Tenshin En A Japanese Garden At Boston's Museum Of Fine Arts

1y ago
25 Views
3 Downloads
751.98 KB
11 Pages
Last View : 1m ago
Last Download : 2m ago
Upload by : Troy Oden
Transcription

Tenshin-en: A Japanese Gardenof Fine Artsat Boston’s MuseumJulie Moir MesservyAn urban haven forcontemplation that embraces two cultures.Westerners, the idea of owning aJapanese garden is an unreachable dream.Busy, stressed in their workaday world, theyimagine returning home to a serene paradisemixture of design prowess and accident. Equally impressive are the lushnessand quantity of the plantings: over 70species-1750 specimens in all-adorn thelandscape, changing the feeling and form ofthe garden through the seasons. In earlyspring, the white-panicled flowers ofandromeda hang as tresses from the shinygreen of the shrub’s leaves. Mid-spring intoearly summer brings a continuous bloom ofazaleas in shades of white, fuchsia, rose,salmon, and pale pink, hummocking assmall hills at the feet of tall stones andlanterns. Early to midsummer brings thepurple, yellow, and white iris, standing inupright sheaths behind rocks. In fall, themaples, azaleas, and enkianthus turn brilliant hues of red, yellow, and orange to markthe onset of colder weather, before the snowsdrape the garden in winter. One could attendthe garden every day and discover oneselfanew through the continuously changingappearance of plants amidst the unchangingstolidity of the stone elements.For manysenses aof ancient stones perfectly set in a bed ofmoss, flanked by rippling waters of a koipond. Here, in this miniature world, theycan give voice to their inner thoughts, daydreams, and spiritual longings; they canbecome their true selves in a garden ofbeauty.Few ofus will have the space, find thehave the money to create such asanctuary in our lives. How fortunate it is,then, that the Museum of Fine Arts, Boston,built just such a garden for all of us to experience and enjoy. Sitting within its walls,closed off from busy Boston traffic andpassersby, one feels sheltered in an oasis,paradoxically surrounded by, yet removedfrom, present-day urban life and times.One sits in a curiously transcendentworld, feeling the stones as venerable soulsset with a modern freshness and vigor, reminiscent of rocky shorelines of New England,yet universal in the abstract power of theirdry composition. At first, the visitor feelsoverwhelmed by the energy of the place,nearly 200 rocks, set here and there, andtime,orThe Japanese lantern locatedArts, Boston.nearthewaterbasinAMerging of CulturesTenshin-en, the Garden of the Heart ofHeaven, is a 10,000-square-foot contemplativeatviewing garden located at the north sideTenshin-en. Photo courtesy of the Museum of Fine

4The crushed gravel "sea" at Tenshm-en.tesy of the Museum of Fine Arts, Boston.Raking gives the effect of ripplesof the West Wing of the Museum of FineArts, Boston. Completed in 1988, the gardenis named in honor of one of the museum’sfirst curators of Asiatic Art-OkakuraKakuzo, also known as Okakura Tenshin.Tenshin-en is one of New England’s fewsemipublic viewing gardens in the Japanesestyle.A trueJapanese garden, accordingtocultural traditions, derives-and takes inspiration-from the landscape around it. In thisspirit the project team of landscape artistsflew over the New England region in a smallplane to gain a sense of its geography and aesthetic qualities. The resulting garden is aninterpretation of two cultures, combining thedepth of meaning of Japanese garden symbol-onthe water’ssurface. Photo cour-feeling of beauty and repose thatEngland landscape. Rockycoastlines, deep forests, soft hillsides, andism withaevokes the Newcraggy mountains are abstracted and recreated to remind viewers of the beauty anddiversity of this region. The intent, accordingto Professor Nakane, the garden’s designer,was to create in the garden "the essence ofocean and islands . as Ithem in the beautiful landscape ofmountains, thehaveseenNewEngland."Each rock, plant, and paving stone waschosen from local materials and combinedwith artifacts selected from the Museum’scollection or brought from Japan. Togetherthese intermingle to create a contrast

