<span style="background-color: yellow; color: blue; font-size: large;"> ♡☆♡ ヤマト姫神子の玉手箱 ♡☆♡ <br> ♡☆♡ The Secret Wish-Fulfilling Jewelry Box of Lady Yamato・Hime ♡☆♡</span> UA-38103213-2
プロフィール
 ♡☆♡ Yamato・Hime's  Fantasy ♡☆♡さんの画像
♡☆♡ Yamato・Hime's Fantasy ♡☆♡

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玉手箱
Tamatebako:Wikipedia
https://en.wikipedia.org/wiki/Tamatebako

大和心:Yamato-Gokoro
敷島の大和心を人 問はば、朝日に匂ふ山桜花

“ If I am asked about the meaning of Yamato-
gokoro, ”
"I will answer it is the blossoms of Yamazakura
(mountain cherry trees) shining in the rising
sun ”
(Norinaga Motoori:本居宣長).



(NOTE)
山桜花:Yamazakura,
Mountain cherry trees 

桜花繚乱(三笠山と東大寺の桜)




朝日に映える山桜花 
Mountain cherry trees shining
in the morning sun


https://youtu.be/WegYmKF-jLo



☆===========================☆


敷島の
https://youtu.be/g89xEiOPJ7k




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薬師寺 吉祥天女像

☆☆○ 薬師寺 吉祥天女 photo_hotoke_kitijyotennyo.jpg

http://www.nara-yakushiji.com/guide/hotoke/hotoke_etc.html

薬師寺では正月に行う法要 修正会[しゅしょうえ]が吉祥悔過法要にあたり、宝亀2年(771)以降行なわれています。毎年1月1日〜3日まで国宝・吉祥天画像を、4日〜15日まで平成の吉祥天を修正会のご本尊として金堂薬師三尊像の御宝前にお祀りします。

001 薬師寺 吉祥天女像.jpg

☆ten薬師寺吉祥天女像.jpg
http://zipangu.c.ooco.jp/sakusaku/4_3.htm


☆ 浄瑠璃寺 吉祥天女像 ☆

k23_p01 ☆☆☆浄瑠璃寺 吉祥天女.jpg

☆☆☆ 浄瑠璃寺 吉祥天女.jpg


解脱房貞慶上人と浄瑠璃寺 吉祥天
海老原真紀(帝塚山大学 奈良学総合文化研究所)
海老原真紀「浄瑠璃寺吉祥天女像について」
『奈良学研究』第十一号、二〇〇九


http://www.kaijyusenji.jp/gd/kiko/sentence/k23.html

浄瑠璃寺の本堂に伝来する吉祥天女像は、長く秘仏であったため鮮やかな彩色や華麗な装身具を今に遺し、その姿は生身の女性のような美しさで数多くの吉祥天女像の中でも著名です。

この吉祥天女像の制作年代については、『浄瑠璃寺流記事』(以下『流記事』)に記載されている建暦二年(一二一二)頃とされるのが一般的になっています。また本像が納められていた厨子の扉絵(現在東京芸術大学保管)は当初のもので、正面扉内側に梵天、帝釈天、左右扉内側には四天王、後壁の羽目板には弁才天のほか四尊像が描かれています。


~~~~~~ 

