DOCSLIB.ORG

Framing a Foreign God: the Tamamushi Shrine and the Opportunities of Buddhism in Early Japan by Chun Wa Chan a Dissertation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Framing a Foreign God: the Tamamushi Shrine and the Opportunities of Buddhism in Early Japan by Chun Wa Chan a Dissertation Framing a Foreign God: The Tamamushi Shrine and the Opportunities of Buddhism in Early Japan by Chun Wa Chan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2018 Doctoral Committee: Associate Professor Kevin Carr, Chair Associate Professor Nachiket Chanchani Associate Professor Joan Kee Professor Hitomi Tonomura Chun Wa Chan [email protected] ORCID iD: 0000-0001-6373-7294 © Chun Wa Chan 2018 Acknowledgements This project began to take shape in 2013 during a graduate seminar about the visual culture of Buddhist art in Japan. In addition to his influence as convener of that seminar, I owe the greatest debt of gratitude to my advisor, Kevin Carr, not only because he recognized even then the worth of the Tamamushi Shrine as a dissertation topic, but also for his faithful guidance, support, and encouragement. He is always generous with his time and judgment, and his instruction throughout my graduate studies has been instrumental to my thinking about Asian art history and to this project in particular. I would also like to warmly thank the other members of my dissertation committee, Joan Kee, Nachiket Chanchani, and Hitomi Tonomura, for their discerning comments and suggestions. I would especially like to thank Joan Kee for her inspirational course on scale that informed the theoretical framework of this project, Hitomi Tonomura for her insightful instruction on approaching the history of gender in Japan and on reading primary sources, and Nachiket Chanchani for his stimulating seminar that kindled my interest in architecture. This dissertation is stronger because of their participation, and any remaining weaknesses or missteps are purely my own responsibility. Inamoto Yasuo of Kyoto University, Japan, gave freely of his time and extensive knowledge of Buddhist art during my research period there and skillfully arranged for me to examine works at the temples and museums at Nara. Because of his generous spirit and the dear friends I made there, I felt completely welcomed into the art history department at Kyoto. Additionally, I thank Nedachi Kensuke for allowing me to attend his highly informative lectures on Buddhist art in early Japan, and Okamura Hidenori for allowing me to participate his rigorous ii seminars on Yungang cave temples. I have also benefited greatly from presenting different aspects of this project at several conferences, which I received valuable feedback from many individuals, in particular Celeste Brusati, Paroma Chatterjee, Megan Holmes, Martin Powers, Elizabeth Sears, Patricia Simons, Achim Timmermann, Claire Zimmerman, Tracy Miller, Stanley Abe, Bryan Lowe, Takagishi Akira, Melissa McCormick, Yukio Lippit, Masuki Ryūsuke, Yeewan Koon, Roslyn Hammers, Greg Thomas, Frank Feltens, and James Ulak. Tomara Yū, my senpai-mentor at Kyoto University, helped me slog through the translation of passages that were critical to this project. The many conversation with friends in the art history cohorts of both the University of Michigan and Kyoto University helped me clarify my project and retain my sanity. I wish to acknowledge especially Susan Dine, Robert Morrissey, Sean Kramer, Allison Martino, Stephanie Triplett, Haely Chang, Gerui Wang, Emily Cornish, Courtney Wilder, Katharine Campbell, Alexandra Fraser, Ximena Gomez, Vishal Khandelwal, Olivia Mendelson, Jun Nakamura, Xiaohan Du, Chanon Kenji Praepipatmongkol, Tina Le, Hiroaki Matsusaka, Irhe Sohn, Tomara Yū, Hirano Kunisuke, and Jason DiLorenzo. Throughout my graduate study, I received generous funding for both dissertation research and language training. The