5Lookmg along the curved path towards the gate at Tenshin-en. Photo courtesy of the Museum of Fine Arts,Boston.between natural materials and humanobjects and arrangements.Origins of Tenshin-enThe Museum of Fine Arts, Boston, asked aninternationally known garden master fromKyoto, Professor Kinsaku Nakane, to designand construct a Japanese garden as an important addition to the museum’s worldrenowned Asiatic collection. Funds for theproject were donated by the NipponTelevision Network Corporation, Mr. YosojiKobayashi, Chairman of the Board.As the garden master’s project coordinator,my responsibility was to assemble a projectteam to carry out his conceptual designs.The Halvorson Company, a Boston landscape architecture firm, was chosen to produce the technical documents and detailsnecessary to build a garden of another culture in this country. Our mandate was tocombine an acute sensitivity to the nuancesof Japanese design with a full understandingof the legal and technical requirements ofbuilding projects in this country. Alsoincluded in the team were various subcontractors from this country and from Japan,each of whom brought specialized trainingand craftsmanship to different aspects of theproject. The landscape contractor wasDonald B. Curran, Incorporated of Ipswich,Massachusetts.

6The garden evolved through a style of collaboration quite different from normalAmerican landscape architectural practice.The garden master’s concept and executionwere upheld by the efforts of every teammember in an atmosphere of unstintingcommitment to the creation of a work of art:the Museum’s curatorial staff guided the garden process and provided and conservedmany of its artifacts; the Italian masons setKyoto roof tiles on its walls; the Japanesecarpenters built a traditional gate in Kyoto,dismantled it, and reinstalled it on site withthe American carpenters’ help. All upheldthe master’s concept, in a collaboration ofthe highest order.On one of his trips to the site, ProfessorNakane was present to set the critical elements that make up the structure of the garden. To watch him was to see a true masterat work. For six hot days in July, 1987,Professor Nakane established the positionsof the rocks in the garden. Attending to animage of power and beauty that existed onlyin his sketches and in his imagination, he setalmost two hundred stones.With the aid of a 100-foot hydraulic crane,its highly attentive operator, and three landscape crews, the shape of the garden began toemerge. One by one, the boulders, fillingeight tractor-trailer trucks, were bound andchained to the crane’s wire. Like the conductor of a symphony orchestra, ProfessorNakane would indicate to one crew howdeep into the ground they should dig, and toanother which way the stone should faceand where its head, feet, front, and backshould be positioned. The crew placed thestones, some weighing as much as eighttons, in the ground and made minute adjustments under Professor Nakane’s watchfuleye. All this was done without a word spoken, as Professor Nakane speaks onlyJapanese.The planBoston.of Tenshin-en at the Museum of Fme Arts,Professor Nakane, in a calm and almostcasual way, would set one stone at thetakiguchi (waterfall), the next stone on thetsurujima (Crane Island), and the next in theforeground of the garden. He saw the finalresult in his mind’s eye and worked aroundthe whole garden to balance his compositionright from the start. As well as fitting intothe design as a whole, each stone groupinghad to be balanced in its own right-all ofwhich Professor Nakane accomplished withsplit-second decisions. When the composition was complete, nothing needed to bealtered; the whole felt dynamic and yet balanced.After he had set the stones, ProfessorNakane returned to Japan while the wallsand new sidewalks were installed. On hisnext trip to Boston he set fifty-two trees onthe day he arrived, but unexpectedlyreturned to Japan the following day, calledback because of a death at the OsakaUniversity of Fine Arts, which he heads. Atthat point, his son and chief assistant ShiroNakane took over and set the remainingplantings, ornaments, and stepping stones,and supervised the erection of the Japanesegate.Professor Nakane returned one more timefor the opening of the garden on October 24,1988. At that time, he declined to speak butchose instead to paint a sign for the garden insumie-Japanese ink. Inscribed is ten, shin,and en (with Chinese characters) in his ownbeautiful calligraphic hand. Since then,Tenshin-en has been opened to the publicfrom spring through fall and is visited bythousands of people every year.Design Features of Tenshin-enTenshin-en is designed as a viewing gardenin the karesansui style, harkening back toZen temple gardens of the fifteenth centuryin Japan. Kare means "dry," san, "mounBoston.Reproduced courtesy of the Museum of Fme Arts,

7Ii’t-4 t<tgS11-0 r *! I"- * B!Bo ,, .4 -0 1 Z, m u <c C ’O 60 . . v. C u 6G O .’t‘.u CQ i3 .J ::0. OZ0n. 0 BE - , 11, >-II1IjS>K -5 w2EË c8 ? M - I js-BJ o5E .3 ê2-3? 2gSI-< S3 (J Q W