~~~~~~

~~~~~~

 吉祥天女像の姿はあたかも生身の女性を表現するかのような優れた写実性がみえる反面、腰帯付近や裙の背面の衣文は等間隔かつ線状的に刻まれ、腰帯や蔽膝のリボンは等しく下に向って、左右対称に広げるなど写実からは離れた一種の形式の美さといったものを追求する一面もみられます。

 この写実性と相反する要素は吉祥天女像の表現を特徴づけるうえで重要な働きをしています。例えば蔽膝のリボンや腰紐を等しくしかも末広がりに左右対称を意図して広げることで、像に安定感を付与し美しい正面観を実現させています。つまり柔らかな肉身の写実性を失うことなく、礼拝像としての威厳さをもった美しさを表現しているのです。

 一方、細部に目を移すと風をはらんだような大袖や裳裙を渦巻く雲形にまとめる形には新しい中国・宋朝の影響がみられますが、一方で服飾に見える朱色の輪郭線を使う繧繝彩色の方法や大ぶりの文様には日本古来の奈良朝の影響が認められます。このように動静や新旧を織り交ぜた多様な要素を破綻なく、調和融合させる絶妙な構成を見るなら作者は当然優れた技倆を持った仏師としてよいでしょう。


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浦安の舞 猿田彦神社
Dance of The Urayasu-no-Mai, Sarutahiko Shrine


浦安の舞 【公式】猿田彦神社


NOTE : 出典 The source


https://youtu.be/qcYn_OtBZRI



sarutahikojinja

2012/09/13 に公開

カテゴリ 非営利団体と社会活動

ライセンス 標準の YouTube ライセンス


☆☆☆===============☆☆☆

☆ Reference Link ☆

猿田彦神社とは

http://www.sarutahikojinja.or.jp/about/



☆☆☆===============☆☆☆

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Pearl Farming in Japan
https://youtu.be/cmC66Azp5cc

ThePearlOutlet
2010/10/13 に公開


☆☆☆===============☆☆☆

Galatea Video

ThePearlOutlet
2010/03/26 に公開
Galatea, Diamond in a Pearl, jewelry. See their history and how it is made. Presented by The Pearl Outlet.

☆☆☆===============☆☆☆

☆☆☆===============☆☆☆



 
♡ Travel Japan: Mount Fuji ♡

https://youtu.be/Xy8fR4pJNmo



Japan Travel
2014/05/25 に公開

Travel Japan: Mount Fuji

Mount Fuji (富士山, Fujisan) is with 3776 meters Japan's highest mountain.
It is not surprising that the nearly perfectly
shaped volcano has been worshiped as a sacred
mountain and experienced big popularity among
artists and common people throughout the
centuries.

Mount Fuji is an active volcano, which most
recently erupted in 1708.
It stands on the border between Yamanashi and
Shizuoka Prefectures and can be seen from Tokyo and Yokohama on clear days.

Another easy way to view Mount Fuji is from the
train on a trip between Tokyo and Osaka.
If you take the shinkansen from Tokyo in
direction of Nagoya, Kyoto and Osaka, the best
view of the mountain can be enjoyed from around
Shin-Fuji Station on the right hand side of the
train, about 40-45 minutes into the journey.

Note however, that clouds and poor visibility
often block the view of Mount Fuji, and you have to consider yourself lucky if you get a clear view
of the mountain.
Visibility tends to be better during the colder
seasons of the year than in summer, and in the
early morning and late evening hours than during the middle of the day.

If you want to enjoy Mount Fuji at a more
leisurely pace and from a nice natural
surrounding, you should head to the Fuji Five
Lake (Fujigoko) region at the northern foot of the mountain,
or to Hakone, a nearby hot spring resort.
Mount Fuji is officially open for climbing during July and August via several routes.

Mount Fuji is a symbol of Japan.
The mountain contributes to Japan's physical,
cultural, and spiritual geography.

Mount Fuji is the tallest mountain in Japan,
standing at 3,776 meters (12,380 feet).
It is an active volcano, sitting on a "triple
junction" of tectonic activity: the Amurian plate
(associated with the Eurasian tectonic plate), the Okhotsk plate
(associated with the North American plate) and
the Filipino plate all converge in the region
beneath Mount Fuji.
It is only 100 kilometers (62 miles) from Tokyo,
Japan's capital and largest city.
In fact, the last time Mount Fuji erupted, in 1707, volcanic ash fell on Tokyo.

Mount Fuji is the single most popular tourist site in Japan, for both Japanese and foreign tourists.
More than 200,000 people climb to the summit
every year, mostly during the warmer summer
months.
"Huts" on the route up the mountain cater to
climbers, providing refreshments, basic medical
supplies, and room to rest.
Many people start climbing Mount Fuji at night,
as better to experience sunrise from the summit
−Japan, after all, is nicknamed "the Land of the
Rising Sun." The sunrise from Mount Fuji has a
special name, Goraiko.

Mount Fuji has been a sacred site for practicers of Shinto since at least the 7th century.
Shinto is the indigenous faith or spirituality of
Japan.
many Shinto shrines dot the base and ascent of
Mount Fuji. Shinto shrines honor kami, the
supernatural deities of the Shinto faith.
The kami of Mount Fuji is Princess
Konohanasakuya, whose symbol is the cherry
blossom.
Konohanasakuya has an entire series of shrines,
called Segen shrines.
