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The arrival of spring is heralded by the aroma of the plum blossom, or perhaps by the call of the warbler, or the wind that melts the ice. The river Asukagawa serves as symbol for the transience of things. Thus it is that elements of the natural world, and when enshrined as stock “poem-pillows” (utamakura) also many place-names, are found to bear particular standardized meanings. In some cases, such a phenomenon can also be observed with regards to items of human manufacture. Let mention of a certain class of item come to recall associations with some concrete event in particular—with repetition of the association, over time it finds itself a fixed feature on mental maps of “knowledge” shared by large numbers of people. In this paper I will explore the nature of this process through the example of two kinds of traditional Japanese fan: the accordionfolding ōgi 扇 fan, and the flat, round-shaped uchiwa 団扇 fan. First, I will summarize in brief the general understanding as regards ōgi and uchiwa fans. The ōgi is a type of fan original to Japan, one developed during the Heian period. At the end of the Heian period it spread to China, where in the Song era the zhedieshan 摺畳扇 (or tangshan 唐扇) appeared. There are two kinds of ōgi fan, the hi-ōgi 檜扇 (“cypress-fan”) made with slats of wood, and the kōmori-ōgi 蝙蝠扇 (“bat-fan”; also kawahori-ōgi ) made with paper. By the early modern period, it had spread in use to the population at large, giving rise to travelling peddlers of ōgi fans and their backing paper. In contrast, the uchiwa fan can be traced back to ancient China, where indeed the very character for “fan” designated one of the uchiwa type. What today we would call an uchiwa is also described in the Han-dynasty “Poem on a Bamboo Fan” (Zhushan-shi 竹扇詩) by Ban Gu 班固 (32–82). The uchiwa type further spread to the Korean peninsula, where it was known as a “pine-fan” (songseon 松扇). Language and Representation with ōgi and uchiwa Fans: Considering “Applied Knowledge” in the Early Modern Period