Kyoto Tower
Kyoto Tower (京都タワー Kyōto-tawā) is an observation tower located in Kyoto, Japan. The steel tower is the tallest structure in Kyoto with its observation deck at 100 meters (328 ft) and its spire at 131 meters (430 ft). The 800-ton tower stands atop a 9-story building, which houses a 3-star hotel and several stores. The entire complex stands opposite Kyoto Station.
Kyoto Tower was proposed in the early 1960s, and it was planned to be constructed and completed in time to correspond with the 1964 Summer Olympics in Tokyo. Construction began in 1963 on the former site of Kyoto's central post office and was completed near the end of 1964. Unlike many other towers, such as Tokyo Towerthat are constructed using metal lattice frames, Kyoto Tower's interior structure consists of many steel rings stacked on top of each other. The structure was then covered with lightweight steel sheets with a thickness between 12–22 mm (0.47–0.87 in). The sheets were then welded together and painted white. The intended overall effect was for the tower to resemble a Japanese candle.
Designed by Makoto Tanahashi, a doctor of engineering at Kyoto University, Kyoto Tower was built to withstand the forces of both earthquakes and typhoons. The head of the tower's business division, Tsuyoshi Tamura, claims it can withstand winds of up to 201 mph (90 m/s) and survive an earthquake of far greater magnitude than that of the Kobe or T
The tower was first opened to the public on December 28, 1964. Within its first year of opening, 1 million people visited the tower's observation deck. Throughout the years, the tower's draw as a tourist attraction has diminished. By 1999, observation deck ticket sales dropped to less than 400,000 a year, or about 1,000 a day.
Geisha
Geisha (/ˈɡeɪʃə/; Japanese: [ɡeːʃa]), like all Japanese nouns, has no distinct singular or plural variants. The word consists of two kanji, 芸 (gei) meaning "art" and 者 (sha) meaning "person" or "doer". The most literal translation of geisha into English would be "artist," "performing artist," or "artisan." Another name for geisha is geiko (芸子), which is usually used to refer to geisha from western Japan, which includes Kyoto.
Apprentice geisha are called maiko (舞子 or 舞妓), literally "dance child") or hangyoku (半玉), "half-jewel" (meaning that they are paid half of the wage of a full geisha),or by the more generic term o-shaku (御酌), literally "one who pours (alcohol)". The white make-up and elaborate kimono and hair of a maiko is the popular image held of geisha. A woman entering the geisha community does not have to begin as a maiko, having the opportunity to begin her career as a full geisha. Either way, however, usually a year's training is involved before debuting either as a maiko or as a geisha. A woman above 21 is considered too old to be a maiko and becomes a full geisha upon her initiation into the geisha community. However, those who do go through the maiko stage can enjoy more prestige later in their professional lives.
The only modern maiko that can apprentice before the age of eighteen are in Kyoto. So on average, Tokyo hangyoku (who typically begin at 18) are slightly older than their Kyoto counterparts (who usually start at 15). Historically, geisha often began the earliest stages of their training at a very young age, sometimes as early as at 3 or 5 years. The early shikomi (servant) and minarai (watching apprentice) stages of geisha training lasted years, which is significantly longer than in contemporary times.
It is still said that geisha inhabit a separate reality which they call the karyūkai or "the flower and willow world." Before they disappeared the courtesans were the colorful "flowers" and the geisha the "willows" because of their subtlety, strength, and grace.
History
In the early stages of Japanese history, there were female entertainers: saburuko (serving girls) were mostly wandering girls whose families were displaced from struggles in the late 600s. Some of these saburuko girls sold sexual services, while others with a better education made a living by entertaining at high-class social gatherings. After the imperial court moved the capital to Heian-kyō (Kyoto) in 794 the conditions that would form Japanese Geisha culture began to emerge, as it became the home of abeauty-obsessed elite.[6] Skilled female performers, such as Shirabyōshi dancers, thrived.
Traditional Japan embraced sexual delights (it is not a Shinto taboo) and men were not constrained to be faithful to their wives. The ideal wife was a modest mother and manager of the home; by Confucian custom love had secondary importance. For sexual enjoyment and romantic attachment, men did not go to their wives, but to courtesans. Walled-in pleasure quarters known as yūkaku (遊廓、遊郭) were built in the 16th century and in 1617 the shogunate designated "pleasure quarters", outside of which prostitution would be illegal,] and within which "yūjo" ("play women") would be classified and licensed. The highest yūjo class was the Geisha's predecessor, called "Oiran", a combination of actress and prostitute, originally playing on stages set in the dry Kamo riverbed in Kyoto. They performed erotic dances and skits, and this new art was dubbedkabuku, meaning "to be wild and outrageous". The dances were called "kabuki," and this was the beginning of kabuki theater.[8]
18th century emergence of the "geisha"
These pleasure quarters quickly became glamorous entertainment centers, offering more than sex. The highly accomplished courtesans of these districts entertained their clients by dancing, singing, and playing music. Some were renowned poets and calligraphers. Gradually, they all became specialized and the new profession, purely of entertainment, arose. It was near the turn of the eighteenth century that the first entertainers of the pleasure quarters, called geisha, appeared. The very first geishas were men, entertaining customers waiting to see the most popular and gifted courtesans (oiran).
