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Representations of Pleasure and Worship in Sankei Mandara Talia J
Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). -
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On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture. -
America and Japan: Influences and Impacts of Westernization on Japanese
America and Japan: Influences and Impacts of Westernization on Japanese Architecture An Honors Thesis (HONRS 499) by Mark Figgins Thesis Advisor Michele Chiuini Ball State University Muncie, Indiana May 2011 Expected Date of Graduation May 2011 Abstract Traditional Japanese architecture is among the finest in the world. Japan's isolation allowed its traditions and customs to be refined over centuries, whereas the origins of American architecture reside in European styling. When Commodore Matthew Perry sailed into Tokyo Bay in 1853, he opened Japan up to an influx of Western culture that transformed it into a modern nation. Japan's struggle to find a modern identity and to reconcile Western and traditional architecture is examined from 1853 to the present. Acknowledgments I would like to thank Professor Michele Chiuini for advising me. His knowledge and patience have helped me immensely throughout this project. Table of Contents Influences on Traditional Japanese Architecture 1 The Japanese Honle 5 Early American Architecture 9 Conlmodore Perry's Opening of Japan 16 Japanese Architecture: Meiji Period 21 Frank Lloyd Wright 23 Japanese Architecture: Meiji to World War II 25 Kenzo Tange and Modernism 27 1 Japan has a rich history of tradition and culture. It is highly modernized, yet throughout its landscape, glimpses of a time centuries ago can still be seen. Its traditional architecture, simple, but with great attention to detail and beauty, is among the most fascinating in the world. When American Commodore Perry opened up Japan to an influx of Western culture, it sparked a desire to industrialize and use Western technology to further its goals. -
Copyright by Peter David Siegenthaler 2004
Copyright by Peter David Siegenthaler 2004 The Dissertation Committee for Peter David Siegenthaler certifies that this is the approved version of the following dissertation: Looking to the Past, Looking to the Future: The Localization of Japanese Historic Preservation, 1950–1975 Committee: Susan Napier, Supervisor Jordan Sand Patricia Maclachlan John Traphagan Christopher Long Looking to the Past, Looking to the Future: The Localization of Japanese Historic Preservation, 1950–1975 by Peter David Siegenthaler, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 Dedication To Karin, who was always there when it mattered most, and to Katherine and Alexander, why it all mattered in the first place Acknowledgements I have accumulated many more debts in the course of this project than I can begin to settle here; I can only hope that a gift of recognition will convey some of my gratitude for all the help I have received. I would like to thank primarily the members of my committee, Susan Napier, Patricia Maclachlan, Jordan Sand, Chris Long, and John Traphagan, who stayed with me through all the twists and turns of the project. Their significant scholarly contributions aside, I owe each of them a debt for his or her patience alone. Friends and contacts in Japan, Austin, and elsewhere gave guidance and assistance, both tangible and spiritual, as I sought to think about approaches broader than the immediate issues of the work, to make connections at various sites, and to locate materials for the research. -
Posthistorical Traditions in Art, Design, and Architecture in 1950S Japan Kenji Kajiya*
World Art, 2015 http://dx.doi.org/10.1080/21500894.2015.1066419 Posthistorical traditions in art, design, and architecture in 1950s Japan Kenji Kajiya* Kyoto City University of Arts, Archival Research Center, Nishikyo-ku, Kyoto, Japan This article examines the discussions on tradition in art, design, and architecture in the 1950s Japan. It first explores the historical background of the discussions among artists, architects and art historians from the nineteenth century to the Second World War. The article insists that they attached to Japanese traditions various meanings and values including what should be overcome in the process of Westernization, the roots to which Japanese people felt compelled to return in the age of modernity, and the sophisticated sensibility of the Japanese