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VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン＝ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS -
Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance. -
BUNRAKU Puppet Theater Brings Old Japan to Life
For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ BUNRAKU Puppet theater brings old Japan to life The puppet theater unraku is Japan’s professional puppet of the operators make the puppet characters stage B theater. Developed primarily in the 17th and their stories come alive on stage. The bunraku (puppet and 18th centuries, it is one of the four forms theater) stage is specially constructed of Japanese classical theater, the others being History of Bunraku to accommodate kabuki, noh, and kyogen. The term bunraku three-person puppets. The puppeteers operate comes from Bunraku-za, the name of the only Already in the Heian period (794–1185), from a pit behind a railing commercial bunraku theater to survive into at the front of the stage. itinerant puppeteers known as kugutsumawashi © Degami Minoru the modern era. Bunraku is also called ningyo traveled around Japan playing door-to- joruri, a name that points to its origins and door for donations. In this form of street essence. Ningyo means “doll” or “puppet,” entertainment, which continued up through and joruri is the name of a style of dramatic the Edo period, the puppeteer manipulated narrative chanting accompanied by the three- two hand puppets on a stage that consisted stringed shamisen. of a box suspended from his neck. A number Together with kabuki, bunraku developed of the kugutsumawashi are thought to have as part of the vibrant merchant culture of settled at Nishinomiya and on the island of the Edo period (1600–1868). -
Schaftliches Klima Und Die Alte Frau Als Feindbild
6 Zusammenfassung und Schluss: Populärkultur, gesell- schaftliches Klima und die alte Frau als Feindbild Wie ein extensiver Streifzug durch die großstädtische Populärkultur der späten Edo-Zeit gezeigt hat, tritt darin etwa im letzten Drittel der Edo-Zeit der Typus hässlicher alter Weiber mit zahlreichen bösen, ne- gativen Eigenschaften in augenfälliger Weise in Erscheinung. Unter Po- pulärkultur ist dabei die Dreiheit gemeint, die aus dem volkstümlichen Theater Kabuki besteht, den polychromen Holzschnitten, und der leich- ten Lektüre der illustrierten Romanheftchen (gōkan) und der – etwas gehobenere Ansprüche bedienenden – Lesebücher (yomihon), die mit einem beschränkten Satz von Schriftzeichen auskamen und der Unter- haltung und Erbauung vornehmlich jener Teile der Bevölkerung dien- ten, die nur eine einfache Bildung genossen hatten. Durch umherziehen- de Leihbuchhändler fand diese Art der Literatur auch über den groß- städtischen Raum hinaus bis hin in die kleineren Landflecken und Dör- fer hinein Verbreitung. Die drei Medien sind vielfach verschränkt: Holzschnitte dienen als Werbemittel für bzw. als Erinnerungsstücke an Theateraufführungen; Theaterprogramme sind reich illustrierte kleine Holzschnittbücher; die Stoffe der Theaterstücke werden in den zahllo- sen Groschenheften in endlosen Varianten recyclet; in der Heftchenlite- ratur spielt die Illustration eine maßgebliche Rolle, die Illustratoren sind dieselben wie die Zeichner der Vorlagen für die Holzschnitte; in einigen Fällen sind Illustratoren und Autoren identisch; Autoren steuern Kurz- texte als Legenden für Holzschnitte bei. Nachdrücklich muss der kommerzielle Aspekt dieser „Volkskultur“ betont werden. In allen genannten Sparten dominieren Auftragswerke, die oft in nur wenigen Tagen erledigt werden mussten. Die Theaterbe- treiber ließen neue Stücke schreiben oder alte umschreiben beziehungs- weise brachten Kombinationen von Stücken zur Aufführung, von wel- chen sie sich besonders viel Erfolg versprachen. -
The Dharma for Sovereigns and Warriors
