisk, and tea scoop - is then ritually cleaned in the presence of the guests in a precise order and using prescribed motions. The utensils are placed in an exact arrangement according to the particular style of tea-making procedure (temae) being performed. When the preparation of the utensils is complete, the host will place a measured amount of green tea powder in the bowl and add the appropriate amount of hot water, then whisk the tea using set movements. When each bowl of tea is ready it will either be served to the guests by an assistant or the guests will retrieve the bowl themselves in the order in which they are seated.

Bows are exchanged between the host and the guest receiving the tea. The guest then bows to the second guest, and raises the bowl in a gesture of respect to the host. The guest rotates the bowl to avoid drinking from its front, takes a sip, and compliments the host on the tea. If it is thin tea, the guest drinks all the tea and the bowl is returned to the host, who prepares tea for the next guest in the same bowl. If it is thick tea (koicha), the guest takes two more sips before wiping the rim, rotating the bowl to its original position, and passing it to the next guest with a bow. The procedure is repeated until all guests have taken tea from the same bowl, and the bowl is returned to the host.

If thick tea (koicha) has been served, the host will then prepare thin tea, or usucha, first bringing in a smoking set (tabakobon) and different kind of confections, referred to as higashi (dry confections), to go with the thin tea. The tea is served in much the same manner as for koicha, but in a more relaxed atmosphere. For example, during the thick tea serving, conversation basically is limited to a few formal comments exchanged between the first guest and the host. In the thin tea serving, after a similar ritual exchange, the guests may engage in casual conversation.

After all the guests have taken tea, the host cleans the utensils in preparation for putting them away. The guest of honour will request that the host allow the guests to examine some of the utensils, and each guest in turn examines each item, including the tea caddy and the tea scoop. The items are treated with extreme care and reverence as they may be priceless, irreplaceable, handmade antiques, and guests often use a special brocaded cloth to handle them.

The host then collects the utensils, and the guests leave the tea house. The host bows from the door, and the ceremony is over. A tea ceremony can last up to four hours, depending on the type of ceremony performed, the number of guests, and the types of meal and tea served.

・・・と、こんな流れですね。

では私も心を入れ替えて、女性に対する声のかけ方を変えるとしましょう!

「ねえ彼女、お茶立てない?」(←どういうナンパじゃ!・笑)

言動がよく「浮世離れしている」と言われる私。。。そんな変わってるかぁ???

で、浮世絵でも買いに(←やっぱり行動がよくわからん・笑)
・・・そういえば、この間ヒマつぶしに立ち寄った男性化粧品のコーナーで「イケメンメイク」なるものをしてもらったんですが、どうみても「くまどり」にしか見えんかった(-_-;)

個人的には「富嶽三十六景」の「赤富士」がすきなんですよ~。腕時計もコレが盤面に入ったものを付けております^^

では見学かたがた、原宿にある「太田美術館」へ行きましょ。
浮世絵のレプリカがいつでも買えます!

ここは見学もそうですが、浮世絵のレプリカや絵葉書も買うことができます。買うだけなら入場料もかからないんですね~♪
さて、今日の展示内容は・・・っと^^
展示内容も結構バラエティに富んでいて、興味深いものも・・・。

さらに地下には手ぬぐいや江戸小物を売っているお店もあります↓
手ぬぐいや江戸小物のショップもあります。

こりゃ外国人の方をご案内するのにバッチリですねっ!

ではココでその「浮世絵」について。

Ukiyo-e, "pictures of the floating world", is a genre of Japanese woodblock prints (or woodcuts) and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre and pleasure quarters. It is the main artistic genre of woodblock printing in Japan.

Ukiyo-e can be categorized into two periods: the Edo period, which comprises ukiyo-e from its origins in the 1620s until about 1867, when the Meiji period began, lasting until 1912. The Edo period was largely a period of calm that provided an ideal environment for the development of the art in a commercial form; while the Meiji period is characterized by new influences as Japan opened up to the West.

The roots of ukiyo-e can be traced to the urbanization that took place in the late 16th century that led to the development of a class of merchants and artisans who began writing stories or novels, and painting pictures, compiled in ehon (picture books, books with stories and picture illustrations), such as the 1608 edition of Tales of Ise by Hon'ami Kouetsu. Ukiyo-e were often used for illustrations in these books, but came into their own as single-sheet prints (e.g., postcards or kakemono-e) or were posters for the kabuki theater. Inspirations were initially Chinese tales and artworks. Many stories were based on urban life and culture; guidebooks were also popular; and all in all had a commercial nature and were widely available. Hishikawa Moronobu, who already used polychrome painting, became very influential after the 1670s.

