Appropriative Strategies in a New Phoenix Hall Scripture
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Maria-Kannon: Mary, Mother of God, in Buddhist Guise Maria Reis-Habito
Marian Studies Volume 47 Marian Spirituality and the Interreligious Article 8 Dialogue 1996 Maria-Kannon: Mary, Mother of God, in Buddhist Guise Maria Reis-Habito Follow this and additional works at: https://ecommons.udayton.edu/marian_studies Part of the Religion Commons Recommended Citation Reis-Habito, Maria (1996) "Maria-Kannon: Mary, Mother of God, in Buddhist Guise," Marian Studies: Vol. 47, Article 8. Available at: https://ecommons.udayton.edu/marian_studies/vol47/iss1/8 This Article is brought to you for free and open access by the Marian Library Publications at eCommons. It has been accepted for inclusion in Marian Studies by an authorized editor of eCommons. For more information, please contact [email protected], [email protected]. Reis-Habito: Maria-Kannon: Mary in Buddhist Guise MARIA-KANNON: THE MOTHER OF GOD IN BUDDIDST GUISE Maria Reis-Habito, Ph.D.* Introduction On March 17, 1865, Father Petitjean, a French missionary in Japan, saw a group of about fifteen people-women, men and children-approach the church that he had built in Nagasaki. It was one of the first churches to be established inJapan since the persecution of Christians almost three hundred years ear lier at the beginning of the Edo Period (1600-1868). Father Petitjean opened the church and then knelt at the altar. Three middle-aged women approached him, knelt beside him, and one of them whispered: "All of us have the same heart as you." "Indeed?" asked the astonished priest. "Where do you come from?" he asked. "We are all from Urakami, where nearly all -
From the Lands of Asia
Education Programs 2 3 TABLE OF CONTENTS Preparing students in advance p. 4 Vocabulary and pronunciation guide pp. 5–8 About the exhibition p. 9 The following thematic sections include selected objects, discussion questions, and additional resources. I. Costumes and Customs pp. 10–12 II. An Ocean of Porcelain pp. 13–15 III. A Thousand Years of Buddhism pp. 16–19 IV. The Magic of Jade pp. 20–23 Artwork reproductions pp. 24–32 4 PREPARING STUDENTS IN ADVANCE We look forward to welcoming your school group to the Museum. Here are a few suggestions for teachers to help to ensure a successful, productive learning experience at the Museum. LOOK, DISCUSS, CREATE Use this resource to lead classroom discussions and related activities prior to the visit. (Suggested activities may also be used after the visit.) REVIEW MUSEUM GUIDELINES For students: • Touch the works of art only with your eyes, never with your hands. • Walk in the museum—do not run. • Use a quiet voice when sharing your ideas. • No flash photography is permitted in special exhibitions or permanent collection galleries. • Write and draw only with pencils—no pens or markers, please. Additional information for teachers: • Please review the bus parking information provided with your tour confirmation. • Backpacks, umbrellas, or other bulky items are not allowed in the galleries. Free parcel check is available. • Seeing-eye dogs and other service animals assisting people with disabilities are the only animals allowed in the Museum. • Unscheduled lecturing to groups is not permitted. • No food, drinks, or water bottles are allowed in any galleries. -
Types of Chinese Swords There Are Generally Five Types of Swords in Chinese History, They Are Jian, Zhanmadao, Liuyedao, Wodao and Yanmaodao
