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Redalyc.Nagasaki. an European Artistic City in Early Modern Japan
Bulletin of Portuguese - Japanese Studies ISSN: 0874-8438 [email protected] Universidade Nova de Lisboa Portugal Curvelo, Alexandra Nagasaki. An European artistic city in early modern Japan Bulletin of Portuguese - Japanese Studies, núm. 2, june, 2001, pp. 23 - 35 Universidade Nova de Lisboa Lisboa, Portugal Available in: http://www.redalyc.org/articulo.oa?id=36100202 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative BPJS, 2001, 2, 23 - 35 NAGASAKI An European artistic city in early modern Japan Alexandra Curvelo Portuguese Institute for Conservation and Restoration In 1569 Gaspar Vilela was invited by one of Ômura Sumitada’s Christian vassals to visit him in a fishing village located on the coast of Hizen. After converting the lord’s retainers and burning the Buddhist temple, Vilela built a Christian church under the invocation of “Todos os Santos” (All Saints). This temple was erected near Bernardo Nagasaki Jinzaemon Sumikage’s residence, whose castle was set upon a promontory on the foot of which laid Nagasaki (literal translation of “long cape”)1. If by this time the Great Ship from Macao was frequenting the nearby harbours of Shiki and Fukuda, it seems plausible that since the late 1560’s Nagasaki was already thought as a commercial centre by the Portuguese due to local political instability. Nagasaki’s foundation dates from 1571, the exact year in which the Great Ship under the Captain-Major Tristão Vaz da Veiga sailed there for the first time. -
Decoration Day. I
I Railed from Oravotend 15'h AAelaM*. Howai, Col"uel "ar* them to command; Post Rankin. Vo. 10. O. A. I-ewig; Pout >®1 .-chr C'h'-rub, K.itclier, Uardluer lor New York, with Capetown: lfith, tlanslne, lor Charleston. men , wner-: tlerai udTtriuiru 6a® been in existence only rtven >eiirs. May 17. Arr.veu, Oazello, Bruno, lialtl- No. Post No. 84, J it th^W^litwVJ?,8 Cemetery, luiniier ti> I >< Ci eo.i . Losnjonuaaar, *'ratik lltd'l. 1(5; Malley, nave also charge of the , nioru. DECORATION DAY. I. Parley. At H\<t o'clock. Hunter, #x-Muyor 1,18 *r»ve« amid p,o- ?astor,tie I'assiouist Pattern ctir <: Koitero, I* letcher, Bordlngnam (or New York, N«« Mayor nun.t liie w ,u th<«ii county Almshouse and 1'enttentiary at snake Hill. io » I i.uuox. May ».Arrived, Mariana* III, Santoi. booth, I'revident James s. T. Strana mil, super- Ioanuluunu euenea® *rl! *£n.UPtUHobokeu Cem-terv wiili lumber J ri'ad. w At three o'clock iu the afternoon the ltisnop .chr I''111 r A Shut. Nutter. Bangor for New York, York. vl->or a. It. Imtcuer, John F. Henrv. Captain Tanner u"kl7ereii,'on?£ Licata, April SO.Arrived, 8 P Thurlow, Tabblttt, Me« l.° 10 St. iiridiret'-, church, oi whlcu thn with lumber to Simpson Jk Co. and l'r. Justin 1). la,ton iooi. their positions on ra'oVr'A-W' "y Mr- ->lu«t.enie. t tie proceeded New aiii i lau l lirll May 8 for N» w York). -
Real-Life Kantei-Of Swords , Part 10: a Real Challenge : Kantei Wakimono Swords
Real-Life kantei-of swords , part 10: A real challenge : kantei Wakimono Swords W.B. Tanner and F.A.B. Coutinho 1) Introduction Kokan Nakayama in his book “The Connoisseurs Book of Japanese Swords” describes wakimono swords (also called Majiwarimono ) as "swords made by schools that do not belong to the gokaden, as well other that mixed two or three gokaden". His book lists a large number of schools as wakimono, some of these schools more famous than others. Wakimono schools, such as Mihara, Enju, Uda and Fujishima are well known and appear in specialized publications that provide the reader the opportunity to learn about their smiths and the characteristics of their swords. However, others are rarely seen and may be underrated. In this article we will focus on one of the rarely seen and often maligned school from the province of Awa on the