In the mid-18th century, techniques allowed for production of full-color prints, called nishiki-e, and the ukiyo-e that are reproduced today on postcards and calendars date from this period on. Utamaro, Hokusai, Hiroshige, and Sharaku were the prominent artists of this period. After studying European artwork, receding perspective entered the pictures and other ideas were picked up. Katsushika Hokusai's pictures depicted mostly landscapes and nature. His Thirty-Six Views of Mount Fuji (Fugaku sanjuurokkei) were published starting around 1831. Ando Hiroshige and Kunisada also published many pictures drawn on motifs from nature.

In 1842, pictures of courtesans, geisha and actors (e.g., onnagata) were banned as part of the Tenpou reforms. Pictures with these motifs experienced some revival when they were permitted again.

During the Kaei era, (1848–1854), many foreign merchant ships came to Japan. The ukiyo-e of that time reflect the cultural changes.

・・・そうなんです。浮世絵は海外に渡り、そして様々な画家たちにも影響を与えたんだそうです。

アーティスト気取りで私めもちょいと絵筆をとり。。。んんんっ、何描きましょうかね~。では風邪気味でマスクをして咳き込んでいる私の自画像で、「ゴッホ!」(←またダジャレですかい・泣)

都会の雑踏に疲れた時、ふと懐かしい町並みが見たくなる・・・(←ちょっと詩人^^)
前回のブログ記事で「ひぐらしの里」のお話をいたしましたが、今日はその日暮里界隈「谷根千」エリアでのひとコマでございます。

レトロな町、谷根千!

丘の先には、レトロな風景が広がります。・・・そうココは、谷中銀座。
懐かしい香りのする商店街には、お菓子屋さん、お惣菜屋さん、喫茶店といった「あるある」ばかりで、何かこう、ノスタルジックな気分になりますね^^

昭和の商店街の佇まいですね^^

揚げたてのコロッケをパクリ。。。んんんっ、美味いっ!(^o^)p

・・・と、何やら視線を感じ、見上げたら↓(画像をクリックするとその正体がわかります)
一瞬、本物かと思いました!

ネコです。
しかも陶器でできている!

そうなんです。この界隈のネコは通称「谷中猫」と呼ばれ、昔から親しまれてきたのです。

・・・そういえば、昔アメリカに留学していた頃、ホストファミリーが猫を飼っていたんですが、「ニッケル」という名前で。理由は友人から5セントで譲ってもらったからなんだそうで、アメリカ5セント硬貨の愛称「nickel」と名付けられたようです。

この「nickel」という単語の発音が、「ネコ!」に聴こえるんですっ!最初は何でネコに「ネコ」って名前をつけるのかな~と思いましたが、事情を聞いて笑った、笑った!・・・で、意味を教えてあげたら、今度はホストファミリーが日本語風の発音で「ネコ!ネコ!」と呼び始め、当のネコは「あれあれ???いつもと発音が違うけど、これはボクを呼んでるのかにゃ???」と、微妙な眼差しで訴えかけていました(笑)

・・・あ、招き猫もいます!それも、ペアでっ!
いらっしゃ~い~ませ~(笑)

そんなわけで(←どんなわけじゃ!)、この「招き猫」について。

The Maneki Neko (literally "Beckoning Cat"; also known as Welcoming Cat, Lucky Cat, Techno Cat, Money cat or Fortune Cat) is a common Japanese sculpture, often made of porcelain or ceramic, which is believed to bring good luck to the owner. The sculpture depicts a cat (traditionally a Japanese Bobtail) beckoning with an upright paw, and is usually displayed—many times at the entrance—in shops, restaurants, pachinko parlors, and other businesses.

Maneki Neko can be found with either the right or left paw raised. The significance of the right and left raised paw differs with time and place. The most common belief is that the left paw raised brings in customers, while a right paw brings wealth and good luck, although some believe the opposite. Still others say that a left paw raised is best for drinking establishments, the right paw for other stores.

It is commonly believed the higher the raised paw, the greater the luck. Consequently, over the years Maneki Neko's paw has tended to appear ever higher. Some use the paw height as a crude method of gauging the relative age of a figure. Another common belief is that the higher the paw, the greater the distance good fortune will come from.

Some Maneki Neko feature battery- or solar-powered moving arms endlessly engaged in the beckoning gesture.

・・・左手でお客様を招き、右手でお金を招くんですね(-_-)

よし!両手を上げたら!って・・・それじゃ「お手上げ」でしょ。。。(T-T)

昨日、今日と暑いですね(x_x)・・・そう、これまでのブログ記事をお読み頂いている方には容易に察して頂ける通り、私、暑さにめちゃめちゃ弱い体型をしております。。。

東池袋のとある店を出てぶらついておりますと、目に入ってきたのは都電。
急に乗りたくなりました(←あいかわらず唐突かつ無計画だな~)

程なくして着いたのは、飛鳥山です^^
飛鳥山です^^

ここは江戸時代、徳川吉宗が将軍の時、庶民の娯楽を考えて整備された一大レジャーランド「ひぐらしの里」の一角でございます。このひぐらしの里はかつて、ここ王子の飛鳥山から、日暮里にある道灌山まで連なっており、日暮里という地名の由来(ひぐらしの里→日暮里)にもなったそうです。

緑も美しい場所ですが、ここには子供たちが遊べる公園もあるんですね~・・・で、そこに↓
都電の旧車両があるっ!
・・・今乗ってきた都電荒川線の旧車両がありました!