Types of Chinese Swords There are generally five types of swords in Chinese history, they are Jian, Zhanmadao, Liuyedao, Wodao and Yanmaodao. The jian is a double-edged straight sword used during the last 2,500 years in China. The first Chinese sources that mention the jian date to the 7th century BC during the Spring and Autumn Period;one of the earliest specimens being the Sword of Goujian. Historical one-handed versions have blades varying from 45 to 80 cm (17.7 to 31.5 inches) in length. The weight of an average sword of 70- centimeter (28-inch) blade-length would be in a range of approximately 700 to 900 grams (1.5 to 2 pounds). There are also larger two-handed versions used for training by many styles of Chinese martial arts. The zhanmadao is a saber with a single long broad blade, and a long handle suitable for two-handed use. Dating to 1072, it was used as an anti-cavalry weapon. This is mentioned in the "Wu Jing Zong Yao Song Military Manual" from 1072. Surviving examples include a sword that might resemble a nagamaki in construction; it had a wrapped handle 37 cm long making it easy to grip with two hands. The blade was 114 centimetres long and very straight with a slight curve in the last half. The liuye dao, or "willow leaf saber", is a type of Dao that was commonly used as a military sidearm for both cavalry and infantry during the Ming and Qing dynasties. This weapon features a moderate curve along the length of the blade. -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 12D: Sōgen‐ga Sōgenga, the title Iʹve given to this next section, is simply the Japanese pronunciation of Song Yuan hua 宋元畫/ 宋元画, or Song and Yuan painting. But Iʹve used it loosely for the kind of Song and Yuan paintings preserved mainly in Japan, many representing types unknown in China, and what we call Chan painting is prominent among them. I gave a seminar at U.C. Berkeley under this title, and then organized an exhibition of the same title, made up of paintings of this kind as kept in our University Art Museum, along with examples borrowed from dealers in Japan. It was a small and quiet exhibition that didnʹt get much publicity, didnʹt cost much (we had a $5,000 grant from the Society for Asian Art in San Francisco), and produced only a very modest catalog. But Iʹm still devoted to this kind of painting, which I know well from many years of making the rounds of Japanese collectors and dealers, so Iʹve devoted this section of my last lecture to it. So if this section is seen by any multimillionaire who wants to build a collection of these paintings, and maybe a museum of them, get in touch with me for some introductions and advice. For the rest of you, just enjoy them and try to pay more attention to them in the future. -
Bronze Age Swordsmanship: New Insights from Experiments and Wear Analysis
Journal of Archaeological Method and Theory (2020) 27:1040–1083 https://doi.org/10.1007/s10816-020-09451-0 Bronze Age Swordsmanship: New Insights from Experiments and Wear Analysis Raphael Hermann1 & Andrea Dolfini2 & Rachel J. Crellin3 & Quanyu Wang4 & Marion Uckelmann5 Published online: 17 April 2020 # The Author(s) 2020 Abstract The article presents a new picture of sword fighting in Middle and Late Bronze Age Europe developed through the Bronze Age Combat Project. The project investigated the uses of Bronze Age swords, shields, and spears by combining integrated experi- mental archaeology and metalwork wear analysis. The research is grounded in an explicit and replicable methodology providing a blueprint for future experimentation with, and wear analysis of, prehistoric copper-alloy weapons. We present a four-step experimental methodology including both controlled and actualistic experiments. The experimental results informed the wear analysis of 110 Middle and Late Bronze Age swords from Britain and Italy. The research has generated new understandings of prehistoric combat, including diagnostic and undiagnostic combat marks and how to interpret them; how to hold and use a Bronze Age sword; the degree of skill and training required for proficient combat; the realities of Bronze Age swordplay including the frequency of blade-on-blade contact; the body parts and areas targeted by prehis- toric sword fencers; and the evolution of fighting styles in Britain and Italy from the late 2nd to the early 1st millennia BC. All primary data discussed in the article are available as supplementary material (Appendix) so as to allow scrutiny and validation of the research results. -