Japan Foundation granted a ten-month scholarship that supported my time at Kyoto University. I was also substantially funded by the Center for Japanese Studies and the Department of the History of Art for presenting at different conferences. The Freer and Sackler Galleries, Washington D.C. supported my research of its early Buddhist art collection. My debt to family and friends cannot be fully acknowledged here without significant space and embarrassment. My parents provided unfailing support, patience, and love throughout the process. The passage of time cannot diminish my gratitude to you. iii Table of Contents Acknowledgements ii List of Figures v Abstract xi Chapter 1 Introduction 1 Chapter 2 Eclecticism and Plural Temporalities 17 Chapter 3 Suiko's Buddhist Patronage 76 Chapter 4 Literacy and Mobility 107 Chapter 5 Conclusion 146 Figures 150 Bibliography 250 iv List of Figures CHAPTER ONE 1.1 Tamamushi Shrine, ca. 7th century, Asuka period, cypress and camphorwood 150 (lotus petal ornament and staircase) with lacquer painting, beetle’s wing cases, copper repoussé panels, and gilt bronze fittings, 233.3 x 136.7 x 119.1 cm, Hōryūji, Nara prefecture 1.2 Tamamushi Shrine, left side 151 1.3 Tamamushi Shrine, back 152 1.4 Tamamushi Shrine, right side 153 1.5 Jewel beetle (tamamushi) 154 1.6 Tamamushi Shrine, palace section, front doors (guardian kings) 155 1.7 Tamamushi Shrine, palace section, left sides doors (bodhisattvas) 156 1.8 Tamamushi Shrine, palace section, back panel (Śākyamuni preaching at the 157 Vulture Peak) 1.9 Tamamushi Shrine, palace section, right sides doors (bodhisattvas) 158 1.10 Tamamushi Shrine, dais section, front panel (relic worship and 159 transformation) 1.11 Tamamushi Shrine, dais section, left panel (Indra’s test) 160 1.12 Tamamushi Shrine, dais section, back panel (cosmological diagram) 161 1.13 Tamamushi Shrine, dais section, right panel (the hungry tigress tale) 162 1.14 Detail from the catalogue of the 1876 Nara Exposition (Nara hakurankai), 163 featuring the Tamamushi Shrine 1.15 Pagoda with Famous Scenes, Komai Workshop, ca. 1915, steel, silver, 164 copper, gold, and enamel, 111.1 x 31.5 x 31.5 cm, Walters Art Museum 1.16 Illustration of the Tamamushi Shrine in Ernest F. Fenollosa, Epochs of 165 Chinese & Japanese Art: An Outline History of East Asiatic Design, 1912, pages 46-47 1.17 Tamamushi Shrine, details of beetles’ wing cases underneath metal 166 openwork 1.18 “The Tree of Architecture,” frontispiece from Banister Fletcher’s A History 167 of Architecture, 1896 1.19 Curvilinear column, Golden Hall (Kondo), Hōryūji 168 1.20 Comparison of proportions between columns in Etruscan temple and Hōryūji 169 Kondo, drawn by Itō Chūta, 1893 1.21 Diagram of Japanese architectural development, drawn by Itō Chūta, 1936 170 v 1.22 Tamamushi Shrine, side view of hip-and-gable roof 171 CHAPTER TWO 2.1 Golden Hall (Kondo), Hōryūji, Nara Prefecture, view from the west, ca. 172 second half of the 7th century, 18.2 x 15.2 x 17.8 m 2.2 Pagoda, Hōryūji, Nara Prefecture, view from the west, ca. late 7th to early 8th 173 century, 31.55 m (height), 10 x 10 m (stone podium) 2.3 Golden Hall, Hōryūji, close-up of bracketing system 174 2.4 Tamamushi Shrine, palace section, close-up of the “cloud-shaped” 175 bracketing system 2.5 Pagoda, Hokkiji, Nara Prefecture, frontal view, dated 706, h. 24.27 m 176 2.6 Pagoda, Hōrinji, Nara Prefecture, frontal view, ca. 7th century (rebuilt in 177 1975), h. 23.8 m 2.7 Diagram of the development of bracketing system in Japanese Buddhist 178 architecture, drawn by Uehara Kazu, 1991 2.8 Twin gate-towers (que), Tomb of Gentlemen Shen, detail of cloud-shaped 179 bracketing system, Han dynasty, stone, Quxian, Sichuan province 2.9 Pagoda, Hokkiji, close-up of bracketing system 180 2.10 Yicihui Pillar, ca. 560-570 CE, Northern Qi dynasty, limestone, h. 4.54 m 181 (overall height), Shizhu