中に入ることもできるんですね~。。。
運転席も間近で見られます

もちろん冷暖房設備もないようですし。。。椅子が木で固いっす(T-T)

またその近くには、なんとSLまでっ!(驚)
うわっ!SLもある(驚)
す、すげえっっ!!!! 999だぁっ(←どうしてもコッチのイメージがっ・笑)
♪チャーンチャチャッチャーンチャチャチャ チャーンチャチャッチャーン・・・さあ行くんだ~その顔を上げて~
♪さあ行くんだ~その顔を上げて~

・・・めちゃめちゃ嬉しいっす^^

ではこのSL(Steam Locomotive)について。

A steam locomotive is a locomotive powered by steam. The term usually refers to its use on railways, but can also refer to a "road locomotive" such as a traction engine or steamroller.

Steam locomotives dominated railroad usage from the start of the 19th century, until the end of the 20th Century. From the world's first ever railway journey in Wales Great Britain in 1804, Steam locomotives were gradually improved and developed in their over 150 years of development and use. Starting in about 1930 other types of engines were developed and steam locomotives were gradually superseded by diesel and electric locomotives.

で、SLはこんな風に発達していきます。

The earliest railways employed horses to draw carts along railed tracks.

As the development of steam engines progressed through the 1700s, various attempts were made to apply them to road and railway use. William Murdoch a Scottish inventor built a prototype steam road locomotive in 1784. The first-known working model of a steam rail locomotive was designed and constructed by John Fitch in the United States in 1794, although it did not lead to further developments.

The first full scale working railway steam locomotive was built by British inventor Richard Trevithick, on 21 February 1804 the world's first railway journey took place as Trevithick's unnamed steam locomotive hauled a train along the tramway of the Penydarren ironworks, near Merthyr Tydfil in Wales. Accompanied with Andrew Vivian, it ran with mixed success. Then followed the successful twin cylinder locomotive by Christopher Blackett's team built at Wylam in 1811, closely followed by Matthew Murrays' rack locomotive for the edge railed Middleton Railway in 1812. These early efforts culminated in 1829 with the Rainhill Trials and the opening of the Liverpool and Manchester Railway a year later making exclusive use of steam power for both passenger and freight trains.

The United States started developing steam locomotives in 1829 with the Baltimore and Ohio Railroad's Tom Thumb. This was the first locomotive to run in America, although it was intended as a demonstration of the potential of steam traction, rather than as a revenue-earning locomotive. The first successful steam railway in the US was the South Carolina Railroad whose inaugural train ran on December 25, 1830 hauled by the Best Friend of Charleston. Many of the earliest locomotives for American railroads were imported from England, including the Stourbridge Lion and the John Bull, but a domestic locomotive manufacturing industry was quickly established, with locomotives like the DeWitt Clinton being built in the 1830s.

・・・と、こんな感じでしょうか。

ただ参ったのは、機関車の撮影をしようと思うと、次から次へ子どもが寄ってくること。。。中にはポージングする子もいて・・・ちょっとゴメンね。今機関車の写真を撮ってて、少し向こうに行って・・・コラッ、少しは言うこときかんしゃ!

・・・あれ、この界隈だけちょっと寒くなった?(T-T)

本日はのっけからクイズですね~。

モンゴル勢の両横綱の活躍目覚しい昨今、日本人力士の方々の「金星」に期待したいところでございます。
ご存知、両国国技館!!

入口を過ぎるとすぐに趣のある力士画に出くわしました^^
趣のある絵ですね~^^

・・・急に自分のお腹周りが気になる私(T-T)
ちなみに私はこの体型を生業にしているわけではござんせん、念のため(笑)

さて「相撲博物館」でも覗くとしましょう。
小さいながら博物館も!

名力士の肖像画や、由緒正しいグッズ(←この表現、何か軽いっすね×)、いっぱいあります。ただここは写真撮影禁止なので、外見のみで。。。

で、その相撲の決まり手ですが、いったい全部でいくつあるんでしょうか?

・・・正解は、なんと82手もあるんです!
例によってその解説をばいたしますが、何せ82もありますので、今日はココからが長いです。ご覚悟を(笑)

Kimarite are winning techniques in a sumo bout. For each bout in a Grand Sumo tournament (honbasho), a sumo referee (gyoji) will decide and announce the type of kimarite used by the winner. It is possible for the judges (shimpan) to modify this decision later. Records of the kimarite are kept and statistical information on the preferred techniques of different wrestlers can be deduced easily.

