While fixed walls are used, a variety of movable partitions are also used to fill the spaces between the pillars. They may be free-standing, hung from lintels,[3] or, especially in later buildings, sliding panels[a] which can readily be removed from their grooves.[5] Their type, number, and position are adjusted according to the weather without and the activities within.[6] They are used to modify the view, light, temperature, humidity, and ventilation,[6] and to divide the interior space.[4]
The timbers are called [[[:Wiktionary:はしら|hashira]]] Error: {{Transliteration}}: transliteration text not Latin script (help),[2] the space between them is called [hashira-ma] Error: {{Transliteration}}: transliteration text not Latin script (help); thus, the items filling the hashira-ma are termed hashira-ma equipment.[6]
Pictorial overview
Museum model of the Saikū, the Saiō's palace. An inner square room with plaster walls contains a chōdai sleeping canopy; a second inner room with kabeshiro wall-curtains contains byōbu folding screens; the far outer wall shows horizontally-hinged shitomi shutters, and the near outer wall has misu blinds. Kichō screens stand on the near side of the hishashi outer corridor, and on the short sides of the same corridor.
A full-scale model of part of the same palace. The Saiō sits on a tatami dais, with a byōbu behind her, a kichō to her left, and a boxlike chōdai (帳台, baldachin) to her right. Above and before her, a kabeshiro (壁代, wall-curtain) is rolled and tied up. Museum reconstruction of the Heian period's Shinden style.
An 1100s (late Heian period) illustration, showing a misu bound in green cloth (rolled, above), a grey kabeshiro with multicoloured streamers (half of it tied up behind the misu hung from the same lintel), three kichō (two white with black streamers, and one orange with multicolour streamers), a byōbu (right), and fusuma (right rear, matching byōbu).
Transition from Shinden style to Shoin style. Between the young man and the seated nun, sliding fusuma; behind them, non-sliding fusuma. On the young man's side, hajitomi shutters, horizontally split, with the upper half held up by hooks. On the nun's side, there are diagonally-planked sliding maira-do. Behind the young man speaking with the maidservant, similar non-sliding panels.
Sukiya style, early 20th century. Garasu-do, sudare, shōji, and plaster walls are visible. The garasu-do use large single glass panes, which would have been extremely expensive before float glass became available in the 1960s.
Throne on display in the Kyoto Imperial Palace; from outside inwards, blue-bound misu blinds, pillar slots for shitomi shutters (currently removed), white kabeshiro (wall-curtains) caught up with red-and-black nosuji (野筋) ties, and chōdai (canopy and dais, in red and purple). Older styles often persist in rare ceremonial use.
Stems are woven into a sheet, sometimes edged with cloth for durability
Phragmites reed, cat-tail stalks, pampas grass, or fine bamboo, held together by a few rows of thread woven around the stems; may be used as a blind, or mounted on a wooden frame to make sudare-shōji.[7][8]
Cloth with vertical slits, cord (shown), or cords strung with beads of bamboo or other materials.
Have been associated with urban shop entrances since the late Kamakura period (early 1300s).[9] Still in common use in the 21st century, especially at shop entrances and kitchen doors
Made of narrow-loom cloth (tanmono). Similar to a kichō, which however is free-standing. Coloured streamers are called nosuji (野筋), and are ties for tying it up.[10]
Made from narrow-loom cloth (tanmono). May be illustrated or plain, often with strips in contrasting colours (note that in the image, only the interior ones are illustrated).
Used in Heian period. Still used on special occasions, such as the red-and-white zejyō used at festivals.
Usually horizontally split and hinged (hajitomi), but were occasionally vertically split and hinged.[11] When open, the upper half is held horizontal by hooks, and the lower half is either folded flat against the underside of the upper half and held by hooks, or removed and carried away.
Part of Shinden style.[3] Obsolescent with advent of sliding doors, ~Kamakura period.
Wood, or wood frame covered with cloth or paper, often painted. Feet may be integral, or a separate stand into which a fusuma-like panel can be slotted.[13] Shown is a konmeichi (昆明池) panel, 6 shaku (181.8 cm (71.6 in)) tall; most are shorter seated-height panels.[14]
Dates from the 600s or earlier. One of the oldest types of screen. Still in use.
Box of curtains hung from corner poles, free-standing
Thought to date from 400s. Used throughout the Heian period (794–1185) and, by the high aristocracy, into the Kamakura period (1185–1333). Towards the end of the Heian period it shifted location, and finally became synonymous with an enclosed sleeping room. Characteristic of Shinden style residences.[17] Archaic, except in ceremonial Imperial use.
Storm shutters used to close the building at night.
Unperforated wooden or metallic panels, usually sliding. Run in a groove outside the pillars, and usually outside the engawa (porch). Stacked in a to-bukuro when not in use.
Battens (mairako) may be set crosswise to planks, may cover joins, or may act as a frame into which the planks are set, appearing on both sides.[19][20]
May be fixed, sliding, or hinged. Modernly, may be backed with glass. The rails are often grouped in clusters; this clustering is called fukiyose (吹寄).[21] A wide variety of traditional patterns exist.
Plaster applied over a lattice of wood or bamboo in a half-timbered wall.
Usually multi-layer. Plastered walls were frequently papered to protect clothes. Also used in fireproof kuro. Both mud plaster (often with straw)[22] and lime plaster with fibers and funori glue (shikkui, often used as a topcoat and on floors).[23] The structural timbers of the wall are usually left exposed, but may be covered (oo-kabe),[24][25] or deeply covered to provide fire protection, as in kura storehouses.[26]
Antiquity to the 20th century; rare in 21st, stucco aside.
^"Fusuma 襖". JAANUS -- the on-line Dictionary of Japanese Architectural and Art Historical Terminology.
^ abcNorihito Nakatani (Producing & Editing), Kenji Seo (Still Photography & Direction), Mayuka Toyoshima (Text), Haruya Susa, Mayuka Toyoshima, and Yohei Jimbo (Drawings), Kazuyuki Okada (web editing) (October 28, 2015). Transition of Kikugetsutei(Movie and illustrated text article, both available open-access online). Cultural Magazine of Hashirama Equipment. Study on Hashirama-Sochi; Equipment In Between. Waseda University.
^ ab"Akari shouji". JAANUS -- the on-line Dictionary of Japanese Architectural and Art Historical Terminology.
^"Natsushouji". JAANUS -- the on-line Dictionary of Japanese Architectural and Art Historical Terminology.
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