village, Dinxing county, Hebei province 2.11 Golden Hall, Hōryūji, rafter support in the shape of mythical beast 182 2.12 Xiangtanshan Grottes, North Cave, detail of beast pillar base, Northern Qi 183 dynasty 2.13 Golden Hall, Hōryūji, central canopy, ca. 7th century, 275 x 246 cm 184 2.14 Reliquary set discovered at Songnim-sa, ca. 7th-8th century, Unified Silla 185 period, gilt bronze, glass, h. 14.2 cm (outermost container) 2.15 Watchtower, ca. 1st-early 3rd century, Han dynasty, earthenware with green 186 lead glaze, 104.1 x 57.5 x 29.8 cm, The Metropolitan Museum of Art 2.16 Pagoda, Yongningsi (reconstruction drawing), ca. 516 (burnt down in 534), 187 Northern Wei dynasty, Luoyang, Henan province 2.17 Western Passage (Xixia), Xianbian, Gansu province, omen showing figure 188 collecting the heavenly dew (chenglu ren), 171 CE, Han dynasty 2.18 “Model” architecture showing the jinggan structure, bronze, mid-2nd to mid- 189 1st century BCE, Han dynasty, bronze 12 x 9 x 7 cm, excavated from Tomb 3 at Shizhaishan, Yunnan province 2.19 Gate of Heaven, ink rubbing of decorated brick, 1st century BCE to 1st 190 century CE, Han dynasty, excavated from Xihua, Henan 2.20 Upper section of painted banner, ca. 2nd half of the 2nd century BCE, Han 191 dynasty, silk, 205 x 92 cm, unearthed from Tomb 1 of Mawangdui, Changsha, Hunan province vi 2.21 Decorated brick showing gate-pillars with a phoenix, 25-220 CE, Han 192 dynasty, unearthed in Dayi, Sichuan province 2.22 Gate of Heaven on a bronze plaque, ca. 2nd to early 3rd century BCE, Han 193 dynasty, gilt bronze, dia. 23.5 cm, excavated from Wushan, Sichuan province 2.23 Votive offering of two seated figures and attendants, dated 515, Northern 194 Wei dynasty, sandstone, 28.3 x 28.3 cm, location unknown, Museum of Fine Arts, Boston 2.24 Votive triad of Laozi, dated 587, Sui dynasty, limestone, 24 x 15 x 11.5 cm, 195 location unknown Museum of Fine Arts, Boston 2.25 Embroidered Curtain of the Land of Heavenly Lifespan (Tenjukoku shūchō), 196 ca. between 622 and 628, Asuka period, silk, 88.8 x 82.7 cm, Chūgūji, Nara 2.26 Alchemical hare, detail of Fig. 2.25 197 2.27 Turtle with inscription, detail of Fig.
Load more

Recommended publications
  • Mahamayuri Vidyarajni Sadhana” E‐Book
    ACKNOWLEDGEMENTS The Padmakumara website would like to gratefully acknowledge the following individuals for contributing to the production of “Mahamayuri Vidyarajni Sadhana” e‐book. Translator: Alice Yang, Zhiwei Editor: Jason Yu Proofreader: Renée Cordsen, Jackie Ho E‐book Designer: Alice Yang, Ernest Fung The Padmakumara website is most grateful to Living Buddha Lian‐sheng for transmitting such precious dharma. May Living Buddha Lian‐sheng always be healthy and continue to teach and liberate beings in samsara. May all sentient beings quickly attain Buddhahood. Om Guru Lian‐Sheng Siddhi Hum. Exhaustive research was undertaken to ensure the content in this e‐book is accurate, current and comprehensive at publication time. However, due to differing individual interpreting skills and language differences among translators and editors, we cannot be responsible for any minor wording discrepancies or inaccuracies. In addition, we cannot be responsible for any damage or loss which may result from the use of the information in this e‐book. The information given in this e‐book is not intended to act as a substitute for the actual lineage and transmission empowerments from H.H. Living Buddha Lian‐sheng or any authorized True Buddha School master. If you wish to contact the author or would like more information about the True Buddha School, please write to the author in care of True Buddha Quarter. The author appreciates hearing from you and learning of your enjoyment of this e‐book and how it has helped you. We cannot guarantee that every letter written to the author can be answered, but all will be forwarded.
