{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","title":"Time, Consumption and Everyday Life Practice, Materiality and Culture","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","id":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","uuid":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","title":"Time, Consumption and Everyday Life Practice, Materiality and Culture","normalized_title":"timeconsumptionandeverydaylifepracticematerialityandculture","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":236,"navigation_url":"https://workshop.closeclaw.top/ai/book/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","title_url":"https://workshop.closeclaw.top/ai/title/Time%2C%20Consumption%20and%20Everyday%20Life%20Practice%2C%20Materiality%20and%20Culture","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","page_url":"https://workshop.closeclaw.top/api/ai/books/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/page","search_url":"https://workshop.closeclaw.top/api/ai/books/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/search"},"page":{"printed_page":173,"pdf_page":172,"physical_index":172,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"e7273258862fd7d08eacef09228a6711fab62ca8ef2cd3d35ac46afef41ebaac"},"chapter":"List of Tables and Figures","content":"The Iwaiis’ domestic interior stood out because of the exceptional attention paid to seasonal change. Unlike my urban participants, the Iwaiis, both in their mid-sixties, lived in a large house in small rural town in the south of Nara Prefecture. Mr Iwaii has a successful forestry business and Mrs Iwaii operates a kimono shop in the front of their home. This was the only home where at the start of June extensive seasonal changes were made to the Japanese-style rooms. Decorated paper sliding doors were replaced by doors made of rush, while tatami mats were covered with lighter rattan mats. Moreover, wooden sliding panels to keep out insects were inserted in the window frames, while bamboo or rattan blinds were attached to the outside of all the windows. Still, it was the display of seasonal goods on top of the shoe closet in the Iwaiis’ spacious hallway that exposed the exceptional degree of Mrs Iwaii’s seasonal awareness.\n\nMrs Iwaii called the items she displayed in her hallway ‘seasonal things’ (kisetsu na mono) because, in her words, ‘well, according to the seasons, I make various changes. I place them in the hallway because they enable me to create a seasonal mood.’ Mrs Iwaii has a large collection of seasonal things consisting largely of miniatures that she had brought home from frequent trips. Approximately every four weeks, she carefully selects a new item, and the seasonal effect is always completed with a fresh seasonal flower. In mid-June 2003 Mrs Iwaii replaced a miniature helmet, associated with virility and commonly displayed during the period leading up to Children’s Day on 5 May in homes with male children, with an auspicious wooden daruma doll,<sup>2</sup> followed by a set of two insects made of rush, deemed appropriate for early summer, in turn replaced by a set of miniature deer, messengers of the deities linked with the famous Kasuga Taisha Shrine in Nara, and so forth, and so on.\n\nThe range of seasonal objects in Mrs Iwaii’s possession as well as her commitment to make regular changes to the hallway display contrasted sharply with the attitude of my other urban participants. One example is Mrs Terayama, a part-time nurse in her late forties, who lives with her husband and teenage daughter in a small flat in the centre of Itami City. She displayed a mixture of things in her hallway: a group of four chubby, ceramic cats with their paws raised to invite luck, a group of ballet dancers made in origami place in a glass display box, which was a wedding present, and a figurine her husband brought home from a trip to China. On a scale of seasonal awareness, Mrs Terayama and Mrs Iwaii would be situated at opposite ends. Many of my other female participants, but particularly those over 45 years old, aspired to follow Mrs Iwaii’s example. However, in practice, expressions of seasonality primarily consisted of replacing representations of zodiac animals once a year.\n\nSeasonal and Commercial Rhythms\n\n173","previous_page":172,"next_page":174}