The main Segen shrines are at the base and
summit of Mount Fuji, but there are more than
1,000 across all of Japan.


☆☆☆===============☆☆☆

☆☆☆===============☆☆☆


♡春よ来い♡
☆髭の雪だるま☆
Come spring. Snowman of the mustache
2017年2月11日

髭の雪だるま 2017年2月9日



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2018年01月17日

Frenchman's Creek (1998)

Frenchman's Creek (1998)


>https://youtu.be/_a9SWtcaNj8





De época
2015/01/13 に公開

La Cala del Francés. Subtítulos en castellano. Para activarlos, click en el cuadro blanco, abajo a la izquierda de la pantalla.

カテゴリ エンターテイメント
ライセンス 標準の YouTube ライセンス









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2018年01月15日

Ukiyoe Painting Pornography
大江戸浮世絵春画版画集 - UKIYOE picture JAZZ MUSIC BGM ;
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Man Walker
2016/11/03 に公開



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Note

Shunga (春画)


Shunga : Wikipedia

https://en.wikipedia.org/wiki/Shunga


Katsushika_Hokusai_-_Fukujuso       Two Lovers, Hokusai From The Adonis Plant (Fukujusō) Woodblock print, from a set of 12, ōban ca. 1815.jpg
Two Lovers, Hokusai From The Adonis Plant (Fukujusō) Woodblock print, from a set of 12, ōban ca. 1815
https://en.wikipedia.org/wiki/Shunga#/media/File:Katsushika_Hokusai_-_Fukujuso.jpg







Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate the Ukiyo-e movement.[1] Translated literally, the Japanese word shunga means picture of spring; "spring" is a common euphemism for sex.

The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers.


History
Shunga was heavily influenced by illustrations in Chinese medicine manuals beginning in the Muromachi era (1336 to 1573). Zhou Fang, a great Tang-dynasty Chinese erotic painter, is also thought to have been influential. He, like many erotic artists of his time and place, tended to exaggerate the size of the genital organs, a common shunga topos. While the literal meaning of the word "shunga" is significant, it is in fact a contraction of shunkyū-higi-ga (春宮秘戯画), the Japanese pronunciation for Chinese sets of twelve scrolls depicting the twelve sexual acts that the crown prince had to carry out as an expression of yin yang.[1]

The Japanese influences of shunga date back to the Heian period (794 to 1185).[2] At this point, it was found among the courtier class. Through the medium of narrative handscrolls, sexual scandals from the imperial court or the monasteries were depicted, and the characters tended to be limited to courtiers and monks.[1]

The style reached its height in the Edo period (1603 to 1867). Thanks to woodblock printing techniques, the quantity and quality increased dramatically.[1] There were repeated governmental attempts to suppress shunga, the first of which was an edict issued by the Tokugawa shogunate in 1661 banning, among other things, erotic books known as kōshokubon (好色本) (literally "lewdness books"). While other genres covered by the edict, such as works criticising daimyōs or samurai, were driven underground by this edict, shunga continued to be produced with little difficulty.

The Kyōhō Reforms, a 1722 edict, was much more strict, banning the production of all new books unless the city commissioner gave permission. After this edict, shunga went underground. However, since for several decades following this edict, publishing guilds saw fit to send their members repeated reminders not to sell erotica, it seems probable that production and sales continued to flourish.[3] Further attempts to prevent the production of shunga were made with the Kansei Reforms in the 1790s.[4]

According to Monta Hayakawa and C. Andrew Gerstle, westerners during the nineteenth century were less appreciative of shunga because of its erotic nature.[5] In the journal of Francis Hall, an American businessperson who arrived in Yokohama in 1859, he described shunga as "vile pictures executed in the best style Japanese art."[5] Hayakawa stated that Hall was shocked and disgusted when on two separate occasions his Japanese acquaintances and their wives showed him shunga at their homes.[5] Shunga also faced problems in Western museums in the twentieth century; Peter Webb reported that while engaged in research for a 1975 publication, he was initially informed that no relevant material existed in the British Museum, and when finally allowed access to it, he was told that it "could not possibly be exhibited to the public" and had not been catalogued. In 2014 he revisited the museum, which had an exhibition entirely of shunga "proudly displayed".[6]