    [Show full text]
  • HONEN SHONIN and the PURE LAND MOVEMENT by Edmund Theron Gilday B.A., University of Wisconsin, 1973 a THESIS SUBMITTED in PARTIA
    HONEN SHONIN AND THE PURE LAND MOVEMENT by Edmund Theron Gilday B.A., University of Wisconsin, 1973 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF RELIGIOUS STUDIES UNIVERSITY OF BRITISH COLUMBIA We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March, 1980 (c) Edmund Theron Gilday, 1980 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be al1 owed without my written permission. Department of Religious Studies The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 ii ABSTRACT In this study of Honen Shonin and his relation to the institutionali• zation of an independent Japanese Pure Land school, I have attempted to isolate the religious and doctrinal issues which affected the evolution of Pure Land salvationism in general and Japanese Buddhism in particular. The background for this:analysis is provided in Part One, which is a discussion of the religious background to Honen and his ideas, and a summary.of the immediate historical and religious circumstances, put of which Honen's Pure Land soteriology emerged. Part Two consists of a detailed analytical description of the Senchaku^shu (jff/jf )? Honen's major dissertation on Pure Land doctrine.
    [Show full text]
  • THE Buddhist Thinker and Reformer Nichiren (1222–1282) Is Consid
    J/Orient/03 03.10.10 10:55 AM ページ 94 A History of Women in Japanese Buddhism: Nichiren’s Perspectives on the Enlightenment of Women Toshie Kurihara OVERVIEW HE Buddhist thinker and reformer Nichiren (1222–1282) is consid- Tered among the most progressive of the founders of Kamakura Bud- dhism, in that he consistently championed the capacity of women to achieve salvation throughout his ecclesiastic writings.1 This paper will examine Nichiren’s perspectives on women, shaped through his inter- pretation of the 28-chapter Lotus Sutra of Gautama Shakyamuni in India, a version of the scripture translated by Buddhist scholar Kumara- jiva from Sanskrit to Chinese in 406. The paper’s focus is twofold: First, to review doctrinal issues concerning the spiritual potential of women to attain enlightenment and Nichiren’s treatises on these issues, which he posited contrary to the prevailing social and religious norms of medieval Japan. And second, to survey the practical solutions that Nichiren, given the social context of his time, offered to the personal challenges that his women followers confronted in everyday life. THE ATTAINMENT OF BUDDHAHOOD BY WOMEN Historical Relationship of Women and Japanese Buddhism During the Middle Ages, Buddhism in Japan underwent a significant transformation. The new Buddhism movement, predicated on simpler, less esoteric religious practices (igyo-do), gained widespread acceptance among the general populace. It also redefined the roles that women occupied in Buddhism. The relationship between established Buddhist schools and women was among the first to change. It is generally acknowledged that the first three individuals in Japan to renounce the world and devote their lives to Buddhist practice were women.