Currently the Japan Sumo Association recognises eighty-two types of kimarite, but only about a dozen are used regularly. For example, yorikiri, oshidashi and hatakikomi are frequent methods used to win bouts.

The following is a full list of kimarite:

1) Kihonwaza (Basic techniques).--- These are some of the most common kimarite in sumo.

Abisetaoshi >>
Forcing down the opponent on their back by leaning forward while in a grappling position (backward force down).

Oshidashi >>
Pushing the opponent out of the ring without holding their mawashi, nor fully extending his arms. Hand contact must be maintained through the push.(frontal push out)

Oshitaoshi >>
Pushing the opponent down out of the ring (the opponent falls out of the ring instead of backing out) without holding their mawashi. Hand contact is maintained throughout the push (front push down).

Tsukidashi >>
Thrusting the opponent backwards out of the ring with one or a series of hand thrusts. The attacker does not have to maintain hand contact (front thrust out).

Tsukitaoshi >>
Thrusting the opponent down out of the ring (the opponent falls over the edge) onto their back with a hard thrust or shove (front thrust down).

Yorikiri >>
Maintaining a grip on the opponent's mawashi, the opponent is forced backwards out of the ring (front force out).

Yoritaoshi >>
Maintaining a grip on the opponent's mawashi, the opponent is forced backwards out of the ring and collapses on their back from the force of the attack (front crush out).


2) Nagete (Throwing techniques).

Ipponzeoi >>
While moving backwards to the side, the opponent is pulled past the attacker and out of the ring by grabbing and pulling their arm with both hands (one-armed shoulder throw).

Kakenage >>
Lifting the opponent's thigh with one's leg, while grasping the opponent with both arms, and then throwing the off-balance opponent to the ground (hooking inner thigh throw).

Koshinage >>
Bending over and pulling the opponent over the attacker's hip, then throwing the opponent to the ground on their back (hip throw).

Kotenage >>
The attacker wraps their arm around the opponent's extended arm (sashite - gripping arm), then throws the opponent to the ground without touching their mawashi. A common move (armlock throw).

Kubinage >>
The attacker wraps the opponent's head (or neck) in his arms, throwing him down (headlock throw).

Nichonage >>
Extending the right (left) leg around the outside of the opponent's right (left) knee thereby sweeping both of his legs off the surface and throwing him down (body drop throw).

Shitatedashinage >>
The attacker extends their arm under the opponent's arm to grab the opponent's mawashi while dragging the opponent forwards and/or to the side, throwing them to the ground (pulling underarm throw).

Shitatenage >>
The attacker extends their arm under the opponent's arm to grab the opponent's mawashi and turns sideways, pulling the opponent down and throwing them to the ground (underarm throw).

Sukuinage >>
The attacker extends their arm under the opponent's armpit and across their back while turning sideways, forcing the opponent forward and throwing him to the ground without touching the mawashi (beltless arm throw).

Tsukaminage >>
The attacker grabs the opponent's mawashi and lifts his body off the surface, pulling them into the air past the attacker and throwing them down (lifting throw).

Uwatedashinage >>
The attacker extends their arm over the opponent's arm/back to grab the opponent's mawashi while pulling them forwards to the ground (pulling overarm throw).

Uwatenage >>
The attacker extends their arm over the opponent's arm to grab the opponent's mawashi and throws the opponent to the ground while turning sideways (overarm throw).

Yaguranage >>
With both wrestlers grasping each other's mawashi, pushing one's leg up under the opponent's groin, lifting them off the surface and then throwing them down on their side (inner thigh throw).


3) Kakete (Leg tripping techniques).

Ashitori >>
Grabbing the opponent's leg and pulling upward with both hands, causing the opponent to fall over (leg pick).

Chongake >>
Hooking a heel under the opponent's opposite heel and forcing them to fall over backwards by pushing or twisting their arm (pulling heel hook).

Kawazugake >>
Wrapping one's leg around the opponent's leg of the opposite side, and tripping him backwards while grasping onto his upper body (hooking backward counter throw).

Kekaeshi >>
Kicking the inside of the opponent's foot. This is usually accompanied by a quick pull that causes the opponent to lose balance and fall (minor inner foot sweep).

Ketaguri >>
Directly after tachi-ai, kicking the opponent's legs to the outside and thrusting or twisting him down to the dohyo (pulling inside ankle sweep).

Kirikaeshi >>
The attacker places their leg behind the knee of the opponent, and while twisting the opponent sideways and backwards, sweeps them over the attacker's leg and throws them down (twisting backward knee trip).