Japanese Journal of Religious Studies 2002 29/1-2 The Dharma for Sovereigns and Warriors Onjo-ji^ しlaim for Legitimacy in Tengu zoshi H aruko Wakabayashi One of the recurring themes depicted in the i engu zoshi, a set of seven scrolls dated 1296，is the conflict among established temples of Nara and Kyoto. The present article focuses particularly on the dispute between Enryaku-ji (sanmon) and Onjo-ji {jimon) that took place during the thir teenth century as it is depicted in Tengu zoshi. The analysis of the texts, both visual and verbal, reveals that the scrolls are more sympathetic to Onjo-ji than Enryaku-ji. This is evident especially when the verbal texts of the Onjo-ji and Enryaku-ji scrolls are compared. Closer examination of the scrolls also shows that Onjo-ji claims superiority over all other established temples. This study shows how the scrolls reveal the discourse formed by the temples during disputes in the late Kamakura period in order to win sup port from political authorities. Tengu zoshi, therefore, in addition to being- a fine example of medieval art, is also an invaluable source for historical studies of late Kamakura Buddmsm. Keywords: Tengu zoshi —— Onjo-ji — Enryaku-ji — obo buppo soi — narrative scroll (emaki) — ordination platform (kaidan) Tengu zoshi 天狗草紙 is a set of narrative scrolls {emaki,絵巻）dated to 1296.1 The set consists of seven scrolls: the Kofuku-ji 興福寺，Todai-ji fhis article is based on a chapter of my doctoral dissertation, and was revised and pre sented most recently at the Setsuwa Bungakukai in Nagoya, December 2001.I wish to thank Kuroda Hideo, Abe Yasuro, Harada Masatoshi, and my colleagues Saito Ken’ichi，Fujiwara Shigeo, and Kuroda Satoshi for reading and commenting on my drafts. -
Understanding Japan: a Cultural History by Professor Mark J
R E S O U R C E S T H E G R E A T C O U R S E S Understanding Japan: A Cultural History By Professor Mark J. Ravina Produced by The Great Courses (Chantilly, VA: The Teaching Company/Smithsonian, 2015) Twelve CDs with printed guidebook, six DVDs with printed guidebook, or download with digital guidebook Reviewed by Eric G. Dinmore While serving as President of the American Historical Association, William Cronon of the University of Wisconsin- Madison delivered one of the most inspiring addresses in years at that organization’s 2013 annual meeting in New Or - leans. Rather than promote an emerging subfield or present from his impressive original research, Professor Cronon used his time to focus on deep concerns he held about the diminished profile of professional historians in public life and the decline in public funding for history. To counter these trends, he urged his audience members to “come back from the cutting edge,” avoid “self-referential in - sider language,” and persuade the wider public of history’s importance and fascina - tions. Further, he reminded his fellow historians of the importance of good storytelling and passionate undergraduate teaching as keys “to keep asking what the past means and why ordinary people should care about it.” Professor Cronon called upon professional historians to join forces with other storytellers, including journal - ists and filmmakers, and to embrace the digital revolution as an opportunity to (re)connect their research with the concerns of outsiders. 1 Since well before Professor Cronon’s AHA presidential address, Mark Ravina of Emory University has worked hard to connect the uninitiated with the field of Japan - ese history. -
Japanese Didactic Gunsho Commentaries in the Edo Period: a Study of the 17Th C
WRITTEN MONUMENTS OF THE ORIENT. Vol. 6, No. 2 (12), 2020, p. 93–113 93 Alexey Lushchenko Japanese Didactic Gunsho Commentaries in the Edo Period: A Study of the 17th c. Commentary on the Heike Monogatari DOI 10.17816/wmo56802 Abstract: The Heike monogatari hyōban hidenshō is an anonymous 17th c. commentary on the medieval Heike monogatari. As a military studies text (gunsho) written for Edo-pe- riod warriors, the commentary differs substantially from the Heike monogatari in content and purpose. It consists of didactic essays that critically evaluate passages from the Heike monogatari and also includes fi ctional stories that expand and reinterpret the content of the Heike monogatari. The commentary’s content focuses on topics of governance, strategy, and ethics. In the 17th c., such gunsho commentaries functioned as educational texts with advice and admonition addressed to daimyo lords and warriors in general. As a didactic military studies text, the Heike monogatari hyōban hidenshō reveals a new facet of recep- tion of the Heike monogatari in the Edo period. Key words: Japan, Edo period, gunsho, didactic commentaries, gunki monogatari, Heike monogatari hyōban hidenshō, intellectual history, education Introduction The Tale of the Heike (Heike monogatari 平家物語, 13th c. CE), a well- known medieval Japanese “war tale” (gunki monogatari 軍記物語), narrates events of the late 12th c. with a focus on the Genpei 源平 confl ict (1180– 1185 CE) and the rise and fall of the Heike 平家 clan. For many centuries this major historical and literary text has infl uenced Japanese arts and culture. Studies of reception history of this text tend to examine visual arts, theatrical performances, and literary texts intended for entertainment. -
