lazy and unmotivated

call me futbolka. 25. currently have failed to get a masters in japanese studies

[proficient-in-hoarding-deadlines]

Hi! this is a study blog of sorts, where I try (and fail) to combat my procrastination problem by ranting about my petty research projects, and also whine.

Topics I'm interested in include but aren't limited to poetry, art, stories about the supernatural and the occult, medieval war tales, cinema and funky kanji. More than anything else, I want this to just be a side blog to put cool stuff I found online into.

So, in terms of aesthetics, less of a classic studyblr and more of a burning trashcan vibe.

If you want to talk at me, the asks are open.

For navigation: actual posts・personal stuff/funnies・reblogs. In addition I try to tag everything by the time period, topic, name of the historical figure etc.

Check out my telegram channel for more personal/silly stuff (it's in russian)

The header is: White Plum Blossoms and Moon by Itō Jakuchū My pfp: Sparrows by Utagawa Kuniyoshi

[thekimonogallery]

Early 20th century Japanese postcard

[proficient-in-hoarding-deadlines]

The postcard depicts a traditional New Year's game of hanetsuki (羽根突き or 羽突き). This badminton-like game is played with a paddle (羽子板) and a shuttlecock (羽根) that can be seen in the lower left corner. In this version of the game the shuttlecock is hit back and forth until one of the players accidentally lets it fall, at which point their face is marked with ink.

[thekimonogallery]

Maiko Hikizuri.  Image via Mitsuhana of Flickr

[oncanvas]

Evening Bell of the Clock (Tokei no bansho), Suzuki Harunobu, circa 1766

woodblock print

[nobrashfestivity]

Unknown, Japanese Hell of Shrieking Sounds (fragment from a handscroll) Early Kamakura period ca. 1200 Ink and color on paper, wood or horn Seattle Art Museum Eugene Fuller Memorial Collection

[japaneseaesthetics]

Hair accessory ensemble: coral-highlighted pin, hairpin and comb. About late 19th century.   Japan.

[nobrashfestivity]

Murakami Gyojin  1950s

[thekimonogallery]

Yokohama Station in the snow.  Tokyo, Japan

[making-you-in-mtg]

[kagayuzen]

kaga-yuzen kimono

Kakimoto Yuuichi

[gurafiku]

Japanese New Years Card: Atsuo. 1932. Deco.

[thekimonogallery]

1906, Japan. 

[japaneseaesthetics]

Kitagawa Utamaro, The Precocious Girl (Ochappii), from the seris Variegations of Blooms According to their Speech (1802). Woodblock color print, 39,4 x 26 cm - Honolulu Museum of Art.

[proficient-in-hoarding-deadlines]

Got curious about the word おちゃっぴい ('chatterbox'). Turns out it's spelled 御茶挽 in kanji. Which is derived from the phrase お茶を挽く, that is, literally, to grind tea (leaves to powder). Making tea powder was considered a job for when there's nothing better to do, so the the phrase was usually used as an idiom meaning 'to have free time, to not be busy with anything'. Sometimes it would be used speecifically wrt a geiko woho didn't have a client.

[nobrashfestivity]

Yoshitomo Nara  Patch of Earth

[subnitida]

Akino Fuku, Numa [Swamp], 1999, collection of Toyota Municipal Museum of Art

[thekimonogallery]

Late 20th century art kimonos.  Raised to the rank of “living national treasure”, Kunihiko Moriguchi continues the tradition of yuzen kimono dyeing

[cma-japanese-art]

Thirty-Six Immortal Poets, Tatebayashi Kagei, mid 1700s, Cleveland Museum of Art: Japanese Art

The “Thirty-Six Immortal Poets” were chosen by Fujiwara no Kinto (996–1075), a Japanese nobleman, scholar, and poet of the Heian period. He compiled a collection of the works of the 36 celebrated writers of waka (31-syllable poems) during the 7th to 11th centuries. From about the 11th century on, poetry and painting contests provided entertainment at fashionable gatherings, and the “thirty-six poets” became a favorite subject in Japanese art. These poets were traditionally portrayed in a dignified manner befitting their aristocratic rank, but in this interpretation they are unceremoniously packed together in a confining space. This engaging screen painting is done in the Rimpa style, emphasizing bold color, simple silhouettes, and asymmetrical compositions. Traditionally, individuality was not a quality emphasized in Japan; even in these “portraits” it is virtually impossible to distinguish who’s who among the faces of the poets. Size: Image: 170 x 182.8 cm (66 15/16 x 71 15/16 in.); Overall: 174.4 x 187.2 cm (68 11/16 x 73 11/16 in.); Closed: 94 x 4 cm (37 x 1 9/16 in.) Medium: two-fold screen; ink, color, and gold on paper

https://clevelandart.org/art/1960.183