    [Show full text]
  • View of the Study
    UNIVERSITY OF CINCINNATI Date: March 2, 2005 I, MICHAEL DAVID FOWLER, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano It is entitled: Toshi Ichiyanagi’s Piano Media: Finding Parallelisms to Patterns in Japanese Culture. This work and its defense approved by: Chair: James Culley Kenneth Griffiths Frank Wienstock _______________________________ 2 Toshi Ichiyanagi’s Piano Media: Finding Parallelisms to Patterns in Japanese Culture A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment for the degree of DOCTOR OF MUSICAL ARTS IN PIANO in the Keyboard Division, of the College Conservatory of Music 2005 by Michael D. Fowler Dip.Mus., University of Newcastle, 1994 B.Mus. (Hons), University of Newcastle, 1996 M.M. University of Cincinnati, 1999 Committee Chair: James Culley 3 ABSTRACT This thesis is concerned with the musical analysis of Toshi Ichiyanagi’s 1972 solo piano composition Piano Media, and an examination of musical processes and considerations that mirror and parallel patterns of traditional Japanese culture. Through brief studies of language construction, Zen, Pachinko and traditional aesthetics, analogies and references can be used to highlight congruent musical structures and predilections in Ichiyanagi’s work. The final goal is to define the work not only within musical terms of analysis, but also within a cultural context. 4 Copyright © 2004 by Michael Fowler All Rights Reserved 5 CONTENTS Chapter I. INTRODUCTION . 9 Overview of the Study PART 1. SELECTED ELEMENTS OF JAPANESE CULTURE II. THE CULTIVATION OF THE JAPANESE SENSIBILITY THROUGH THE ARTS .
    [Show full text]
  • Speech by Ōno Genmyō, Head Priest of the Horyu-Ji Temple “Shōtoku Taishi and Horyu-Ji” (October 20, 2018, Shinjuku-Ku, Tokyo)
    Speech by Ōno Genmyō, Head Priest of the Horyu-ji Temple “Shōtoku Taishi and Horyu-ji” (October 20, 2018, Shinjuku-ku, Tokyo) MC Ladies and gentlemen, thank you for coming today. The town of Ikaruga, where the Horyu-ji Temple is located, is very conveniently located: just 10 minutes by JR from Nara, 20 minutes from Tennoji in Osaka, and 80 minutes from Kyoto. This historical area is home to sites that include the Horyu-ji , the Horin-ji, the Hkki-ji, the Chugu- ji, and the Fujinoki Kofun tumulus. The Reverend Mr. Ōno will be speaking with us today in detail about the Horyu-ji, which was founded in 607 by Shotoku Taishi, Prince Shotoku, a member of the imperial family. As it is home to the oldest wooden building in the world, it was the first site in Japan to be registered as a World Heritage property. However, its attractions go beyond the buildings. While Kyoto temples are famous for their gardens, Nara’s attractions are, more than anything, its Buddhist sculptures. The Horyu-ji is home to some of Japan’s most noted Buddhist statues, including the Shaka Sanzon [Shaka Triad of Buddha and Two Bosatsu], the Kudara Kannon, Yakushi Nyorai, and Kuse Kannon. Prince Shotoku was featured on the 10,000 yen bill until 1986, so there may even be people overseas who know of him. Shotoku was the creator of Japan’s first laws and bureaucratic system, a proponent of relations with China, and incorporated Buddhism into politics. Reverend Ōno, if you would be so kind.
    [Show full text]
  • The Kasāya Robe of the Past Buddha Kāśyapa in the Miraculous Instruction Given to the Vinaya Master Daoxuan (596~667)
    中華佛學學報第 13.2 期 (pp.299-367)： (民國 89 年)， 臺北：中華佛學研究所，http://www.chibs.edu.tw Chung-Hwa Buddhist Journal, No. 13.2, (2000) Taipei: Chung-Hwa Institute of Buddhist Studies ISSN: 1017-7132 The Kasāya Robe of the Past Buddha Kāśyapa in the Miraculous Instruction Given to the Vinaya Master Daoxuan (596~667) Koichi Shinohara Professor, McMaster University Summary Toward the end of his life, in the second month of the year 667, the eminent vinaya master Daoxuan (596~667) had a visionary experience in which gods appeared to him and instructed him. The contents of this divine teaching are reproduced in several works, such as the Daoxuan lüshi gantonglu and the Zhong Tianzhu Sheweiguo Zhihuansi tujing. The Fayuan zhulin, compiled by Daoxuan's collaborator Daoshi, also preserves several passages, not paralleled in these works, but said to be part of Daoxuan's visionary instructions. These passages appear to have been taken from another record of this same event, titled Daoxuan lüshi zhuchi ganying ji. The Fayuan zhulin was completed in 668, only several months after Daoxuan's death. The Daoxuan lüshi zhuchi ganying ji, from which the various Fayuan zhulin passages on Daoxuan's exchanges with deities were taken, must have been compiled some time between the second lunar month in 667 and the third month in the following year. The quotations in the Fayuan zhulin from the Daoxuan lüshi zhuchi ganying ji take the form of newly revealed sermons of the Buddha and tell stories about various objects used by the Buddha during his life time.