Island of Shikoku. The Kaifu School is often associated with Pirates, unique koshirae, kitchen knives and rustic swords. All of these associations are true, but they do not do justice to the school. Kaifu (sometimes said Kaibu) is a relatively new school in the realm of Nihonto. Kaifu smiths started appearing in records during the Oei era (1394). Many with names beginning with UJI or YASU such as Ujiyoshi, Ujiyasu, Ujihisa, Yasuyoshi, Yasuyoshi and Yasuuji , etc, are recorded. However, there is record of the school as far back as Korayku era (1379), where the schools legendary founder Taro Ujiyoshi is said to have worked in Kaifu. There is also a theory that the school was founded around the Oei era as two branches, one following a smith named Fuji from the Kyushu area and other following a smith named Yasuyoshi from the Kyoto area (who is also said to be the son of Taro Ujiyoshi). -
Harvesting Tradition
VOLUME 7 NO. 16 SEPTEMBER 11 – SEPTEMBER 17, 2020 SUBMIT STORIES TO: [email protected] STRIPESJAPAN.COM FACEBOOK.COM/STRIPESPACIFIC FREE INSIDE INFO HARVESTING ZAMA VETS GAIN TRUST WITH FURRY FRIENDS, HUMANS PAGE 3 TRADITIONDig deep into Japan’s lesser-known fall holidays Speakin’ Japanese Pages 8-9 AUTUMN AUDIBLES PAGE 4 WHY JAPANESE LUCKY CHARMS ARE AMAZING! PAGES 6-7 LIMITING PLASTIC USE IN JAPAN PAGES 10-11 Midnight and Mt.Fuji, full moon. Barbecues help Yokota’s new MELON PAN airmen get through quarantine MADNESS BY SETH ROBSON, U.S. personnel arriving in Japan must PAGES 12-13 STARS AND STRIPES spend 14 days in quarantine, which the Published: September 4, 2020 military calls “restriction of movement” or ROM, that’s designed to stop them YOKOTA AIR BASE — Some summer spreading the coronavirus to others at barbecues at the home of U.S. Forces Ja- their new home. pan in western Tokyo are To make sure the ex- a little out of the ordinary EXCLUSIVE NEWS FROM: Business cards, flyers, perience doesn’t feel like invitations and more! this year. a short stint in jail, the Contact The events for newly Air Force has come up arrived airmen are cho- with all sorts of things to printshop.stripes.com reographed affairs where 042-552-2510 (extension77315) amuse quarantined single airmen, in- the guests of honor don masks and keep cluding fortnightly barbecues. 227-7315 Volunteers dish out comfort food to quarantined service members at Yokota Air Base. their distance from the folks cooking Photo by Theron Godbold, Stars and Stripes their food. -
JSSUS Tosho Article For
Overview and Development of Tsuba made by Japanese Swordsmiths By David Stiles Introduction I will introduce new Japanese language terms with an English, non-italicized explanation followed by the standard italicized Romaji and Kanji if possible. The italicized Japanese terms are not punctuated or pluralized like normal English words. To begin, I would like to introduce the topic of my essay: the handguards of Japanese swords referred to as tsuba (鍔) made by professional Swordsmiths, Tôshô (刀匠 ), or their apprentices. In part one of the essay I will present a historical background to the early swordsmith handguards Ko-Tôshô tsuba (古刀匠鍔 ) as well as characteristics that define them as a group. In part two of the essay I will present Tôshô tsuba (刀匠鍔 ) and the characteristics that define them as a group. There is an important caveat that must be stated in regards to this article. The reference material used for this introduction to Tôshô tsuba were written in English or were translated at some point from Japanese to English and are of a secondary nature. New historical or contemporary primary references were not translated and used for the basis of the article. Historical Background of Ko-Tôshô Tsuba The earliest Tôshô tsuba are referred to in Japanese as Ko- Tôshô ( 古刀匠 ) and date from the Genpei War ( Genpei kassen 源平合戦 ) (1180–1185) to middle Muromachi Period ( 室町時代 ) (1400- 1500). The Genpei War was the legendary conflict between the Taira ( 平氏 ) and Minamoto ( 源氏 ) clans during the late Heian Period ( 平安時代 ) (794-1185). There are references in historical documents of the Genpei War to the hand guards and blade collars made by professional swordsmiths or their apprentices. -