Komatasukui >>
When an opponent responds to being thrown and puts his leg out forward to balance himself, grabbing the underside of the thigh and lifting it up, throwing the opponent down (over thigh scooping body drop).

Kozumatori >>
Lifting the opponent's ankle from the front, causing them to fall (ankle pick).

Mitokorozeme >>
A triple attack. Wrapping one leg around the opponent's (inside leg trip), grabbing the other leg behind the thigh, and thrusting the head into the opponent's chest, the attacker pushes them up and off the surface, then throwing them down on their back (triple attack force out).

Nimaigeri >>
Kicking an off-balance opponent on the outside of their standing leg's foot, then throwing him to the surface (ankle kicking twist down).

Omata >>
When the opponent escapes from a komatsukui by extending the other foot, the attacker switches to lift the opponent's other off-balance foot and throws him down (thigh scooping body drop).

Sotogake >>
Wrapping the calf around the opponent's calf from the outside and driving them over backwards (outside leg trip).

Sotokomata >>
Directly after a nage or hikkake is avoided by the opponent, grabbing the opponent's thigh from the outside, lifting it, and throwing them down on their back (over thigh scooping body drop).

Susoharai >>
Directly after a nage or hikkake is avoided by the opponent, driving the knee under the opponent's thigh and pulling them down to the surface (rear foot sweep).

Susotori >>
Directly after a nage is avoided by the opponent, grabbing the ankle of the opponent and pulling them down to the surface (ankle pick).

Tsumatori >>
As the opponent is losing their balance to the front (or is moving forward), grabbing the leg and pulling it back, thereby ensuring the opponent falls to the surface (rear toe pick).

Uchigake >>
Wrapping the calf around the opponent's calf from the inside and forcing them down on their back (inside leg trip).

Watashikomi >>
While against the ring of the surface, the attacker grabs the underside of the opponent's thigh or knee with one hand and pushes with the other arm, thereby forcing the opponent out or down (thigh grabbing push down).


4) Hinerite (Twist down techniques).

Amiuchi >>
A throw with both arms pulling on the opponent's arm, causing the opponent to fall over forward (the fisherman's throw). It is so named because it resembles the traditional Japanese technique for casting fishing nets.

Gasshohineri >>
With both hands clasped around the opponent's back, the opponent is twisted over sideways (clasped hand twist down). See Tokkurinage.

Harimanage >>
Reaching over the opponents back and grabbing hold of their mawashi, the opponent is pulled over in front or beside the attacker (backward belt throw).

Kainahineri >>
Wrapping both arms around the opponent's extended arm and forcing him down to the dohyo by way of one's shoulder (two-handed arm twist down). (Similar to the tottari, but the body is positioned differently)

Katasukashi >>
Wrapping two hands around opponent's arm, both grasping the opponent's shoulder and forcing him down (under-shoulder swing down).

Kotehineri >>
Twisting the opponent's arm down, causing a fall (arm lock twist down).

Kubihineri >>
Twisting the opponent's neck down, causing a fall (head twisting throw).

Makiotoshi >>
Reacting quickly to an opponent's actions, twisting the opponent's off-balance body down to the dohyo without grasping the mawashi (twist down).

Osakate >>
Taking the opponent's arm extended over one's arm and twisting the arm downward, while grabbing the opponent's body and throwing it in the same direction as the arm (backward twisting overarm throw).

Sabaori >>
Grabbing the opponent's mawashi while pulling out and down, forcing the opponent's knees to the dohyo (forward force down).

Sakatottari >>
To wrap one arm around the opponent's extended arm while grasping onto the opponent's wrist with the other hand, twisting and forcing the opponent down (arm bar throw counter or "anti-tottari").

Shitatehineri >>
Extending the arm under the opponent's arm to grasp the mawashi, then pulling the mawashi down until the opponent falls or touches his knee to the dohyo (twisting underarm throw).

Sotomuso >>
Using the left (right) hand to grab onto the outside of the opponent's right (left) knee and twisting the opponent over one's left (right) knee (outer thigh propping twist down).

Tokkurinage >>
Grasping the opponent's neck or head with both hands and twisting him down to the dohyo (two handed head twist down).

Tottari >>
Wrapping both arms around the opponent's extended arm and forcing him forward down to the dohyo (arm bar throw).

Tsukiotoshi >>
Twisting the opponent down to the dohyo by forcing the arms on the opponent's upper torso, off of his center of gravity (thrust down).

Uchimuso >>
Using the left (right) hand to grab onto the outside of the opponent's left (right) knee and twisting the opponent down (inner thigh propping twist down).

Uwatehineri >>
Extending the arm over the opponent's arm to grasp the mawashi, then pulling the mawashi down until the opponent falls or touches his knee to the dohyo (twisting overarm throw).

Zubuneri >>
When the head is used to thrust an opponent down during a hineri (head pivot throw).