8tain," and sui, "water"; thusit is a "drymountain water" garden, or a dry landscapegarden. Water is suggested by the rakedgravel "sea," which unites all the landformsgarden-the mountains, islands, androcky shoreline formed by mounded earthof theand rocks.Tenshin-en relates to its surroundings bya technique called shakkei, that is, by borrowing and echoing the distant landscapeand bringing it into the garden walls. Curvedshorelines and bridges within the gardenecho the lines of the Fenway landscape thatabuts the museum on its north side,designed by America’s premier garden master,Frederick Law Olmsted.Olmsteddesigned parks and green spaces during thelate 1800s, creating Boston’s "EmeraldNecklace," the park system that links openspace from Franklin Park to the BostonCommonsas onenearlycontinuous sweepof green. Although conceived and designedon a scale far vaster than Tenshin-en’s miniature landscape, Olmsted understood theneed to evoke a harmonious understandingof nature, as he wrote in 1879: "We want aground to which people may easily go aftertheir day’s work is done, and where theymay stroll for an hour, seeing, hearing, andfeeling nothing of the bustle and jar of thestreets, where they shall, in effect, find thecity put far away from them."ADeeper Reading of the GardenVisitors who understand thegarden’ssym-bolism will probably have a richer experience of it. The dry "waterfall" (takiguchi) tothe back and left of the garden represents theBuddhist concept of shumisen or Mt.Sumeru, a mythic mountain thought to support the heavens above and the world below,and around which the universe was believedto be centered. The two "islands" in the leftand right center of the garden are two of the"Mystic Isles of the Immortals," Taoistmythical islands said to bring immortalityand prosperity to those who incorporatedthem in their gardens. To the left is kamejima, the Tortoise Island; to the right is tsurujima, the Crane Island. Looking carefully,one can see the head, feet, tail, and flippersof the tortoise, and the head, wings, and tailof the crane.According to Professor Nakane, "Themountains and islands symbolize the natural beauty of this region [New England],and, at the same time, mean enduring prosperity and happiness for the Museum visitors." If one studies the garden’s designfeatures, the rocky coastline to the rightrecalls the Maine Coast, and the two largerocks on Crane Island suggest Mt. Fuji (onthe right) and one of New England’s bestknown peaks, Mt. Monadnock (on the left).Looking carefully, one can see a profile muchlike that of New Hampshire’s "Old Man inthe Mountain" on the floating islandbetween the Crane Island and the rockycoast. The stepping stone path area is anabstraction of deep forests, and the mossyhillside behind the Crane Island recalls thesoftly forested landscape of New England.The StonesJapanese garden, the stones are thebackbone and provide the overall structure.Rocks from Topsfield, Boxford, and Rockport,Massachusetts, total about 390 tons. Each isplaced according to ancient rules and traditions dating back to the Middle Ages ofJapanese history. A dark granite verticalstone and base, carved in Japan, is located tothe left of the waterfall, and says Ten-shinen in Chinese characters, a gift of the garden’s donor, Yosoji Kobayashi.In theThe Wall and Japanese GateThe wall is a modern interpretation of aJapanese mud-and-wattle wall, seen in temple compounds and surrounding traditionalgardens all over Japan. This wall, varying inheight from five to seven feet, was constructed of poured concrete mixed with alight colorant, which was then sandblasted

9Oneof the curved budges which link the "islands"tothe "mainland.Photo courtesyof the Museum of FineArts, Boston.roughen the texture. The base band is ofgranite from Deer Isle, Maine, resemblingtothe facade of the museum’s West Wing.From the outside, one can see only a narrow round cap of tiles of a simple design tomeld with the spare lines of the West Wing.From the inside, one sees the full slant of theroof that protects a typical wall from the elements. These silver tiles are made of claybaked four times rather than the usual two,in order to accommodate Boston’s moreclimate. An old Kyoto firm,severeYokoyama Seiga Kojo, specializing in shrineand temple roof tiles supplied the 1500pieces that make up the roof, includinground roof tiles, stacked tiles, beam tiles,and eaves tiles. A special Museum of FineArts emblem tile, onigawara, featuring themuseum’s seal, was also made up andgroutedtothe end wallatthe EducationEntrance.The imposing Japanese gate is calledkabuki-mon, meaning "hanging gate" (anddoes not refer to the famous Japanese the-ater.)A traditional gate for a mountain castleor large palace in Japan, it was chosen as aJapanese-style horizontal counterpoint toarchitect I. M. Pei’s large concrete beam atthe entrance to the West Wing. The gate isbuilt of Japanese cypress, a wood with excellent natural preservatives. Special design featuresof the gatearethe 13-inch-wide post