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). -
Real-Life Kantei of Swords Part 10
Japanese Swords Society of the United States - Volume 48 No. 4 _______________________________________________________________________________ Real-Life kantei-of swords , part 10: A real challenge : kantei Wakimono Swords W.B. Tanner and F.A.B. Coutinho 1) Introduction Kokan Nakayama in his book “The Connoisseurs Book of Japanese Swords” describes wakimono swords (also called Majiwarimono ) as "swords made by schools that do not belong to the gokaden, as well other that mixed two or three gokaden". His book lists a large number of schools as wakimono, some of these schools more famous than others. Wakimono schools, such as Mihara, Enju, Uda and Fujishima are well known and appear in specialized publications that provide the reader the opportunity to learn about their smiths and the characteristics of their swords. However, others are rarely seen and may be underrated. In this article we will focus on one of the rarely seen and often maligned school from the province of Awa on the Island of Shikoku. The Kaifu School is often associated with Pirates, unique koshirae, kitchen knives and rustic swords. All of these associations are true, but they do not do justice to the school. Kaifu (sometimes said Kaibu) is a relatively new school in the realm of Nihonto. Kaifu smiths started appearing in records during the Oei era (1394). Many with names beginning with UJI or YASU such as Ujiyoshi, Ujiyasu, Ujihisa, Yasuyoshi, Yasuyoshi and Yasuuji , etc, are recorded. However, there is record of the school as far back as Korayku era (1379), where the schools legendary founder Taro Ujiyoshi is said to have worked in Kaifu. -
Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2015 Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon Eric Teixeira Mendes Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Asian History Commons, Buddhist Studies Commons, and the History of Religions of Eastern Origins Commons Recommended Citation Mendes, Eric Teixeira, "Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon" (2015). Master's Theses. 626. https://scholarworks.wmich.edu/masters_theses/626 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. ANCIENT MAGIC AND MODERN ACCESSORIES: DEVELOPMENTS IN THE OMAMORI PHENOMENON by Eric Teixeira Mendes A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts Comparative Religion Western Michigan University August 2015 Thesis Committee: Stephen Covell, Ph.D., Chair LouAnn Wurst, Ph.D. Brian C. Wilson, Ph.D. ANCIENT MAGIC AND MODERN ACCESSORIES: DEVELOPMENTS IN THE OMAMORI PHENOMENON Eric Teixeira Mendes, M.A. Western Michigan University, 2015 This thesis offers an examination of modern Japanese amulets, called omamori, distributed by Buddhist temples and Shinto shrines throughout Japan. As amulets, these objects are meant to be carried by a person at all times in which they wish to receive the benefits that an omamori is said to offer. In modern times, in addition to being a religious object, these amulets have become accessories for cell-phones, bags, purses, and automobiles. -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
The Making of Modern Japan