5) Sorite (Backwards body drop techniques).

Izori >>
Diving under the charge of the opponent, the attacker grabs behind one or both of the opponent's knees, or their mawashi and pulls them up and over backwards (backwards body drop).

Kakezori >>
Putting one's head under the opponent's extended arm and body, and forcing the opponent backwards over one's legs (hooking backwards body drop).

Shumokuzori >>
In the same position as a tasukizori, but the wrestler throws himself backwards, thus ensuring that his opponent lands first under him (bell hammer drop). The name is derived from the similarity to the shape of Japanese bell hammers.

Sototasukizori >>
With one arm around the opponents arm and one arm around the opponents leg, lifting the opponent and throwing him sideways and backwards (outer reverse backwards body drop).

Tasukizori >>
With one arm around the opponents arm and one arm around the opponents leg, lifting the opponent perpendicular across the shoulders and throwing him down (kimono-string drop). The name refers to the cords used to tie the sleeves of the traditional Japanese kimono.

Tsutaezori >>
Shifting the extended opponent's arm around and twisting the opponent behind one's back and down to the dohyo (underarm forward body drop).


6) Tokushuwaza (Special techniques).

Hatakikomi >>
Slapping down the opponent's shoulder, back, or arm and forcing them to fall forwards touching the clay (slap down).

Hikiotoshi >>
Pulling on the opponent's shoulder, arm, or mawashi and forcing them to fall forwards touching the clay (hand pull down).

Hikkake >>
While moving backwards to the side, the opponent is pulled passed the attacker and out of the ring by grabbing and pulling their arm with both hands (arm grabbing force out).

Kimedashi >>
Immobilizing the opponents arms and shoulders with one's arms and forcing him out of the dohyo (arm barring force out).

Kimetaoshi >>
Immobilizing the opponents arms and shoulders with one's arms and forcing him down (arm barring force down).

Okuridashi >>
To push an off-balance opponent out of the dohyo from behind (rear push out).

Okurigake >>
To trip an opponent's ankle up from behind (rear leg trip).

Okurihikiotoshi >>
To pull an opponent down from behind (rear pull down).

Okurinage >>
To throw an opponent from behind (rear throw down).

Okuritaoshi >>
To knock down an opponent from behind (rear push down).

Okuritsuridashi >>
To pick up the opponent by his mawashi from behind and throw him out of the dohyo (rear lift out).

Okuritsuriotoshi >>
To pick up the opponent by his mawashi from behind and throw him down on the dohyo (rear lifting body slam).

Sokubiotoshi >>
Pushing the opponent's head down from the back of the neck (head chop down).

Tsuridashi >>
While wrestlers face each other, to pick up the opponent by his mawashi and deliver him outside of the dohyo (lift out).

Tsuriotoshi >>
While wrestlers face each other, to pick up the opponent by his mawashi and slam him onto the dohyo. (lifting body slam).

Ushiromotare >>
While the opponent is behind the wrestler, to back up and push him out of the dohyo (backward lean out).

Utchari >>
When near the edge of the dohyo, to bend oneself backwards and twist the opponent's body until he steps out of the dohyo (backward pivot throw).

Waridashi >>
To push one foot of the opponent out of the ring from the side, extending the arm across the opponent's body and using the leg to force him off balance (upper-arm force out).

Yobimodoshi >>
Reacting to the opponent's reaction to the attacker's inside pull, the attacker pulls them off by grabbing around them around the waist, before throwing them down (pulling body slam).

Hiwaza >>
Non-techniques: There are five ways in which a wrestler can win without employing a technique.

Fumidashi >>
The opponent accidentally takes a backward step outside the ring with no attack initiated against him (rear step out).

Isamiashi >>
In the performance of a kimarite the opponent inadvertently steps too far forward and places a foot outside the ring. (forward step out).

Koshikudake >>
The opponent falls over backwards without a technique being initiated against him. This usually happens because he has over-committed to an attack. (inadvertent collapse).

Tsukihiza >>
The opponent stumbles and lands on one or both knees without any significant prior contact with the winning wrestler (knee touch down).

Tsukite >>
The opponent stumbles and lands on one or both hands without any significant prior contact with the winning wrestler (hand touch down).