comparable to Western modern aesthetics. The article then investigates the postwar situations. Following European artists’ interest in primitivism, avant-garde artist Okamoto Tarō advocated tradition to make it function as a key factor in the dynamism of the cultural order. Although discussions were not developed and deepened among designers, tradition was actively discussed in a field of architecture. Architects like Tange Kenzō and Shirai Seiichi elevated the tradition debate into the ideological issue, extracting the dichotomy of the Jōmon and the Yayoi and applying them to actual buildings and houses. The tradition debate in architecture meant a new departure in the postwar period, creating important discussions and movements on historical consciousness in the later period, such as the Metabolist movement in the 1960s and the ‘Ma: Space/Time in Japan’ exhibition in 1978. In this sense, the Downloaded by [Kenji Kajiya] at 23:19 10 August 2015 tradition conceived in the 1950s Japan is best regarded as posthistorical. -
The Vitality and Resilience of Inherited Japanese Houses -100 Years of Shimizu-Gumi Houses-
The Vitality and Resilience of Inherited Japanese Houses -100 Years of Shimizu-gumi Houses- Preface Since its foundation in 1804, residential architecture had been one of the primary business focuses for Shimizu-gumi, the present Shimizu Corporation. Many books have been published to showcase its works, such as Sekkei zushū, jūtaku no maki, ji 1907 nen shi 1923 nen (Drawing collection: house, from 1907 to 1923) and Sekkei zushū, shitsunai narabini kagu dentō no maki, ji 1909 nen shi 1913 nen (Drawing collection: interior, furniture and lighting, from 1909 to 1913). These books feature painted drawings of large houses, which could be considered mansions in the Western sense, designed and built by Shimizu-gumi, and include plans, elevations, development plans, and illustrations of furniture. The books enable the reader to visualize many aspects of mansions in the Meiji era (1868-1912) and Taisho era (1912-1926,) and to understand how these mansions were significant as elements of urban culture. Additionally, an academic work based on these earlier texts was published to commemorate the 60th anniversary of the Housing Research Foundation JUSOKEN: Meiji/Taisho no teitaku, Shimizu-gumi sakusei saishiki-zu no sekai (Mansions in Meiji and Taisho, the world of colored drawings created by Shimizu-gumi, Kashiwashobo, 2009, currently unavailable). This book is the product of joint research by “Shimizu Kensetsu Teitaku Shiryō Kenkyūkai” (Shimizu Corporation Mansion Document Study Group, 2004 to 2009) in the “Jūtaku Shiryō Iinkai” (Committee for historical materials about houses) of Jusoken. For the next phase of study, surveys and research on Jūtaku kenchiku zushū (Residential architecture catalog, 1st volume: 1935, 2nd volume: 1939) should be conducted. -
Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol
Proceedings of the Society of Architectural Historians, Australia and New Zealand Vol. 31 edited by Christoph Schnoor (Auckland, New Zealand SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014). The bibliographic citation for this paper is: Ari Seligmann, ”Japonisation of Modern Architecture: Kikuji Ishimoto, Junzo Sakakura and other precursors,“ in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, edited by Christoph Schnoor (Auckland, New Zealand: SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014), 177–187. Published in Auckland, New Zealand: SAHANZ and Unitec ePress [ISBN - 978-1-927214-12-1]; and Gold Coast, Australia: SAHANZ [ISBN - 978-0-9876055-1-1] All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editor. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Ari Seligmann, Monash University Japonisation of Modern Architecture: Kikuji Ishimoto, Junzo Sakakura and Other Precursors This paper compares Kikuji Ishimoto and Junzo Sakakura’s diverse efforts to translate various European approaches in their attempts to construct a Japanese modern architecture. Ishimoto was a founding member of Japan’s first modern architecture movement the Bunri-ha Kenchiku Kai (Secessionist Architecture Group). He travelled through Europe and returned to propagate Japanese International Style architecture, upholding Hans Poelzig, Bruno Taut and Walter Gropius as role models. Ishimoto’s Asahi Newspaper (1927) and Shirokiya Department Store (1928–31) projects exemplified his ambitions. In contrast, Sakakura worked for Le Corbusier for seven years and then designed the award winning Japanese Pavilion for the 1937 Paris Expo as a new Japanese International Style architecture. -