10Perennials in Tenshin-enSix hundred perennials adorn the garden.Ferns of many varieties are used withhostas and liriope to soften the appear-of the rocks. Leatherleaf ferns asas lady, hart’s tongue, Japanesepainted, Christmas, and maidenhair ferns,abound in the garden. Hostas include’Gold Standard’, ’Green Fountain’,’Francee’, ’Blue Cadet’, ’Nakiana’, and’Flavo Circinalis’, with five giant hostasfeatured outside the walls (’Halcyon’,’Christmas Tree’, ’Nigrescens’, ’FrancesWilliams’, and ’Blue Angel’). Other perennials include bloodroot (Sanguinariacanadensis), trillium (Tnllium grandifloancewellrum), goatsbeard (Aruncus canadensis),lady’s mantle (Alchemilla pubescens), iris[Iris ensata, sibirica, and cristata), geraniums (Geranium endressi ’Johnson’s Blue’,G. sanguineum), astilbes (Astilbe chinensis ’Pumila’, ’William Buchanan’), bleeding heart (Dicentra eximia ’Zestful’), wildginger (Asarum europaeum), liriopes, andsedges (Liriope spicata, Carex comca’Variegata’). One can also spot pachysandra (P. terminalis ’Cutleaf’) planted as aspecimen near the water basin and stepping stone path. The groundcover moss isPolystrichum commune, known as haircapmoss.and beams (kasugi, or "umbrella wood"curved beams above the two small doors),the ornamental nail covers, and ironwork.The gate was constructed in Japan bySuzuki Komuten, carpenters who specializein building traditional Japanese structures.After being erected once for approval inJapan, it was disassembled and rebuilt inBoston. The wrought-iron fittings, hinges,and nail covers, also fabricated in Japan, areof traditional design.large stepping stone upon which one kneelsto partake of the water is called a maeishi, or"front stone"; the stone to its right is theyuokeishi, or "hot water container stone,"on which such a container would be placedThe Water BasinThe water basin,The Stone LanternsStone lanterns were originally used as votivelights placed in front of Buddhist templebuildings. In later years they played a moreornamental role and were designed specifically for garden use-to light the path to a teahouse or to light certain areas of a garden.Near the water basin is a small Japaneselantern of the Edo period(1603-1867), originally located in the Japanese Court of themuseum’s Asiatic Collection. It has a tallmushroom-shaped "hat" and is placed so thatit can cast light over the water basin at night.orchozubachi, enablesaritually purify his or her body andmind as preparation for contemplating thegarden and for receiving inspiration andrenewal from its spiritual meaning. Similarstone basins were used in tea gardens as vessels for ritual cleansing before taking tea.This chozubachi is in the fusen style, fumeaning "to proclaim" and sen meaning"spring of water."visitor toThestonesaround thewaterbasinarranged in the original Koho-an style.areTheso that guests could add hot waterthe basin to warm their hands. The stonethe left is the teshokuishi, or "hand candle stone," on which a guest might place aportable candlestick when using the gardenin wintertotoatnight.