The Making of Modern Japan The MAKING of MODERN JAPAN Marius B. Jansen the belknap press of harvard university press Cambridge, Massachusetts London, England Copyright © 2000 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Third printing, 2002 First Harvard University Press paperback edition, 2002 Book design by Marianne Perlak Library of Congress Cataloging-in-Publication Data Jansen, Marius B. The making of modern Japan / Marius B. Jansen. p. cm. Includes bibliographical references and index. isbn 0-674-00334-9 (cloth) isbn 0-674-00991-6 (pbk.) 1. Japan—History—Tokugawa period, 1600–1868. 2. Japan—History—Meiji period, 1868– I. Title. ds871.j35 2000 952′.025—dc21 00-041352 CONTENTS Preface xiii Acknowledgments xvii Note on Names and Romanization xviii 1. SEKIGAHARA 1 1. The Sengoku Background 2 2. The New Sengoku Daimyo 8 3. The Unifiers: Oda Nobunaga 11 4. Toyotomi Hideyoshi 17 5. Azuchi-Momoyama Culture 24 6. The Spoils of Sekigahara: Tokugawa Ieyasu 29 2. THE TOKUGAWA STATE 32 1. Taking Control 33 2. Ranking the Daimyo 37 3. The Structure of the Tokugawa Bakufu 43 4. The Domains (han) 49 5. Center and Periphery: Bakufu-Han Relations 54 6. The Tokugawa “State” 60 3. FOREIGN RELATIONS 63 1. The Setting 64 2. Relations with Korea 68 3. The Countries of the West 72 4. To the Seclusion Decrees 75 5. The Dutch at Nagasaki 80 6. Relations with China 85 7. The Question of the “Closed Country” 91 vi Contents 4. STATUS GROUPS 96 1. The Imperial Court 97 2. -
Michael Cooper
Graduate Journal of Asia-Pacific Studies 6:1 (2008) 103-105 REVIEW Michael Cooper. The Japanese Mission to Europe, 1582-1590: The Journey of Four Samurai Boys through Portugal, Spain and Italy, Global Oriental, Folkestone, 2005, 262 pp., ISBN 1901903389. IN 1585, three Japanese teenagers served as canopy bearers at the Coronation Mass of Pope Sixtus V. What where these Japanese teenagers doing there? Michael Cooper answers this question in The Japanese Mission to Europe, 1582‐1590: The Journey of Four Samurai Boys through Portugal, Spain and Italy. This work provides a narrative of the first Japanese legation to Europe by Mancio Ito (1569‐1612), Michael Chijawa (1567‐ 1633), Martin Hara (1568‐1639), and Julian Nakaura (1568‐1633). Cooper states that this work is a ‘paraphrase’ of the work La Première Ambassade du Japon en Europe by Luis Fróis (1532‐1597), a Jesuit who based his account upon the notes written by the Japanese boys and their compansions during their trip, and does not provide any new insight for scholars (p. xi). However, this work is important in that it makes the story of these four individuals more accessible; before its publication, the legation had only been mentioned in no more than ten articles in English and was largely unknown or ignored by scholars. The work is divided into seven parts chronicling the reasons for the journey, legs of the trip, and results of the legation sent to Europe. The first part is the nucleus of the work. Cooper first describes how the Jesuits came to Japan and were successful in their missionary efforts. -
A POPULAR DICTIONARY of Shinto
A POPULAR DICTIONARY OF Shinto A POPULAR DICTIONARY OF Shinto BRIAN BOCKING Curzon First published by Curzon Press 15 The Quadrant, Richmond Surrey, TW9 1BP This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to http://www.ebookstore.tandf.co.uk/.” Copyright © 1995 by Brian Bocking Revised edition 1997 Cover photograph by Sharon Hoogstraten Cover design by Kim Bartko All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0-203-98627-X Master e-book ISBN ISBN 0-7007-1051-5 (Print Edition) To Shelagh INTRODUCTION How to use this dictionary A Popular Dictionary of Shintō lists in alphabetical order more than a thousand terms relating to Shintō. Almost all are Japanese terms. The dictionary can be used in the ordinary way if the Shintō term you want to look up is already in Japanese (e.g. kami rather than ‘deity’) and has a main entry in the dictionary. If, as is very likely, the concept or word you want is in English such as ‘pollution’, ‘children’, ‘shrine’, etc., or perhaps a place-name like ‘Kyōto’ or ‘Akita’ which does not have a main entry, then consult the comprehensive Thematic Index of English and Japanese terms at the end of the Dictionary first.