Also written 櫺子窓. Lit. "a row lath window."
1 A window with vertical or horizontal wooden laths or bamboo, called renjiko 連子子 or ko 子, are lined up at given intervals. Vertical laths may also be called taterenji 竪連子 and horizontal ones yokorenji 横連子. 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 *Kondō 金堂, the pagoda *tō 塔, and the outer wall of the semi-enclosed corridor, or cloister *Kairō 回廊 at Hōryūji 法隆寺 (late 7th century) 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 each other. In this case they are considered purely decorative and are called *mekura renji 盲連子 (blind muntins). Blind muntins are often found on the dais *shumidan 須弥壇, where the Buddhist images are placed.
When renjimado are used on doors, the moulding or framework around them is usually chamfered.
See *mentori 面取, *karadomen 唐戸面, *kichōmen 几帳面 or *kirimen 切面.
Renjimado as explained above are characteristic of the wayō style *wayō 和様. For example, Daigoji *Kyōzō 醍醐寺経蔵 (1198), Kyoto and burned in 1939, had renjimado with muntins. The spaces between them, called komagaeshi 小間返, were equal in width. They are the only known examples of renjimado built in the daibutsu style *daibutsuyō 大仏様. Some buildings in the Zen style *zenshūyō 禅宗様, have windows with curved muntins set vertically. Where there is a mixture of wayō and Zen style elements, renjimado were sometimes used, for example on the belfry Shōrō 鐘楼 at Kongōji 金剛寺, built in the early 15th century, Osaka.
By the end of the 16th century, windows with only horizontal muntins began to appear on dwellings in the shoin style *shoin-zukuri 書院造.
Hōryūji Sai'in Kairō 法隆寺西院回廊 (Nara)
2 Also written 櫺子窓, 連滋窓; reirō 櫺槞.
A type of lattice window commonly associated with tea ceremony architecture constructed at the end of the Muromachi period. Its popularity increased during the Momoyama period 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 10 cm 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 closely 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 *shōji 障子, were placed between the sill and lintel on the inner side of the lattice. Either hanging wooden doors *kakedo 掛戸, or rain shutters *amado 雨戸, were hung on the outside when needed. Sometimes a matchstick blind *sudare 簾, 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 如庵, Aichi Prefecture.
Kōdaiji Ihō'an 高台寺遺芳庵 (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.