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • Early Buddhist Concepts in Today's Language
    1 Early Buddhist Concepts In today's language Roberto Thomas Arruda, 2021 (+55) 11 98381 3956 [email protected] ISBN 9798733012339 2 Index I present 3 Why this text? 5 The Three Jewels 16 The First Jewel (The teachings) 17 The Four Noble Truths 57 The Context and Structure of the 59 Teachings The second Jewel (The Dharma) 62 The Eightfold path 64 The third jewel(The Sangha) 69 The Practices 75 The Karma 86 The Hierarchy of Beings 92 Samsara, the Wheel of Life 101 Buddhism and Religion 111 Ethics 116 The Kalinga Carnage and the Conquest by 125 the Truth Closing (the Kindness Speech) 137 ANNEX 1 - The Dhammapada 140 ANNEX 2 - The Great Establishing of 194 Mindfulness Discourse BIBLIOGRAPHY 216 to 227 3 I present this book, which is the result of notes and university papers written at various times and in various situations, which I have kept as something that could one day be organized in an expository way. The text was composed at the request of my wife, Dedé, who since my adolescence has been paving my Dharma with love, kindness, and gentleness so that the long path would be smoother for my stubborn feet. It is not an academic work, nor a religious text, because I am a rationalist. It is just what I carry with me from many personal pieces of research, analyses, and studies, as an individual object from which I cannot separate myself. I dedicate it to Dede, to all mine, to Prof. Robert Thurman of Columbia University-NY for his teachings, and to all those to whom this text may in some way do good.
    [Show full text]
  • Training Report on Cultural Heritage Protection
    , 7U DLQLQJ&RXUVHIRU5HVHDUFKHUVLQ&KD Training Report on UJ HRI&XOWXUDO+HULWDJH Cultural Heritage Protection Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and the Pacic 2012 - Indonesia - 12 June-12 July, 2012, Nara, Japan 3URWHFWLR Q LQ $VLDDQGWKH3DFL¿F,QGRQHVLD Cultural Heritage Protection Cooperation Oce, Asia-Pacic Cultural Centre for UNESCO (ACCU) 2 Training Report on Cultural Heritage Protection Training Course for Researchers in Charge of Cultural Heritage Protection in Asia and the Pacific 2012 - Indonesia - 12 June-12 July, 2012, Nara, Japan Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) Edited and Published by Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) Nara Prefecture Nara Branch Office Ground Floor 757 Horen-cho, Nara 630-8113 Japan Tel: +81(0)742-20-5001 Fax: +81(0)742-20-5701 e-mail: [email protected] URL: http://www.nara.accu.or.jp Printed by Meishinsya Ⓒ Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU) 2013 The on-site lecture in Horyu-ji Area, Nara Mr Kobayashi (right) explained how to prepare traditional wall clay at Himeji-jo Castle. An explanation on how the fallen chimney by the Great Hanshin Earthquake was restored. At the west pagoda in Yakushi-ji Temple Adjusting a shutter speed and an aperture value Practical training of photography at Gango-ji Temple Scale drawing in Tanaka Family Residence Practicing yari-ganna, a spear plane A lecture by Mr Hayashi at NNRICP The closing ceremony at the ACCU Nara office Preface The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU Nara) was established in August 1999 with the purpose of serving as a domestic centre for promoting cooperation in cultural heritage protection in the Asia-Pacific region.