Visualising the Tales of Genji and Heike on the Folding Screen
Swarthmore College Works Art & Art History Faculty Works Art & Art History 2009 Unfolding Narratives: Visualising The Tales Of Genji And Heike On The Folding Screen Tomoko Sakomura Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-art Part of the Asian Art and Architecture Commons Let us know how access to these works benefits ouy Recommended Citation Tomoko Sakomura. (2009). "Unfolding Narratives: Visualising The Tales Of Genji And Heike On The Folding Screen". The Golden Journey: Japanese Art From Australian Collections. 78-89. https://works.swarthmore.edu/fac-art/30 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Enfolding narratives: Visualising the tales of Genji AND HEIKE on the EOLDING SCREEN Ihe celebrated Japanese narratives, The tale of Genji (Genji monogatari) (p. 83) and The tales of Heike (Tleike monogatari) (pp. 76-7) are the subject of three folding screens {bydbu) in the collection of the Art Gallery of South Australia. The tale of Genji, authored around the turn of the eleventh century by Lady Murasaki Shikibu (died C.1014), is a courtly epic of fifty-four chapters which chronicles the life, loves and heirs of the protagonist Genji, an ideal courtier nicknamed the ‘Shining Lord’.^ The tales of Heike, with its best-known variant recorded in the mid-thirteenth century, is a warrior tale of twelve books, which centres around the tragic destruction of the Taira hy the Minamoto during the Genpei War (1180-85). -
Asiatic Society of Japan
http://e-asia.uoregon.edu TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London INTRODUCTION. Subject and Structure .---The Heike Monogatari, one of the masterpieces of Japanese literature, and also one of the main sources of the history of the Gempei period, is a poetic narrative of the fall of the Heike from the position of supremacy it had gained under Taira Kiyomori to almost complete destruction. The Heike, like the Genji, was a warrior clan, but had quickly lost its hardy simplicity under the influence of life in the Capital, and identified itself almost entirely with the effeminate Fujiwara Courtiers whose power it had usurped, so that the struggle between it and the Genji was really more one between courtiers and soldiers, between literary officials and military leaders. Historically this period stands between the Heian era of soft elegance and the Kamakura age of undiluted militarism. The Heike were largely a clan of emasculated Bushi, and their leader Kiyomori, though he obtained his supremacy by force of arms, assumed the role of Court Noble and strove to rule the country by the same device of making himself grandfather to the Emperor as the Fujiwara family had previously done. -
The Samurai in JAPANESE HISTORY
ONCE AND FUTURE WARRIORS The Samurai IN JAPANESE HISTORY By Karl Friday he samurai exercise a powerful hold on popular imaginations, both in and out of Japan, rival- T ing cherry blossoms, geisha, and Sony as Japanese cultural icons. Emerging during the early part of the Heian period (794–1185), these war- riors—known as bushi, tsuwamono, musha, mononofu, and other names at various times in their history—dominated the political and economic land- scape by the early 1200s, and ruled outright from the late fourteenth to the late nineteenth century. Their story is, therefore, central to the history of premodern and early modern Japan, and has become the subject of dozens of popular and scholarly books. It also inspires a veritable Mt. Fuji of misperceptions and misin- formation—a karate instructor in Japan once told me of a New Zealand man who came to live and train with him, and who was absolutely convinced that samurai were still living on some sort of reservation on the back side of a nearby mountain! Until a generation ago, scholars pondering the samurai