The forerunners of the female geisha were the teenage odoriko ("dancing girls") expensively trained as chaste dancers-for-hire. In the 1680s, they were popular paid entertainers in the private homes of upper-class samurai, though many had turned to prostitution by the early 18th century. Those who were no longer teenagers (and could no longer style themselves odoriko) adopted other names—one being "geisha", after the male entertainers. The first woman known to have called herself geisha was aFukagawa prostitute, in about 1750. She was a skilled singer and shamisen-player named Kikuya who was an immediate success, making female geisha extremely popular in 1750s Fukagawa. As they became more widespread throughout the 1760s and 1770s, many began working only as entertainers (rather than prostitutes) often in the same establishments as male geisha.
Rise of the geisha
The geisha who worked within the pleasure quarters were essentially imprisoned and strictly forbidden to sell sex in order to protect the business of the Oiran. While licensed courtesans existed to meet men's sexual needs, machi geisha carved out a separate niche as artists and erudite female companions.
By 1800, being a geisha was considered a female occupation (though there are still a handful of male geisha working today). Eventually, the gaudy Oiran began to fall out of fashion, becoming less popular than the chic, "iki", and modern geisha. By the 1830s, the evolving geisha style was emulated by fashionable women throughout society. There were many different classifications and ranks of geisha. Some women would have sex with their male customers, whereas others would entertain strictly with their art forms. Prostitution was legal up until the 1900s, so it was practiced in many quarters throughout Japan.
World War II brought a huge decline in the geisha arts because most women had to go to factories or other places to work for Japan. The geisha name also lost some status during this time because prostitutes began referring to themselves as "geisha girls" to American military men. In 1944, the geisha world, including the teahouses, bars and geisha houses, was forced to close, and all employees were put to work in factories. About a year later, they were allowed to reopen. The very few women who returned to the geisha areas decided to reject Western influence and revert to traditional ways of entertainment and life. "The image of the geisha was formed during Japan's feudal past, and this is now the image they must keep in order to remain geisha". It was up to these returning geisha to bring back traditional standards in the profession, though with increased rights for the geisha:
There is no doubt that coerced sex and bidding on a new geisha's virginity occurred in the period before WWII... After Japan lost the war, geisha dispersed and the profession was in shambles. When they regrouped during the Occupation and began to flourish in the 1960s during Japan's postwar economic boom, the geisha world changed. In modern Japan, girls are not sold into indentured service, nor are they coerced into sexual relations. Nowadays, a geisha's sex life is her private affair
Before the war, a maiko's virginity would be auctioned (the original "mizuage"). This was outlawed in 1959,but has been reported as relatively normal in the 1990s, and happening "on a limited basis" in 2001.Compulsory education laws passed in the 1960s made traditional geisha apprenticeships difficult, leading to a decline in women entering the field. The simultaneous growth of Japanese industry, which opened other opportunities for women, further contributed to the decline of the geisha industry.
In her book Geisha, a Life, Mineko Iwasaki said: "I lived in the karyukai during the 1960s and 1970s, a time when Japan was undergoing the radical transformation from a post-feudal to a modern society. But I existed in a world apart, a special realm whose mission and identity depended on preserving the time-honored traditions of the past."
Ranking
At the pinnacle of the complex geisha ranking system are the grand dowagers of Kyoto. The gokagai of Kyoto are its five geisha districts, also known as hanamachi ("flower towns"). Gion Kōbu, Pontochō andKamishichiken have the highest status they are very expensive, and are frequented by powerful businessmen and politicians (Gion Kōbu is sometimes seen as having the very highest ranking).[30] Geikos from the other two hanamachi (Gion Higashi and Miyagawa-cho) have high prestige but are considered to be one rank lower.
At the opposite end of the spectrum are the hot-spring geisha. These geisha work in the spa resorts and are viewed by most Japanese as no better than a common prostitute. They normally cater to far less exclusive patrons, and are much less expensive. If their income is supplemented by selling sex, they remain distinct from regular prostitutes; like all geisha, they are trained in the art of Japanese dance and music. Even so,hanamachi geisha might be horrified if categorized with hot-spring geisha.