Weaponry During the Period of Disunity in Imperial China with a Focus on the Dao
Weaponry During the Period of Disunity in Imperial China With a focus on the Dao An Interactive Qualifying Project Report Submitted to the Faculty Of the WORCESTER POLYTECHNIC INSTITUTE By: Bryan Benson Ryan Coran Alberto Ramirez Date: 04/27/2017 Submitted to: Professor Diana A. Lados Mr. Tom H. Thomsen 1 Table of Contents Table of Contents 2 List of Figures 4 Individual Participation 7 Authorship 8 1. Abstract 10 2. Introduction 11 3. Historical Background 12 3.1 Fall of Han dynasty/ Formation of the Three Kingdoms 12 3.2 Wu 13 3.3 Shu 14 3.4 Wei 16 3.5 Warfare and Relations between the Three Kingdoms 17 3.5.1 Wu and the South 17 3.5.2 Shu-Han 17 3.5.3 Wei and the Sima family 18 3.6 Weaponry: 18 3.6.1 Four traditional weapons (Qiang, Jian, Gun, Dao) 18 3.6.1.1 The Gun 18 3.6.1.2 The Qiang 19 3.6.1.3 The Jian 20 3.6.1.4 The Dao 21 3.7 Rise of the Empire of Western Jin 22 3.7.1 The Beginning of the Western Jin Empire 22 3.7.2 The Reign of Empress Jia 23 3.7.3 The End of the Western Jin Empire 23 3.7.4 Military Structure in the Western Jin 24 3.8 Period of Disunity 24 4. Materials and Manufacturing During the Period of Disunity 25 2 Table of Contents (Cont.) 4.1 Manufacturing of the Dao During the Han Dynasty 25 4.2 Manufacturing of the Dao During the Period of Disunity 26 5. -
View Book Inside
YMAA PUBLICATION CENTER YMAA is dedicated to developing the most clear and in-depth instructional materials to transmit the martial legacy. Our books, videos and DVDs are created in collab- oration with master teachers, students and technology experts with a single-minded purpose: to fulfill your individual needs in learning and daily practice. This downloadable document is intended as a sample only. To order this book, please click on our logo which will take you to this product’s page. An order button can be found at the bottom. We hope that you enjoy this preview and encourage you to explore the many other downloadable samples of books, music, and movies throughout our website. Most downloads are found at the bottom of product pages in our Web Store. Did you know? • YMAA hosts one of the most active Qigong and martial arts forums on the internet? Over 5,000 registered users, dozens of categories, and over 10,000 articles. • YMAA has a free quarterly newsletter containing articles, interviews, product reviews, events, and more. YMAA Publication Center 1-800-669-8892 [email protected] www.ymaa.com ISBN671 cover layout 2/14/07 10:17 AM Page 1 Martial Arts/Asian Studies/Military History E1002 A A One-of-a-Kind Reference N for Scholars and Martial Artists C I E Many Martial Artists, once they reach a certain level of proficiency with their N T barehand fighting forms, choose to expand their knowledge to include weapons C techniques. But what weapon to choose? Over the past 5000 years, the Chinese H I have developed a vast array of weapons, built for a multitude of purposes. -
Copyright 2016 Junghwan Maeng