The introduction of Western culture and technologies at the beginning of the Meiji era (1868–1912), particularly the importation of photo-reproduction techniques, had serious consequences for shunga. For a time, woodblock printing continued to be used, but figures began to appear in prints wearing Western clothing and hairstyles.[7] Eventually, shunga could no longer compete with erotic photography, leading to its decline.

The art of shunga provided an inspiration for the Shōwa (1926–1989) and Heisei (1989–present) art in Japanese video games, anime and manga known in the Western world as hentai and known formally in Japan as jū hachi kin (adult-only, literally "18-restricted"). Like shunga, hentai is sexually explicit in its imagery.

Uses
Shunga was probably enjoyed by both men and women of all classes. Superstitions and customs surrounding shunga suggest as much; in the same way that it was considered a lucky charm against death for a samurai to carry shunga, it was considered a protection against fire in merchant warehouses and the home. From this we can deduce that samurai, chonin, and housewives all owned shunga. All three of these groups would suffer separation from the opposite sex; the samurai lived in barracks for months at a time, and conjugal separation resulted from the sankin-kōtai system and the merchants' need to travel to obtain and sell goods. It is therefore argued that this ownership of shunga was not superstitious, but libidinous.[4]

Records of women obtaining shunga themselves from booklenders show that they were consumers of it.[1] Though not shunga, it was traditional to present a bride with ukiyo-e depicting scenes from the Tale of Genji.[4] Shunga may have served as sexual guidance for the sons and daughters of wealthy families. The instructional purpose has been questioned since the instructional value of shunga is limited by the impossible positions and lack of description of technique, and there were sexual manuals in circulation that offered clearer guidance, including advice on hygiene.[4]

Shunga varied greatly in quality and price. Some were highly elaborate, commissioned by wealthy merchants and daimyo, while some were limited in colour, widely available, and cheap.[1] Empon were available through the lending libraries, or kashi-honya, that travelled in rural areas. This tells us that shunga reached all classes of society−peasant, chonin, samurai and daimyo.


Production
Shunga were produced between the sixteenth century and the nineteenth century by ukiyo-e artists, since they sold more easily and at a higher price than their ordinary work. Shunga prints were produced and sold either as single sheets or−more frequently−in book form, called enpon. These customarily contained twelve images, a tradition with its roots in Chinese shunkyu higa. Shunga was also produced in hand scroll format, called kakemono-e (掛け物絵). This format was also popular, though more expensive as the scrolls had to be individually painted.

The quality of shunga art varies, and few ukiyo-e painters remained aloof from the genre. Experienced artists found it to their advantage to concentrate on their production. This led to the appearance of shunga by first-rate artists, such as the ukiyo-e painter perhaps best known in the Western world, Hokusai (see The Dream of the Fisherman's Wife). Ukiyo-e artists owed a stable livelihood to such customs, and producing a piece of shunga for a high-ranking client could bring them sufficient funds to live on for about six months. Among other Japanese artists, the world-renowned Japanese artist Hajime Sorayama uses his special hand brush painting technique and hanko stamp signature method in the late 20th and early 21st centuries to create modern day shunga art in the same tradition of the past artists like Hokusai.

Full-colour printing, or nishiki-e, developed around 1765, but many shunga prints predate this. Prior to this, colour was added to monochrome prints by hand, and from 1744 benizuri-e allowed the production of prints of limited colours. Even after 1765 many shunga prints were produced using older methods. In some cases this was to keep the cost low, but in many cases this was a matter of taste.