11In the northeastcornerof thegarden isakasuga-style lantern, a reproduction of onefrom the Kawageta Temple, the original considered a "very important cultural property"by the Japanese Government. Dating from1311, the lantern is a very good example oflate Kamakura-period (1185-1333) lanterns. Itshows the then prevailing concern withpower and beauty in its attacking lion andpeacock carvings. Single petals of lotus arecarved at the base, a Buddhist symbol of thesoul’s ascent from mud to the glory of flow-ering.Just inside the gate is another kasuga-stylelantern, a reproduction of the main lanternat the Joruri-ji Temple near Kyoto, carvedabout 1366. The shape of this lantern follows the composition of the Kawagetalantern but it is narrower overall: the lotuspetals are taller, the window is smaller, andthe curve to the roof is steeper.A large Korean lantern in a fourteenthcentury style, originally located in the courtyard of the museum, is situated in thesoutheast corner of the garden. Outside thegarden wall is a Meiji-period lantern, datingfrom about 1880, featuring ornamentalfriezes of mountains and deer.The Pathsare based on the prinThe path outside thegate is of the shin, or "formal" style, thestepping stones are of the so, or informalstyle, and the curved nobedan path is of thegyo style (somewhere between informal andformal in style). The cut stones on thecurved path are surrounded by black-washedMexican river stones set in mortar. Thispath brings one to the cut stone terrace onwhich are three shogi benches of traditionaldesign. The informal stepping stones pathscalled tobiishi, take the visitor to the Koreanlantern, the water basin, or are used as analternate route back to the Japanese gate.There are also three bridges that link the"islands" with the "mainland" and form aJapanese garden pathsciple of shin-gyo-so.path for theviewer to take a visual ratheractual journey. These bridges, calledsoribashi, or "curved bridges," are as long as17 feet and weigh as much as 1.5 tons.thanTheanPlantingsspecies of plants give color andthe garden. Cherries, Japanesemaples, and pines are all signature plants ofa Japanese garden and serve as symbols ofthe changing seasons. Tenshin-en is composed of a mixture of Japanese and Americanspecies; such plants as Japanese Cryptomeriacombine with American holly to create anew horticultural interpretation of anancient art form.Over seventytexture toJapanese maples, called kaede, or"frog’s hand" or momiji, are mainstays of aJapanese garden. Used to create a feeling ofmountain scenery at the edge of a forest,they link open land to forested land.Broadleaf evergreen trees are generally nothardy in the Northeast, so American hollies,Ilex opaca, were used in place of some of theevergreen oaks that, in Japan, act as tall evergreen screens to give the sense of a deep forest. Needle-leaf trees, including compactselections of the Canadian hemlock (Tsugacanadensis) and Cryptomeria japonica’Yoshino’, are used to create a lush background to the waterfall and mountain pathareas. Cryptomeria is part of the indigenousvegetation in Japan and are planted extensively in holy areas such as shrine precincts.Red pines (Pinus densiflora) and tanyoshopines (Pinus densiflora ’Umbraculifera’) areused to highlight the islands.Deciduous trees used in the gardeninclude Stewartia pseudocamellia, mountain ash (Sorbus decora), star magnolia(Magnolia stellata), and of course cherries:the weeping cherry by the gate (Prunus subhirtella ’Pendula’), October cherries (Prunussubhlrtella ’Autumnalis’) and Sargent cherries {Prunus sargentii). The Japanese admirecherries as symbols of a life well-lived-theyTrees:

12Stone lanterns are used to light paths and highlight special areas of the garden’s design. Photo taken m1988 andreproduced courtesy of the Museum of Fine Arts, Boston.suddenly and abundantly, but aregone nearly overnight, suggesting a good waybloomtoface deathaswell.Shrubs: The 1100 shrubs in the garden provides its finished and colorful look. About500 azaleas of many varieties provide colorover two months in the spring. Earlybloomers include the Korean azalea (Rhododendron poukhanensis) and varieties of R.mucronulatum. The popular ’DelawareValley White’ azaleas and early reds(’Hinocrimson’ and ’Hinodegiri’) mix withmidseason bloomers of various colors: salmon(’Guy Yerkes’), silver-pink (’Kaempo’),white with pink throat (’Geisha’), white(’Girard’s Pleasant White’, ’Polar Bear’), rosered (’Vyking’), and the beautiful ’PurpleGem’. Late-blooming varieties include theNorth Tisbury hybrids (’Wintergreen’,’Yuka’, and ’Marilee’). Azaleas are pruned inthe karikomi, or cloud-form shape, to suggest the billowing forms of hills and tosoften the base of the stones.Other shrubs used extensively are mountain laurels [Kalmia latifolia), andromeda

