| #1. 明, 暗, 顕, 漠 |
#2. 'Ao' in the Kojiki (Part 1) |
| #3. 'Ao' in the Kojiki (Part 2) |
#4. 'Ao' in the Kojiki (Part 3) |
| #5. 'Aka' in the Kojiki (Part 1) |
#6. "Chinu and Tai" (Part 1) |
| #7. "Chinu and Tai" (Part 2) |
#8. 'Aka' in the Kojiki (Part 2) |
| #9. 'Aka' in the Kojiki (Part 3) |
#10. 'Aka' in the Kojiki (Part 4) |
| #11. Yin-Yang and Five Elements theory |
#12. Taika Reforms |
| #13. Kofun Murals |
#14. The latter part of the Nihon Shoki |
| #15. 青(Ao) in Manyō |
#16. "Midori" (Part1) |
| #17. "Midori" (Part2) |
#18. Up to the Kamakura Period |
| #19. The Kamakura to Muromachi Period |
#20. The Azuchi-Momoyama Period (Part 1) |
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| appendix |
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| In Songs, Sound is More Important Than Appearance |
Continuing the Story of Jinmu's Eastern Expedition |
| Confusion in Black Sea Bream Recognition |
"海鯽魚" in the Nihon Shoki |
| Empress Jingū |
Legend of Kamo |
| The Historical Context of Kofun Construction |
"緑 (Midori)" in the Heian Period |
| SN 1181 |
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