Avata ˙ Msaka Buddhism in East Asia
Offprint Avatamsaka Buddhism in˙ East Asia Huayan, Kegon, Flower Ornament Buddhism Origins and Adaptation of a Visual Culture Edited by Robert Gimello, Frédéric Girard and Imre Hamar 2012 Harrassowitz Verlag · Wiesbaden Girard.indd Abs13 23.02.2012 11:24:57 DOROTHY C. WONG The Art of Avataṃsaka Buddhism at the Courts of Empress Wu and Emperor Shōmu/Empress Kōmyō Empress Wu 武后 (624–705, r. 684–705) was a devout Buddhist and also came to power through Buddhist legitimation, proclaiming herself the Maitreya Incarnate and a Cakravartin, a universal ruler. Among the Tang rulers, she was probably one of the most ardent supporters of Buddhism.1 Her court sponsored a stellar group of Bud- dhist translators, including the Indian monk Bodhiruci (Putiliuzhi 菩提流志, d. 722), who arrived in Chang’an in 693; the Khotanese monk Śikṣānanda (Shichanantuo 實 叉難陀, 651–710), who arrived in 695 and retranslated the Avataṃsaka-sūtra (Hua- yan jing 華嚴經); and the Chinese monk Yijing 義淨 (635–713), who returned to the Tang capitals in 695 after his pilgrimage to India by way of the maritime route. In Buddhist doctrine, the two schools most closely related to Empress Wu’s spon- sorship were the Huayan and the nascent Esoteric school. She sponsored a new trans- lation of the Huayan jing, and Fazang 法藏 (643–712), considered the third patriarch of the Huayan school, was one of her most trusted advisors. In the Huayan cosmol- ogy, Vairocana is the absolute, transcendent Buddha presiding over all other Buddhas in the universe. This cosmological concept informed the iconography of the Feng- xian Temple 奉先寺 at Longmen 龍門, built in 672–675, with the colossal statue of Roshana (Lushena 盧舍那) or Vairocana (Biluzhena 毗盧遮那) presiding over the pantheon (Figure 1). -
Jonathan A. Hill, Bookseller
CATALOGUE 225 Jonathan A. Hill, Bookseller JAPANESE BOOKS, MANUSCRIPTS, & SCROLLS NEW YORK CITY 2018 Jonathan a. hill, Bookseller 325 West End Avenue, Apt. 10B New York, New York 10023-8143 telephone: 646-827-0724 fax: 212-994-9603 home page: www.jonathanahill.com Jonathan a. hill mobile: 917-294-2678 e-mail: [email protected] megumi k. hill mobile: 917-860-4862 e-mail: [email protected] yoshi hill mobile: 646-420-4652 e-mail: [email protected] memBer: International League of Antiquarian Booksellers, Antiquarian Booksellers’ Association of America & Verband Deutscher Antiquare Terms are as usual: Any book returnable within five days of receipt, pay- ment due within thirty days of receipt. Persons order- ing for the first time are requested to remit with order, or supply suitable trade references. Selective subject index at end. Residents of New York State should include appropri- ate sales tax. Catalogue 225 Jonathan a. hill, Bookseller Illustrations of Ancient Nara 1. AKISATO, Rito. Yamato Meisho Zue [trans.: A Guide to Notable Sites of the Area around Nara, the Ancient Capital]. 186 woodcut full- page illus. (of which 168 are double-page). Six vols. in seven. 8vo, orig. wrappers, orig. block printed title label on each upper cover (frayed), new stitching. Osaka: 1791. $6500.00 First edition of this richly illustrated travel guide to Nara, one in a series of similar guides to various parts of ancient Japan written by Akisato (fl. 1780-1814). He was the first to write detailed accounts of early Japan. He travelled with his artists throughout the country in order to accurately record the landmarks; his books were immediate best sellers. -
And Traditional Woodworking in Japan Mechtild Mertz
Second Edition Wood and Traditional Woodworking in Japan Mechtild Mertz KAISEISHA PRESS Second Edition Wood and Traditional Woodworking in Japan Mechtild Mertz Drawing on in-depth interviews with a wide variety of traditional craftsmen, ethnobotanist and wood anatomist Mectild Mertz offers illuminating insights into the technical and symbolic properties of Japanese wood. With a first-ever multi-lingual glossary of woodworking terms and an appendix of Japanese timber names, Wood and Traditional Woodworking in Japan is certain to become an invaluable resource for woodworkers, art historians, ethnobotanists, archaeologists, and lay people alike. “Mertz has done an outstanding job of collating an enormous amount of data into a concise and clean format . this is an excellent