・・・以上でございます。・・・いやいや、本当に多くて大変でした。

はっけよ~い、のこった!のこった!疲れが残った!(笑)

今日はブルーでございます・・・何故って・・・今日で連休終わるから(T-T)。
まとまった休みがあると、何しようかな~と考えているうちに、いつの間にか終わっちゃうんですよね。

・・・まあ、子どもの日でもありましたので、お子さん向けネタでもと思い、東京駅地下にできた「キャラクターストリート」へと足を運んでまいりました。

えぇっ!外国人客が多い???(←もちろんそれ以上に子供の姿も多いのですが^^)

フジテレビショップです!
↑フジテレビショップですね~清水市が舞台のあのアニメや、3世代+猫が同居するロングランアニメのキャラクターがいっぱいです(嬉)。

ほいでもって次は・・・日テレっすね。
日テレショップです!
朝番組の鳥キャラや、あの「チャンチャカチャカチャカ、チャンチャン、ファ」のテーマソングで有名な番組の座布団のミニチュアとかが見うけられます。やっぱりココは、お笑いです。

テレ朝&TBSもっ!
テレ朝やTBSも来てるんですね~。昔持ってた変身ベルトも、随分進化したもんです。あとTBSの新番組・・・あぁ私もかつて任されたことがあります、「班長」(←もっと無責任なヤツでしょ・笑)

で次はテレ東っすか・・・
テレ東です!
ココはもう英語として成立している「Pokemon」ですよね^^

・・・おやおや? NHKもあるんですね↓
なんとNHKまであるっ!
国営放送でも、キャラクターは可愛いっす (^o^)y

さらには毎年アニメ界の話題をかっさらっていくスタジオや↓
でた~ジブリや^^

私をかつてテレビっ子にさせたアニメ界の老舗どころ↓
あらいぐまラスカルじゃぁぁ!

・・・そして、今までもこれからも常に「ヒット」を生み出すバイブル(笑)↓
えぇっ!?少年ジャンプのショップまで!
そう、あの漫画雑誌のショップまであるんです!(驚)

では長くなりましたが、ココから本題。
まずはアニメーションについて、説明してみましょう。

While anime had entered markets beyond Japan in the 1960s, it grew as a major cultural export during its market expansion during the 1980s and 1990s. The anime market for the United States alone is "worth approximately $4.35 billion, according to the Japan External Trade Organization". Anime has also been a commercial success in Asia, Europe and Latin America, where anime has become even more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air.

Anime distribution companies handled the licensing and distribution of anime beyond Japan. Licensed anime is modified by distributors through dubbing into the language of the country and adding language subtitles to the Japanese language track. Using a similar global distribution pattern as Hollywood, the world is divided into five regions.

TV networks regularly broadcast anime programming. In Japan, major national TV networks, such as TV Tokyo broadcast anime regularly. Smaller regional stations broadcast anime under the UHF. In the United States, cable TV channels such as Cartoon Network, Disney, Sci-Fi, and others dedicate some of their timeslots to anime. Some, such as the Anime Network and the FUNimation Channel, specifically show anime. Sony-based Animax and Disney's Jetix channel broadcast anime within many countries in the world. AnimeCentral solely broadcasts anime in the UK.

The Internet has played a significant role in the exposure of anime beyond Japan. Prior to the 1990s, anime had limited exposure beyond Japan's borders. Coincidentally, as the popularity of the Internet grew, so did interest in anime. Much of the fandom of anime grew through the Internet. The combination of internet communities and increasing amounts of anime material, from video to images, helped spur the growth of fandom. As the Internet gained more widespread use, Internet advertising revenues grew from 1.6 billion yen to over 180 billion yen between 1995 and 2005.

・・・と、こんな感じでアニメは発達をみました。で、日本のアニメは特にその質の高さから「ジャパニメ」とまで呼ばれるようになりました。しかしながら・・・

Anime is occasionally referred to as Japanimation, but this term has fallen into disuse. Japanimation saw the most usage during the 1970s and 1980s, but was supplanted by anime in the mid-1990s as the material became more widely known in English-speaking countries. In general, the term now only appears in nostalgic contexts. Although the term was coined outside Japan to refer to animation imported from Japan, it is now used primarily in Japan, to refer to domestic animation; since anime does not identify the country of origin in Japanese usage, Japanimation is used to distinguish Japanese work from that of the rest of the world.

In Japan, manga can additionally refer to both animation and comics (although the use of manga to refer to animation is mostly restricted to non-fans). Among English speakers, manga usually has the stricter meaning of "Japanese comics". An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK the use of the term is common outside of Japan. The term "animanga" has been used to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels.

もはや一つの国際的な潮流・・・日本が世界に誇れる文化が、ココにあるんですねっ!外国人の方もこの場所を訪れる意味がわかるような気がします。。。

ではまた、次回のブログも見てくださいねっ。 ンガッ、グルグル(←昔のサザエさんのエンディング風・笑)

本日はゴールデンウイーク特別版でお送りしますっ^^

爽やかな風に誘われ、緑の中で深呼吸・・・そんなコトがしたくなり、上野公園へと足を運びます。
今日こそはマジメにやるぞっ、と思っていましたが・・・
西郷どんの石碑です

・・・来ました!西郷どん。そうそうまずは、コレですよね↓
こちらが西郷どんでごわす・・・え? 違うかっ(笑)

コチラは西郷隆盛さん・・・らしき人の像でございます。この銅像には面白いエピソードがあって、西郷さん没後の銅像除幕式の際に、奥様がご招待されたのですが、除幕されたその瞬間、

「誰コレ?」

・・・そうです、西郷さんご本人とは全然似ていないそうなのです。
そりゃ奥様が言うのだから、間違いないですよね w(゜0゜)w

今日はイヤな予感がします。。。

さて、しばし歩くと、そこには「上野大仏」の看板が・・・
上野大仏様注意書き!