13(Pieris japonica, P. floribunda), enkianthus(Enkianthus campanulatus), kerria (Kerriajaponica), daphne (Daphne burkwoodii’Carol Mackie’), forsythia (Forsythia intermedia ’Arnold Dwarf’), barberries (Berberisthunbergii, B. mentorensis), junipers [Juniperus procumbens ’Nana’, J. chinensis’Sargenti’), euonymus (Euonymus alatus),holly (Ilex pendunculosa), and dwarf spiraea(Spiraea japonica ’Little Princess’).MaintenanceContraryden istopopular opinion, a Japanese garlow-maintenance landscape.week throughout the garden’snot aOne day aopen season,tend theamaintenancecrew comestogarden. Every week the crew prunescertain trees and shrubs, weeds the moss,and rakes the gravel. Other gardening choresoccur at specific intervals during the year:moss is trimmed for propagation, perennialsare cut back or divided, fertilizers or horticultural sprays are applied, hemlock barkmulch is spread; azaleas are deadheaded andalso pruned at least twice a year to maintaintheir shape and size.Viewers are always curious about how thegarden is raked. Crushed granite gravel fromMt. Airy, North Carolina, represents the"sea" of the garden’s landscape. A heavy sixtine rake is used to give the effect of rippleson the water’s surface. Starting from the nearright-hand corner of the garden, the crewrakes in lines parallel with the West Wingwall. When the raker reaches an obstacle,such as a stone or island, he stands on it andrakes around it in a circle, continuing the pattern under the bridges and around alldetached stones. Finally, the raker follows theedge of the garden’s "sea" around the perimeter until meeting the gate. The abstract linesof "water" are most apparent during rainy orcloudy days, or when the textures are emphasized by a thin veneer of snow.Tenshin-en is frequented by viewers coming to learn about another culture’s gardenart, to enjoy the verdant atmosphere, or toseek a moment’s peace. In the Garden of theHeart of Heaven, visitors will feel the truthof the words of Okakura Tenshin who oncesaid, "One may be in the midst of a city, andyet feel as if one were far away from the dustand din of civilization."Tenshin-en is opento Museum of Fine Artsfrom April to November, Tuesdaysthrough Sundays, from 10 a.m. to 4 p.m.visitorsThedesigner of the Arnold Arboretum’s Linda J.Davison Memorial Path and the project coordinator ofTenshm-en during its construction, Julie Moir Messervyis a landscape designer living in Wellesley. She is authorof Contemplative Gardens (Howell Press, 1990) and iscurrently finishing a new book, The Inward Garden, toby Little Brown and Co. m Septemberbe published1993.

8 tain," and sui, "water"; thus it is a "dry mountain water" garden, or a dry landscape garden. Water is suggested by the raked gravel "sea," which unites all the landforms of the garden-the mountains, islands, and rocky shoreline formed by mounded earth and rocks. Tenshin-en relates to its surroundings by a technique called shakkei, that is, by bor- rowing and echoing the distant landscape

Related Documents:

SEATTLE JAPANESE GARDEN Designed in the Stroll-Garden Style B y C o r i n n e K e n n e d y T he Japanese Garden at Washington Park Arboretum was designed as a stroll garden, a style that dates from the early years of Japan's Edo period (1603-1868). Large in scale and created for enjoyment, the stroll garden

Essentially, what we need is a Japanese guide to learning Japanese grammar. A Japanese guide to learning Japanese grammar This guide is an attempt to systematically build up the grammatical structures that make up the Japanese language in a way that makes sense in Japanese.

Japanese Language and Culture 3 JPN 101 JPN 102 Beginning Japanese I Beginning Japanese II 8 . Revised 10/23/2020 4 JPN 101 JPN 102 JPN 201 Beginning Japanese I Beginning Japanese II Intermediate Japanese Conversation 12 5 JPN 101 JPN 102 JPN 201 JPN 202 Beginning Japanese I Beginning Japanese II Intermediat

Palm Garden California Garden Japanese Maples Amphitheater Main Lawn Desert Garden Fog Garden Chilean Garden South African Garden 11 10 9 8 F E 7 C 5 B A 4 3 2 1 6 D Garden Guide Salesforce Park showcases over 50 species of trees and over 230 species of understory plants. It also offers a robust year-round calendar of

“Garden communities” – garden cities, garden towns, garden villages or, in reality, usually garden suburbs – are a central plank of the Government’s drive to get more homes built. In England the Government is supporting development of 10 garden towns or cities and 14 garden villages,

Center for Japanese Language, Waseda University Japanese Language Program Admission Guide *This program is not a preparatory course for students intending to enroll in Undergraduate or Graduate programs in Japanese universities. April admission/September admission Center for Japanese Language, Waseda University Center for Japanese Language, Waseda University Address: 1-7-14, Nishi-waseda .

Early Middle Japanese (Classical Japanese) based on UniDic, a dictionary for Contemporary Japanese. Differences between the Early Middle Japanese and Contemporary Japanese, which prevent a naïve adaptation of UniDic to Early Middle Japanese, are found at the levels of lex

Abrasive water jet (AWJ) machining has been known for over 40 years. It was introduced, described and presented by Hashish [1]. It is often used to cut either semi-finished products or even final products, namely from plan-parallel plates of material. Nevertheless, applications of abrasive water jets for milling [2], turning [3], grinding [4] or polishing [5] are tested more and more often .