Shunga produced in Edo tended to be more richly coloured than those produced in Kyoto and Osaka, mainly owing to a difference in aesthetic taste between these regions−Edo has a taste for novelty and luxury, while the kamigata region preferred a more muted, understated style. This also translates into a greater amount of background detail in Edo Shunga.[1]

After 1722 most artists refrained from signing shunga works. However, between 1761 and 1786 the implementation of printing regulations became more relaxed, and many artists took to concealing their name as a feature of the picture (such as calligraphy on a fan held by a courtesan) or allusions in the work itself (such as Utamaro's empon entitled, 'Utamakura.')[1]

Content
Edo period shunga sought to express a varied world of contemporary sexual possibilities. Some writers on the subject refer to this as the creation of a world parallel to contemporary urban life, but idealised, eroticised and fantastical.[1][4]

Characters
By far the majority of shunga depict the sexual relations of the ordinary people, the chōnin, the townsmen, women, merchant class, artisans and farmers. Occasionally there also appear Dutch or Portuguese foreigners.[1]

Courtesans also form the subject of many shunga. Utamaro was particularly revered for his depictions of courtesans, which offered an unmatched level of sensitivity and psychological nuance. Tokugawa courtesans could be described as the celebrities of their day, and Edo's pleasure district, Yoshiwara, is often compared to Hollywood.[8] Men saw them as highly eroticised due to their profession, but at the same time unattainable, since only the wealthiest, most cultured men would have any chance of sexual relations with one. Women saw them as distant, glamorous idols, and the fashions for the whole of Japan were inspired by the fashions of the courtesan. For these reasons the fetish of the courtesan appealed to many.[4]

Works depicting courtesans have since been criticised for painting an idealised picture of life in the pleasure quarters. It has been argued that they masked the situation of virtual slavery that sex workers lived under.[9] However, Utamaro is just one example of an artist who was sensitive to the inner life of the courtesan, for example, showing them wistfully dreaming of escape from Yoshiwara through marriage.[8]

Similarly, kabuki actors are often depicted, many of whom worked as gigolos. These carried the same fetish of the sex worker, with the added quality of them often being quite young. They are often shown with samurai.

Stories
Both painted handscrolls and illustrated erotic books (empon) often presented an unrelated sequence of sexual tableaux, rather than a structured narrative. A whole variety of possibilities are shown−men seduce women, women seduce men; men and women cheat on each other; all ages from virginal teenagers to old married couples; even octopi were occasionally featured.[1]

While most shunga were heterosexual, many depicted male-on-male trysts. Woman-on-woman images were less common but there are extant works depicting this.[citation needed] Masturbation was also depicted. The perception of sexuality differed, of course, in Tokugawa Japan from that in the modern Western world, and people were less likely to associate with one particular sexual preference. For this reason the many sexual pairings depicted were a matter of providing as much variety as possible.[1]

The backstory to shunga prints can be found in accompanying text or dialogue in the picture itself, and in props in the background. Symbolism also featured widely, such as the use of plum blossoms to represent virginity or tissues to symbolise impending ejaculation.

Clothing
In almost all shunga the characters are fully clothed. This is primarily because nudity was not inherently erotic in Tokugawa Japan – people were used to seeing the opposite sex naked in communal baths. It also served an artistic purpose; it helped the reader identify courtesans and foreigners, the prints often contained symbolic meaning, and it drew attention to the parts of the body that were revealed, i.e., the genitalia.[10]

Non-realism