were Detail from the Mounted Warrior all-too-readily seduced by perceptions of an essential similarity Hanging scroll; ink and color on silk between conditions in medieval Japan and those of northwestern Nanbokuch¯o period, fourteenth century Agency for Cultural Affairs, Tokyo. Important Cultural Europe. Samurai and daimy¬ (the regional military lords who Property Image source: Japan: The Shaping of Daimyo Culture 1185–1868, emerged during Japan’s late medieval age) were equated with edited by Yoshiaki Shimizu. Published by the National Gallery of Art, Washington, 1988 knights and barons; and theories on the origins and evolution of the samurai were heavily colored by conceptions of how the knights and their lords had come to be. -
The Heian Period
A Companion to Japanese History Edited by William M. Tsutsui Copyright © 2007 by Blackwell Publishing Ltd CHAPTER TWO The Heian Period G. Cameron Hurst III Heian is Japan’s classical age, when court power was at its zenith and aristocratic culture flourished. Understandably, it has long been assiduously studied by historians. The Heian period is the longest of the accepted divisions of Japanese history, covering almost exactly 400 years. Its dates seem obvious: ‘‘The Heian period opened in 794 with the building of a new capital, Heian-kyo¯, later known as Kyoto. The Heian period closed in 1185 when the struggle for hegemony among the warrior families resulted in the victory of Minamoto no Yoritomo and most political initiatives devolved into his hands at his headquarters at Kamakura.’’1 Although the establishment of a new capital would seem irrefutable evidence of the start of a new ‘‘period,’’ some argue that the move of the capital from Nara to Nagaoka in 784 better marks the beginning of the era. Indeed, some even consider the accession of Emperor Kammu in 781 a better starting date. Heian gives way to the next period, the Kamakura era, at the end of the twelfth century and the conclusion of the Gempei War. The end dates are even more contested and include (1) 1180 and Taira no Kiyomori’s forced move of the capital to Fukuhara; (2) 1183 and the flight of the Taira from the capital; (3) 1185, the end of the war and Retired Emperor Go-Shirakawa’s confirmation of Minamoto no Yoritomo’s right to appoint shugo and jito¯; or (4) 1192 and Yoritomo’s appointment as sho¯gun. -
The History of Law in Japan, Through Historical Sources Murakami Kazuhiro & Nishimura Yasuhiro Eds. Translated and Interpret
The History of Law in Japan, Through Historical Sources Murakami Kazuhiro & Nishimura Yasuhiro eds. Translated and Interpreted by Dan Sherer Lecture 3: The Judicial Formulary of 1232 and Medieval Law Traditionally, schoolchildren in Japan have been taught that the Kamakura shogunate began in 1192, when Minamoto no Yoritomo (1147-99) was appointed Barbarian-subduing Generalissimo (seii taishōgun, hereafter “shogun”) by the monarch’s court. Lately, however, the trend has been to teach 1185, the year when Yoritomo defeated the Ise Taira, defeated and killed his brother Minamoto no Yoshitsune, and appointed the first military governors and land stewards. Other possibilities have also been put forward as well, including the year Yoritomo raised troops against the Taira in Izu and entered Kamakura (1180), the year that the Taira escaped westward and Go-Shirakawa gave his official imprimatur to Yoritomo’s rule in the east (1183), and the year of Yoritomo’s appointment as Captain of His Majesty’s Inner Palace Guards of the Right (1190). The beginning of the “Kamakura shogunate” is ambiguous. In Japanese schools the focus is on military governance, which began with Yoritomo as the shogun in Kamakura and the initiator of 1 warrior government—the shogunate—that endured until the modern period (the third shogunate, that of the Tokugawa shoguns, was disestablished in 1868). Setting its beginning in 1192, in contrast, emphasizes longer term shogunate-court relations that are vital to understanding medieval Japanese history. According to this narrative, military organization allowed Yoritomo to succeed in the Gempei Wars (1180-85). The houseman (gokenin) and land steward (jitô) systems, as the foundations of the shogunal lord-and-retainer relationship, were subsequently enabled by the relationship between the Kyoto court and the Kamakura shogunal government.