CORE Metadata, citation and similar papers at core.ac.uk Provided by Illinois Digital Environment for Access to Learning and Scholarship Repository Copyright 2016 Junghwan Maeng DAO AS A VERBAL SUFFIX IN CHINESE VERBS BY JUNGHWAN MAENG THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in East Asian Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Adviser: Professor Jerome Packard Abstract This thesis focuses on the resultative ending dao as a suffix to Chinese verbs. Although dao is commonly understood as a mono-morphemic verb, a preposition or a verbal complement, little attention has been given to its function as a verbal suffix. This study attempts to highlight the inflectional nature of dao first by elaborating its differences from the virtually synonymous resultative ending jian in the case of perception verbs. Based on a stativity test proposed by Lakoff (1965), it was able to prove that dao has more inflectional features compared to the jian counterpart as it shows higher compatibility with intentionality adverbs and more natural occurrences in imperative contexts. However, since the initial research only deals with a limited amount of perception verbs that allow both jian and dao as a resultative ending, it is insufficient to prove whether dao actually operates as a verbal suffix in other types of perception verbs. Thus, a wider range of perception verbs that do not take jian but dao as a resultative ending were analyzed to explore dao’s inflectional nature to Chinese perception verbs. Using Vendler’s verb classification (1965) and corpus data analysis, it was able to show that dao is the most frequent grammatical morpheme to occur directly after perception verbs and has a function of assigning the feature of achievement verb to the entire verb compound. -
Download Chapter (PDF)
Illustrations Figure 1.1 Original Vow of the Bodhisattva Kshitigarbha Sutra 15 Figure 1.2 Jin Dashou, King of Hell 16 Figure 1.3 Bodhidharma Crossing the Yangzi River on a Reed 17 Figure 1.4 Attributed to Zhiweng, Meeting between Yaoshan and Li Ao 17 Figure 1.5 The Three Teachings 18 Figure 1.6 Incantations to Guanyin Bodhisattva for Rescue from All Di◊culties 18 Figure 1.7 Amitabha with Two Attending Bodhisattvas 19 Figure 1.8 Buddhas of the Three Generations 23 Figure 1.9 The Fifth Lohan, Nakula 24 Figure 1.10 Portrait of the Priest Yinyuan 26 Figure 1.11 Li Yaofu, Bodhidharma Crossing the Yangzi on a Reed 27 Figure 3.1 Zhang Jizhi, Two Poems by Du Fu 74 Figure 3.2 Zhang Jizhi, Diamond Sutra 75 Figure 3.3 Zhang Jizhi, Feiming tie 76 Figure 3.4 Zhang Xiaoxiang, Epitaph for Meditation Master Hongzhi 77 Figure 3.5 Chu Suiliang, Preface to the Buddhist Canon 77 Figure 3.6 Zhang Xiaoxiang, Colophon to Huang Tingjian, Poem on the Shrine to the Spirit of Ma Fubo 77 Figure 3.7 Fan Chengda, Memorial Poem for Meditation Master Fozhao 78 Figure 3.8 Zhao Mengfu, Record of the Miaoyan Monastery 79 Figure 5.1 Map of the Chongshan Monastery 118 Figure 5.2 Attributed to Jiang Zicheng, The Generalissimo of Wen 123 Figure 5.3 Attributed to Shang Xi, Four Immortals Honoring the God of Longevity 124 Figure 5.4 Attributed to Shang Xi, General Guan Yu Capturing Pang De 125 Figure 5.5 Wan Fuqing, Wang Shu, and others, Brahma and Attendants 126 Figure 5.6 Vairocana 127 Figure 5.7 Guanyin by a Lotus Pond 128 Figure 5.8 Bronze hall of Manjushri, Great Xiantong -
Sword & Stick Society
Publisher Steven K. Dowd Contributing Writers Emmanuel ES Querubin Dr. Christopher M. Viggiano Louelle Lledo Tristan Jay Mendoza Nickie C. Esmero Contents From the Publishers Desk About Sword Stick Society International Amara Arkanis - Mataw Guro Louelle Lledo Shen Wu Dao - Dr. Christopher M. Viggiano Filipino Blade of Engagement - Way of the Knife FMA East Coast Gatherings 1st FMA Gathering 2nd FMA Gathering 3rd FMA Gathering 4th FMA Gathering Students of Amara Arkanis Rick Argenti David H. McMillan Gary L. Cleveland Tristan Jay Mendoza Warren A. Davenport Renee A. Messina Bill G. Debuque Ronald J. Parente Alan Flordeliza Linda D Roach Bernie Griffin Phil Weathers Christian L. Herrera Remembering Punong Guro Mark Lledo A Tribute to Punong Guro Mark Lledo Mga Mantas ng Amara Arkanis Philippines In Honorable Memory of Guro Mark L. Lledo Condolences Rodrigo “Ding” P. Bago President Elect, Kiwanis Club of Indang - Walang Tinag Punong Guro Ipe Penales, Jr. Guro Isaac Vida Felipe M. Penales Jr. Educational Depot Filipino Martial Arts Digest is published