Shunga couples are often shown in nonrealistic positions with exaggerated genitalia. Explanations for this include increased visibility of the sexually explicit content, artistic interest and psychological impact: that is, the genitalia is interpreted as a 'second face,' expressing the primal passions that the everyday face is obligated by giri to conceal, and is therefore the same size as the head and placed unnaturally close to it by the awkward position.[1]


See also
Pornography in Japan



Keisai Eisen : Wikipedia

https://en.wikipedia.org/wiki/Keisai_Eisen

Keisai Eisen (渓斎 英泉, 1790–1848) was a Japanese ukiyo-e artist who specialised in bijin-ga (pictures of beautiful women). His best works, including his ōkubi-e ("large head pictures"), are considered to be masterpieces of the "decadent" Bunsei Era (1818–1830). He was also known as Ikeda Eisen, and wrote under the name of Ippitsuan.

450px-Eisen1  An example of a bijin picture by Eisen (from the series 'Toto geiko') - this was the type of picture for which he has become best known..jpg

An example of a bijin picture by Eisen (from the series 'Toto geiko') - this was the type of picture for which he has become best known.







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Reference Note : Ukiyoe Painting Pornography


















大江戸浮世絵春画版画.jpg

Ukiyoe print pornography


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☆ Reference Link ☆

Dutchman and Maruyama Courtesan

https://www.metmuseum.org/art/collection/search/73557

Rekisentei Eiri ,  Dutchman and Maruyama Courtesan.jpg

Artist:Rekisentei Eiri (Japanese, active ca. 1789–1801)
Period:Edo period (1615–1868)


https://www.pinterest.com/pin/87820261468480388/


NOTE:

鎖国時、唯一の西洋との窓口として栄えた長崎市に、丸山遊郭が誕生したのは1639年(寛永16年)ごろ。

Maruyama Yukaku was established in Nagasaki City, which flourished as the only one window
to the West during the period of national isolation, around 1639.


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Reference:

KURUWA.PHOTO失われゆく色街の残影

丸山遊郭 -長崎県-


https://kuruwa.photo/nagasaki/maruyama/


東京の吉原、京都の島原と並んで遊郭の代名詞といわれるのが長崎の丸山遊郭。全盛期の元禄時代には遊女は丸山・寄合町あわせて1,443人いたといわれますが、売防法の施行により320年の歴史に幕を閉じました。

丸山の遊女は「江戸のきっぷに京都の器量、長崎の衣装で三拍子揃う」といわれたほど豪華絢爛な風貌だったようです。また、長崎らしく異国人との交流が盛んだったのも他にはない特徴。

井原西鶴は『日本永代蔵』に丸山の様子を次のように記しています。

「長崎に丸山といふところなくば、上方の金銀無事に帰宅すべし」

男たちはここでずいぶんお金を落としていったようですね。

また、長崎で有名な「ぶらぶら節」には次のような一節もあります。

「遊びに行くなら花月か中の茶屋 梅園裏門たたいて丸山ぶーらぶら ぶらりぶらりというたもんだいちゅ」

この「花月」や「中の茶屋」は今も現存します。



DSC_0142ぶらぶら節にも登場する「料亭・花月」.jpg

ぶらぶら節にも登場する「料亭・花月」。寛永19年(1642)に開業した遊女屋引田屋(ひけたや)の庭園内に文政元年(1818)頃造られた茶屋です。坂本龍馬や勝海舟、岩崎弥太郎等が利用していました。龍馬の刀傷がある柱も有名。




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丸山 (長崎市) : Wikipedia

https://ja.wikipedia.org/wiki/%E4%B8%B8%E5%B1%B1_(%E9%95%B7%E5%B4%8E%E5%B8%82)

丸山(まるやま)は、寛永末 - 1956年(昭和31年)の間に栄えた長崎の花街(遊女・芸者などの集まる街)。現在の長崎県長崎市丸山町、寄合町のことを指す。鎖国令によりオランダ商館と同様に平戸の丸山から移設された。

寛永末頃の集娼制度設立により、寛永19年(1642年)に市中の遊女屋が全て丸山の地に集められたのが始まりである。外国人を対象とした遊郭としては当時唯一のものであり、丸山遊女のみが唐人屋敷や出島に出入りすることを許されていた[1]。のち、その区域も整備され町名も太夫町から丸山町・寄合町に変更された。1956年の売春防止法公布により遊廓としての丸山は終焉した。

そのはじめは、文禄2年(1593年)、筑前博多の花街、柳町の若干の遊女を古町、桶町、今博多町に移住させたことである。のち、その数はしだいにふえ、博多町、大井手町、紙屋町、古町、八幡町、伊勢町そのほかに散在していたのを寛永19年(1642年)、丸山町、寄合町にひきまとめた。延宝版「長崎土産」には「丸山町遊女屋五十九軒遊女三百三十五人内太夫六十九人、寄合町遊女屋四十四軒遊女四百三十一人内太夫五十八人」とあり、

元禄ころの状況をつたえるケンペルの紀行には「長崎の丸山は京の嶋原以外では、他に見られぬ艶麗を表現している」とあり、花月楼の鶴の枕は、唐の玄宗皇帝の楊貴妃の遺物であるといってつたわり、遊女の服装がはなやかだったことは、小唄「京の女郎に長崎衣裳、江戸の意気地にはればれと、大坂の揚屋で遊びたい」にのこるほどであったから、井原西鶴の「日本永代蔵」には「長崎に丸山と云ふ所なくば、上方の金銭無事に帰宅すべし」とさえ評されたが、しかしいまではそのおもかげもない。

平成の現在も長崎花柳界として「長崎検番」のもと、20人前後の芸妓達が健在である。

2009年5月に、丸山公園内に坂本龍馬の銅像が建てられることが決定した。この計画はかつても存在したが、地元住民の反対で風頭山公園に建てられるよう計画変更されて以来である。





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2018年01月13日

How Green Was My Valley (1941) - Full Film

How Green Was My Valley (1941) - Full Film


https://youtu.be/e-kE3CC2uDc



Graham Lloyd
2014/06/17 に公開

How Green Was My Valley 1941 Directed by John Ford and based on a novel by Richard Llewelyn.
The film features Walter Pidgeon, Maureen O'Hara, Anna Lee, Donald Crisp, and Roddy McDowall.

The film tells of the Morgans, a close, hard-working Welsh mining family living in the heart of the South Wales Valleys in the 19th century. The story chronicles the destruction of the environment in South Wales coalfields, and the loss of a way of life and its effects on the family. It was selected by the National Film Registry as being "culturally and historically significant".

On 26th February 1942, How Green Was My Valley won 5 oscars including Best Picture.

カテゴリ 教育
ライセンス 標準の YouTube ライセンス



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