Stages of training
Traditionally, Geisha began their training at a very young age. Some girls were bonded to geisha houses (okiya) as children. These girls were referred to as hangyoku and were as young as nine years old. This was not a common practice in reputable districts and disappeared in the 1950s with the outlawing of child labor. Daughters of geisha were often brought up as geisha themselves, usually as the successor (atotori, meaning "heir" or "heiress" in this particular situation) or daughter-role (musume-bun) to the okiya.
A maiko is essentially an apprentice and is therefore bonded under a contract to her okiya. The okiya supplies her with food, board, kimonos, obis, and other tools of her trade. Her training is very expensive, and her debt must be repaid to the okiya with the earnings she makes. This repayment may continue after the maiko becomes a full-fledged geisha and only when her debts are settled is she permitted to move out to live and work independently.
A maiko will start her formal training on the job as a minarai, which literally means "learning by watching". Before she can do this she must find an onee-san ("older sister": an older geisha acting as her mentor). It is the onee-san's responsibility to bring her to the ozashiki (お座敷, a banquet in any traditional Japanese building with tatami), to sit and observe as the onee-san is at work. This is a way in which she will gain insights of the job, and seek out potential clients. Although minarai attend ozashiki, they do not participate at an advanced level. Their kimono, more elaborate than a geiko's, are intended to do the talking for them. Minarai can be hired for parties but are usually uninvited (yet welcomed) guests at parties that their onee-san attends. They only charge a third of the usual fee. Minarai generally work with a particular tea house (minarai-jaya) learning from the okaa-san (literally "mother," the proprietress of the house). From her, they would learn techniques such as conversation and gaming, which would not be taught to them in school. This stage lasts only about a month or so.
After a short period the final stage of training begins, and the students are called "maiko". Maiko (literally "dance girl") are apprentice geisha, and this stage can last for years. Maiko learn from their senior geisha mentor and follow them to all their engagements. The onee-san and imouto-san (senior/junior, literally "older sister/younger sister") relationship is important. The onee-san teaches her maiko everything about working in the hanamachi. The onee-san will teach her proper ways of serving tea, playingshamisen, dancing, casual conversation and more. The onee-san will even help pick the maiko's new professional name with kanji or symbols related to her name.
There are three major elements of a maiko's training. The first is the formal arts training. This takes place in special geisha schools which are found in every hanamachi. The second element is the entertainment training which the maiko learns at various teahouses and parties by observing her onee-san. The third is the social skill of navigating the complex social web of the hanamachi. This is done on the streets. Formal greetings, gifts, and visits are key parts of any social structure in Japan and for a maiko, they are crucial for her to build the support network she needs to survive as a geisha.
Maiko are considered one of the great sights of Japanese tourism, and look very different from fully qualified geisha. They are at the peak of traditional Japanese femininity. The scarlet-fringed collar of a maiko's kimono hangs very loosely in the back to accentuate the nape of the neck, which is considered a primary erotic area in Japanese sexuality. She wears the same white makeup for her face on her nape, leaving two or sometimes three stripes of bare skin exposed. Her kimono is bright and colorful with an elaborately tied obi hanging down to her ankles. She takes very small steps and wears traditional wooden shoes called okobo which stand nearly ten centimeters high. There are 5 different hairstyles that a maiko wears, that mark the different stages of her apprenticeship. The "Nihongami" hairstyle with "kanzashi" hair-ornamentation strips is most closely associated with maiko, who spend hours each week at the hairdresser and sleep on holed-pillows to preserve the elaborate styling. Maiko can develop a bald spot on their crown caused by rubbing from Kanzashi strips and tugging in hairdressing. This was associated with the maiko's womanhood, as it came from a pulled knot in the ofuku hairstyle that a maiko would wear after her mizuage or first sexual experience (before which, the maiden wareshinobustyle was worn).
Around the age of 20–22, the maiko is promoted to a full-fledged geisha in a ceremony called erikae (turning of the collar). This could happen after two to five years of her life as a maiko or hangyoku, depending on at what age she debuted. She now charges full price for her time. Geisha remain as such until they retire.
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| Nijō Castle | |
|---|---|
| 二条城 | |
| Kyoto, Japan | |
 The karamon main gate to Ninomaru Palace. | |
| Type | Plains castle (平城) |
| Built | 1626 |
| Built by | Tokugawa shogunate |
| In use | 1626–1939 |
| Current owner | Kyoto |
| Open to the public | yes |
History[edit]
In 1601, Tokugawa Ieyasu, the founder of the Tokugawa Shogunate, ordered all the feudal lords in Western Japan to contribute to the construction of Nijō Castle, which was completed during the reign of Tokugawa Iemitsu in 1626. Parts of Fushimi Castle, such as the main tower and the karamon, were moved here in 1625-26.[1] It was built as the Kyoto residence of the Tokugawa Shoguns. The Tokugawa Shogunate used Edo as the capital city, but Kyoto continued to be the home of the Imperial Court. Kyoto Imperial Palace is located north-east of Nijo Castle.