    [Show full text]
  • Genesis of Stupas
    Genesis of Stupas Shubham Jaiswal1, Avlokita Agrawal2 and Geethanjali Raman3 1, 2 Indian Institue of Technology, Roorkee, India {[email protected]} {[email protected]} 3 Centre for Environmental Planning and Technology, Ahmedabad, India {[email protected]} Abstract: Architecturally speaking, the earliest and most basic interpretation of stupa is nothing but a dust burial mound. However, the historic significance of this built form has evolved through time, as has its rudimentary structure. The massive dome-shaped “anda” form which has now become synonymous with the idea of this Buddhist shrine, is the result of years of cultural, social and geographical influences. The beauty of this typology of architecture lies in its intricate details, interesting motifs and immense symbolism, reflected and adapted in various local contexts across the world. Today, the word “stupa” is used interchangeably while referring to monuments such as pagodas, wat, etc. This paper is, therefore, an attempt to understand the ideology and the concept of a stupa, with a focus on tracing its history and transition over time. The main objective of the research is not just to understand the essence of the architectural and theological aspects of the traditional stupa but also to understand how geographical factors, advances in material, and local socio-cultural norms have given way to a much broader definition of this word, encompassing all forms, from a simplistic mound to grand, elaborate sanctums of great value to architecture and society
    [Show full text]
  • Supernatural Elements in No Drama Setsuico
    SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed.
    [Show full text]
  • C:\Users\Kusala\Documents\2009 Buddhist Center Update
    California Buddhist Centers / Updated August 2009 Source - www.Dharmanet.net Abhayagiri Buddhist Monastery Address: 16201 Tomki Road, Redwood Valley, CA 95470 CA Tradition: Theravada Forest Sangha Affiliation: Amaravati Buddhist Monastery (UK) EMail: [email protected] Website: http://www.abhayagiri.org All One Dharma Address: 1440 Harvard Street, Quaker House Santa Monica CA 90404 Tradition: Non-Sectarian, Zen/Vipassana Affiliation: General Buddhism Phone: e-mail only EMail: [email protected] Website: http://www.allonedharma.org Spiritual Director: Group effort Teachers: Group lay people Notes and Events: American Buddhist Meditation Temple Address: 2580 Interlake Road, Bradley, CA 93426 CA Tradition: Theravada, Thai, Maha Nikaya Affiliation: Thai Bhikkhus Council of USA American Buddhist Seminary Temple at Sacramento Address: 423 Glide Avenue, West Sacramento CA 95691 CA Tradition: Theravada EMail: [email protected] Website: http://www.middleway.net Teachers: Venerable T. Shantha, Venerable O.Pannasara Spiritual Director: Venerable (Bhante) Madawala Seelawimala Mahathera American Young Buddhist Association Address: 3456 Glenmark Drive, Hacienda Heights, CA 91745 CA Tradition: Mahayana, Humanistic Buddhism Contact: Vice-secretary General: Ven. Hui-Chuang Amida Society Address: 5918 Cloverly Avenue, Temple City, CA 91780 CA Tradition: Mahayana, Pure Land Buddhism EMail: [email protected] Spiritual Director: Ven. Master Chin Kung Amitabha Buddhist Discussion Group of Monterey Address: CA Tradition: Mahayana, Pure Land Buddhism Affiliation: Bodhi Monastery Phone: (831) 372-7243 EMail: [email protected] Spiritual Director: Ven. Master Chin Chieh Contact: Chang, Ei-Wen Amitabha Buddhist Society of U.S.A. Address: 650 S. Bernardo Avenue, Sunnyvale, CA 94087 CA Tradition: Mahayana, Pure Land Buddhism EMail: [email protected] Spiritual Director: Ven.
    [Show full text]