and long-overdue reference book that I would heartily recommend to anyone keen to know more about Japan’s culture of wood.” Douglas Woodruff, “Kyoto Journal” KAISEISHA PRESS Second Edition Wood and Traditional Woodworking in Japan Mechtild Mertz KAISEISHA PRESS © 2011, 2016 by Mechtild Mertz All rights reserved. First edition 2011. Second edition 2016. Printed in Japan ISBN978-4-86099-323-8 KAISEISHA PRESS 2-16-4 Hiyoshidai, Otsu City, Shiga Prefecture 520-0112, JAPAN Tel: +81-77-577-2677 Fax: +81-77-577-2688 http://www.kaiseisha-press.ne.jp Unless otherwise acknowledged, photographs were taken by the author. Impressive kujaku (“peacock”) fi guring on a kaki persimmon tray. (Photo by Cyril Ruoso.) Length 22.5 cm, width 22.5 cm, height 3.3 cm. Left : Kiso-hinoki cypress forest. Center: Akita-sugi cedar forest. Right: Aomori-hiba forest. (Photo by Yumoto Takakazu.) Cooked-rice container lid with an expressive Akita-sugi cedar straight grain. -
1 Chapter 5 Postmemorial Conservatism: Mobilizing Memories of the War Dead
Chapter 5 Postmemorial Conservatism: mobilizing memories of the war dead Akiko Takenaka Department of History *This is the final chapter of my book manuscript entitled: Yasukuni: Memory, Practice, Politics that examines Yasukuni Shrine, a war memorial established in 1869 in which spirits of all military dead from Japan’s modern wars are commemorated. It is a contested site that has come to represent all unresolved war crimes that Japan has committed during the Asia-Pacific War (1931-1945). In my book, I examine five key periods from the shrine’s history to demonstrate the complexities in the roles Japanese people (both military and civilian) played in Japan’s modern wars. In particular, I argue against a clear distinction between the victim and perpetrator roles during wartime, and suggests a more nuanced approach in order to enable a better understanding of Japan’s contested past. Draft: please do not quote or circulate without permission, and please pardon the incomplete footnotes… 1 Chapter 5 Postmemorial Conservatism: mobilizing memories of the war dead It is a way of life that constitutes the core of the existence of Yasukuni. The numerous eirei, who, since the upheaval that marked the end of the Edo period, sacrificed their own lives in order to protect the independence and dignity of Japan. Why are the eirei noble? Why is it necessary for all Japanese who live today to understand and respond to the noble spirit of the eirei? From the opening of the film Mitama o tsugu mono. The film Mitama o tsugu mono (To carry on the spirit of the war dead, 2008), from which I introduce the epigraph above, is aired four times daily at the Yūshūkan Museum on Yasukuni Shrine grounds. -
Style Specifications
Imagining the Organic City Modern Tropes of Organization Meike Schalk Faculty of Landscape Planning, Horticulture and Agricultural Sciences Department of Landscape Architecture/Alnarp Doctoral thesis Swedish University of Agricultural Sciences Alnarp 2007 Acta Universitatis Agriculturae Sueciae 2007: 28 ISSN 1652-6880 ISBN 978-91-576-7327-5 © 2007 Meike Schalk, Alnarp Tryck: SLU Service/Repro, Alnarp 2007 Abstract Meike Schalk (2007) Imagining the Organic City. Modern Tropes of Organization Acta Universitatis Agriculturae Sueciae. Doctoral Thesis No 2007:28 ISSN:1652-6880 ISBN:978-91-576-7327-5 This thesis examines three ’organic tropes’ of modern architecture and urban design, addressing different crucial moments of change within modernist discourse. Attention is focused on the institutionalization of ‘town planning’ at the turn of the last century; the shift during the post-war years; and the beginning of urban debate in Japan during the early 1960s. The study builds upon the thesis that ‘the organic’ constitutes a basic trope of a modernism that reinvents the term over and over again. In its ambivalent relationship to modernity, which it both embraces and rejects, the organic hovers between progressivist and nostalgic imaginations. There has been relatively little enquiry into ‘the organic’ as part of the larger system of modernism in architecture and urbanism. This is because of its unclear identity. Historically, urban organic rhetoric emerged in times of change, revision, or when a debate about basic principles of planning practice was at stake, in times that were experienced as crisis. The rhetoric of the organic springs from the desire or need to reconcile conflicting parts into a coherent whole.