The central keep, or donjon, was struck by lightning and burned to the ground in 1750.
In 1788, the Inner Palace was destroyed by a city-wide fire. The site remained empty until it was replaced by a prince's residence transferred from the Kyoto Imperial Palace in 1893.
In 1867, the Ninomaru Palace was the stage for the declaration by Tokugawa Yoshinobu, returning the authority to the Imperial Court. Next year the Imperial Cabinet was installed in the castle. The palace became imperial property and was declared a detached palace. During this time, the Tokugawa hollyhock crest was removed wherever possible and replaced with the imperial chrysanthemum.
In 1939, the palace was donated to the city of Kyoto and opened to the public the following year.
In the 21st century, typhoons have periodically caused sections of plaster to peel off the walls after exposure to rain and wind.[2]
Fortifications[edit]
Nijō Castle has two concentric rings of fortifications, each consisting of a wall and a wide moat. The outer wall has three gates while the inner wall has two. In the southwest corner of the inner wall, there are foundations of a five-story keep, destroyed by a fire in 1750. The inner walls contain Honmaru Palace with its garden. Ninomaru Palace, the kitchens, guard house and several gardens are located between the two main rings of fortifications.
Ninomaru Palace[edit]
The 3300 square meter Ninomaru Palace (二の丸御殿 Ninomaru Gōten) consists of five connected separate buildings and is built almost entirely of Hinoki cypress. The decoration includes lavish quantities of gold leaf and elaborate wood carvings, intended to impress visitors with the power and wealth of the shoguns. The sliding doors and walls of each room are decorated with wall paintings by artists of the Kanō school.
The castle is an excellent example of social control manifested in architectural space. Low-ranking visitors were received in the outer regions of the Ninomaru, whereas high-ranking visitors were shown the more subtle inner chambers. Rather than attempt to conceal the entrances to the rooms for bodyguards (as was done in many castles), the Tokugawas chose to display them prominently. Thus, the construction lent itself to expressing intimidation and power to Edo-period visitors.
The building houses several different reception chambers, offices and the living quarters of the shogun, where only female attendants were allowed. One of the most striking features of the Ninomaru Palace are the "nightingale floors" (uguisubari) in the corridors. To protect the occupants from sneak attacks and assassins, the builders constructed the floors of the corridors in such a way as to squeak like birds when anyone walks on them.
Some of the rooms in the castle also contained special doors where the shogun's bodyguard could sneak out to protect him.
The room sequence starting at the entrance is:
- Yanagi-no-ma (Willow Room),
- Wakamatsu-no-ma (Young Pine Room)
- Tozamurai-no-ma (Retainers' Room)
- Shikidai-no-ma (Reception Room)
- Rōchu-no-ma (Ministers' Offices)
- Chokushi-no-ma (Imperial Messenger's Room)
The Ōhiroma (Great Hall) is the central core of the Ninomaru Palace and consists of four chambers:
- Ichi-no-ma (First Grand Chamber)
- Ni-no-ma (Second Grand Chamber)
- San-no-ma (Third Grand Chamber)
- Yon-no-ma (Fourth Grand Chamber)
as well as the Musha-kakushi-no-ma (Bodyguards' Chamber) and the Sotetsu-no-ma (Japanese fern-palm chamber).
The rear sections are the Kuroshoin (Inner Audience Chamber) and Shiroshoin (Shogun's living quarters)
The main access to the Ninomaru is through the karamon, a court and the mi-kurumayose or "honourable carriages approach".
Honmaru Palace[edit]
Honmaru Palace (本丸御殿 Honmaru Goten) has a surface area of 1600 square meters. The complex has four parts: living quarters, reception and entertainment rooms, entrance halls and kitchen area. The different areas are connected by corridors and courtyards. The architectural style is late Edo period. The palace displays paintings by several famous masters, such as Kanō Eigaku.
Honmaru Palace was originally similar to Ninomaru Palace. The current structure was known as Katsura Palace before being relocated to the present site in 1893 when it was renamed. Originally the palace had 55 buildings, but only a small part was relocated. In 1928 the enthronement banquet of the Showa Emperor (Emperor Hirohito) was held here.
Gardens[edit]
The castle area has several gardens and groves of cherry and Japanese plum trees. The Ninomaru garden was designed by the landscape architect and tea master Kobori Enshu. It is located between the two main rings of fortifications, next to the palace of the same name. The garden has a large pond with three islands and features numerous carefully placed stones and topiary pine trees.
The Seiryū-en garden is the most recent part of Nijō Castle. It was constructed in 1965 in the northern part of the complex, as a facility for the reception of official guests of the city of Kyoto and as a venue for cultural events. Seiryū-en has two tea houses and more than 1000 carefully arranged stones.
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