ろくろく看板も読まずに本殿へ・・・と、そこにあったのは!
♪か~おや~、顔だけ~^^

・・・ちょっとコワイ(T-T)

でもコレ実は、第二次世界大戦の際に国から「金属供出令」が出され、体と足の部分は溶かされ、戦争兵器になってしまったんですね。平和の象徴から戦争兵器が作られるなんて・・・許せませんねっ!

ではこの勢いで本日のメインへと。
ズバリ、「上野東照宮」でございます。
せっかくなので上野東照宮へ・・・

風格漂う門をくぐります↓
風格漂う門をくぐると・・・

・・・社殿まで意外と遠いんですね^^
瀟洒な佇まいの参道を行きます

近くに由緒が書かれた立て札もありました。
由緒正しい解説も!

上野東照宮は、徳川家康が病の床にある時、お見舞いに来た藤堂高虎さんと天海大僧正さんに「自分が末永く鎮魂できる場所を作ってほしい」との遺言で建てられたそうです。

ちなみにこの「上野」という地名、藤堂高虎さんが自分の出身地「伊賀上野」によく似ていることから命名されたんだそうで。。。

あ、御三家が寄進した灯籠・・・というか銅籠もいっぱいあります(゜0゜)
重要文化財の灯篭が鎮座しております

で、いよいよ本題(←今日は本題までがホントに長いっ!)。

この上野東照宮には家康公、吉宗公、慶喜公が祀られております。現代の社殿は慶安四年(1651)に、三代将軍家光公が大規模に造り替えたもので、社殿の構造は、手前から拝殿.幣殿.本殿からなり、その様式を権現造りというそうです。日光東照宮と一緒ですねっ^^

本殿は日本に一つしかない金箔の唐門(唐破風造りの四脚門)で、扉は梅の亀甲の透彫り、門柱には左甚五郎作昇龍(右)降龍(左)高彫りがあります。また、門の側面左右上部には松・梅に錦鶏の透かし彫りと、実に豪華な造りなんですね~。

そして、いよいよ本殿へ・・・あれ!?

あれ?ちょっと待てよ。。。これ、絵ですね!
文楽とかの背景画「書割(かきわり)」じゃぁないですかぁ!・・・え?本物は補修中ですって(T-T)。

・・・仕方ありません。ではその「書割」を含めた「文楽の舞台の作り」について(←どーして「西郷さん」とか「東照宮」にしないのっ!)。

The musician's stage "Yuka" is the auxiliary stage upon which the gidayu-bushi is performed. It thrusts out into the audience area at the front right portion of the seats. Upon this auxiliary stage there is a special revolving platform. It is upon this revolving platform that the chanter and the shamisen player make their appearance, and, when they are finished, it turns once more, bringing them backstage and placing the next performers on the stage.

Between extreme upstage and extreme downstage, there are three stage partitions, known as "Tesuri" (railings). The area behind the second partition is called the "Funazoko" (ship bottom), and it is where the manipulators stand. It is one step lower than the main stage. When the puppets move, their feet move along the railings, making it look as though they are actually walking upon the ground. The "Yatai" (building) or "Kakiwari" (painted backdrop) is attached to the partition farthest from the audience.

Looking at the stage from the audience, the right-hand side is called "Kamite" (stage left), while the left-hand side is called "Shimote" (stage right). The puppets make their appearance and then leave the stage through the "Komaku" (small black curtains) at both stage left and stage right. The screened-off rooms are just above the small curtains, and they have bamboo blinds set up so that the audience cannot see inside. In the screened-off room at stage left (the audience's right), are young chanters and shamisen players of limited experience. In that on the opposite side, are the members of the "Ohayashi" (orchestra), who perform on such instruments as flutes, stick drums, hand drums, and bells, and even evoke the atmosphere of the scene by creating such sounds as wind, rain, and the flowing of a river.

・・・と、こんな感じで説明してみました。

しかし。。。絵ですか~。。。補修中とかの看板を出しておけばいいのに・・・しかも、よく描けているだけに殆どの人が気づいていないっ!・・・ヒドイっすね~。

いい加減にしないと、ぶつぞー!、どうぞー!(笑)


※次回の更新はGW明けになります。ネタいっぱい拾ってきますので、乞うご期待!

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