and distributed by: FMADigest 1297 Eider Circle Fallon, Nevada 89406 Visit us on the World Wide Web: www.fmadigest.com The FMAdigest is published quarterly. Each issue features practitioners of martial arts and other internal arts of the Philippines. Other features include historical, theoretical and technical articles; reflections, Filipino martial arts, healing arts and other related subjects. The ideas and opinions expressed in this digest are those of the authors or instructors being interviewed and are not necessarily the views of the publisher or editor. We solicit comments and/or suggestions. Articles are also welcome. -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 12B: The Beginnings of Chan (Zen) Painting and Muqi Important references and readings for Chan painting: Helmut Brinker and Hiroshi Kanazawa, Zen Masters of Meditation in Images and Writings. Honolulu, HI: University of Hawaii Press, 1996. Major publication. Contains history of Chan/Zen; Chapters on ʺZen Aestheticism and Theory of Art,ʺ ʺZen symbols and Metaphors,ʺ etc. Careful studies of many kinds of Zen painting. Helmut Brinker, Zen in the Art of Painting. London and New York: Arkanat, 1987. Shorter, easier to read. Gregory Levine, et al. Awakenings: Zen Figure Painting in Medieval Japan. New Haven: Yale University Press, 2007. I just read the essay “Two (or More) Truths: Reconsidering Zen Art in the West,” by my younger colleague at U.C. Berkeley, Greg Levine, in the Awakenings exhibition catalog about writings on ʺChan/Zen art,ʺ and would be frightened off attempting this lecture if I were not too old and impenetrable for that. Good essay, anyway. Background for Chan Painting: Likelihood of art‐historical connection of Chan painting to literati painting is very strong, but the evidence for that has not been explored enough by others. Several of Su Dongpo’s group, especially Huang Tingjian, were strongly devoted to Chan, although came mainly from Neo‐ Confucian background. 12.7.1‐13: Fanlong 梵隆 (monk‐painter, active early 12th c., follower of Li Gonglin 李公麟), Sixteen Arhats, handscroll, ink on paper, 12 in. -
Anthony Kuntz Martial Arts
Anthony Kuntz E-mail: [email protected] § MARTIAL ARTS EDUCATION Studied Chinese Kung Fu 2001 - Present Trained in the following styles: - Northern Praying Mantis - Ba Gua Zhang - Ba Ji Quan - Mi Zong Quan - Xiao Lin Quan - Pi Gua Zhang Proficient with the following weapons: - Staff - Straight sword - Broad sword - Double-handed straight sword - Double broad swords - Spear - Miao dao - Long-tasseled sword - Nine section steel whip chain - Monk's spade WORK EXPERIENCE Wu Tang Center for Martial Arts September 2010 — Present Kung Fu Instructor Instructed children at the Chinese Academy of Cleveland. Instructed students of Old Trail Middle School. Assisted in instruction of children at Shaw Jewish Center of Akron. HONORS AND AWARDS Kung fu Tournament Results from 2008 to present: Tournament: 11-29-08 ICKF 2nd International Taichi Chuan Tournament: KAOHSIUNG, Taiwan Awards:3 gold medals, 1 bronze medal, and third place overall team award Events: Anthony Kuntz 1 1. Advanced Hand Forms - Teens 2. Advanced Weapon - Teens Tournament:8-8-09 2nd Annual International Chinese Martial Arts Championship: Las Vegas Awards:4th and 5th Events: 1. Advanced Traditional Hand Forms - Teens 2. Advanced Traditional Long Weapon - Teens Tournament: 10-3-09 International Warrior Hall of Fame Open: Medina, Ohio Awards:3 gold medals Events: 1. Advanced Traditional Hand Forms - Teens 2. Advanced Traditional Long Weapon - Teens 3. Advanced Traditional Short Weapon - Teens Tournament: 12-5-2009 ICMAC World Championship: Nassau, Bahamas Awards:2 gold medals Events: 1. Advanced Traditional Hand Forms - Teens 2. Advanced Traditional Long Weapon - Teens Tournament: 1-23-2010 ICMAC National Kick-off: San Diego Awards:3 gold medals Events: 1.