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1@A window with vertical or horizontal wooden laths or bamboo, called renjiko Aqq or ko q, are lined up at given intervals. Vertical laths may also be called taterenji GAq and horizontal ones yokorenji ‘Aq. Muntins may also be inserted in a window frame at an angle, often 45 degrees, with a corner facing outward. The oldest renjimado are found in the main image hall, *Kondou ΰ°, the pagoda, *tou , and the outer wall of the semi-enclosed corridor, or cloister, *Kairou ρL at Houryuuji @² (end of 7c-8c), in Nara. The muntins are at an angle and widely enough spaced so that the outside can be seen easily. Sometimes the muntins are set into window frames so closely that they touch ech other. In this case they are considered purely decorative and are called *mekurarenji ΣAq lit. blind muntins. Blind muntins are often found on the dais *shumidan {νd, where the Buddhist images are placed.
When renjimado are used on doors, the moulding or framework around them is usually chamfered.
See: *mentori Κζ; *karadomen ΛΚ; *kichoumen { Κ or *kirimen ΨΚ.
Renjimado as explained above are characteristic of the wayou style *wayou al. For example, Daigoji Kyouzou ηνo (1198), Kyoto and burned in 1939, had renjimado with muntins. The spaces between them, called komagaeshi ¬ΤΤ, were equal in width. They are the only known examples of renjimado built in the daibutsu style, *daibutsuyou ε§l. Some buildings in the Zen style, *zenshuuyou T@l, have windows with curved muntins set vertically. Where there is a mixture of wayou and Zen style elements, renjimado were sometimes used, for example on the belfry *Shourou ΰO at Kongouji ΰ, built in the early 15c, Osaka.
By the end of the 16c, windows with only horizontal muntins began to appear on dwellings in the shoin style *shoin-zukuri @’.
Houryuuji Sai-in Kairou @²Ό@ρL (Nara)
2@Also written Qq, A ; reirou QΧ.
A type of lattice window commonly associated with tea ceremony architecture constructed at the end of the Muromachi period (latter half of the 16c). Its popularity increased during the Momoyama period (1568-1616) with increased devotion to the tea ceremony. Eventually, the merchant class began to include renjimado in their houses. They were characterized by small bamboo or square lattice nailed vertically to the outside of a window sill and lintel. Transverse penetrating rails were inserted between the sill and lintel to give a light and rustic appearance. An odd number of muntins were required and were set about 10cm apart. The number of muntins varied according to the size of the window. Occasionally, only a single muntin was used and was usually centered. Another variation set two or three muntins closly together leaving a wide empty area. At other times, many muntins were crowded together in irregular arrangements. Double or single, sliding paper-covered wooden frames *shouji αq, were placed between the sill and lintel on the inner side of the lattice. Either hanging wooden doors *kakedo |Λ, or rain shutters *amado JΛ, were hung on the outside when needed. Sometimes a matchstick blind *sudare ϊ, was hung outside on a bent nail. On occasion, a single sliding door covered the entire window when closed. A lack of space within the wall prevented the window from sliding far enough to be completely opened. This was an important feature that enhanced the tea ceremony room giving it an unique character. Example: Jo'an @Α, Aichi prefecture.
Koudaiji Ihou'an δβFΑ (Kyoto)
3@In early temple buildings, a window opening filled with square, vertical muntins. These were placed so that their edges were placed on the diagonal.
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