平成28年度 編集発行 東京大学大学院人文社会系研究科・文学部 文学部夏期特別プログラム 〒113-8654 東京都文京区本郷7-3-1 (報告書) 発行日 2016年12月20日 印 刷 三鈴印刷株式会社
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The Price Collection JAKUCHU and the Age of Imagination the Etsuko
The Price Collection JAKUCHU and The Age of Imagination The Etsuko and Joe Price Collection based in California is world-renowned for its superb Edo period paintings. The Exhibition entitled The Price Collection-Jakuchû and the Age of Imagination will be held at the Tokyo National Museum (Ueno Park, Tokyo) from July 4th through August 27th, 2006. Some fifty years ago, Joe Price became fascinated by, and began to collect, paintings by the individualist artists of the Edo period, a field ignored by the art historians of the time. Mr. Price dubbed his collection and his foundation the Shin’enkan, borrowing one of the studio names of Itô Jakuchû (1716-1800), an individualist painter whose popularity has grown in recent years. Today the Price Collection centers around a superb group of works by Jakuchû, along with major works by Jakuchû ’s other Kansai region contemporaries such as Nagasawa Rosetsu (1754-1799) and Mori Sosen (1747-1821), along with Edo-based Rimpa artists Sakai Hôitsu (1761-1828) and Suzuki Kiitsu (1796-1858). The marvels of the collection include paintings by ukiyo-e artists and other painters who have recently attracted great attention from art lovers. This exhibition presents a selection of 101 works chosen jointly by Mr. Price and the Tokyo National Museum staff from more than 600 works in the collection. The exhibition is divided into five sections, with the paintings arranged according to their artistic lineage. A special feature of this exhibition is its avoidance of glass cases in one of the galleries and use of careful lighting effects to create a display environment similar to an Edo period viewing experience. -
Meaning of Imperial Succession Ceremonies Eiichi MIYASHIRO, Phd., the Asahi Shimbun Newspaper Senior Staff Writer
FPCJ Press Briefing May 29, 2018 Provisional Translation by FPCJ Meaning of Imperial Succession Ceremonies Eiichi MIYASHIRO, PhD., The Asahi Shimbun Newspaper Senior Staff Writer 1. What Are the Imperial Succession Ceremonies? ・The set of ceremonies involved in passing on the position of emperor to the crown prince or other imperial heir ・Not specified in any laws ・Formerly, these ceremonies were codified in the 1909 Tokyokurei [Regulations Governing Accession to the Throne], but this law was abolished. There is no mention of them in the current Imperial Household Law. ・When the current emperor was enthroned, the ceremonies were carried out based on the Tokyokurei 2. Process of Ceremonies ・There are 3 stages to the imperial succession ・First, the Senso-shiki, in which the Three Sacred Treasures are passed on as proof of imperial status ・The Sokui-shiki, in which the emperor notifies others of his accession ・The Daijosai, in which the emperor thanks the gods for bountiful harvests ・Of these, the Senso-shiki are what are now referred to as the “imperial succession ceremonies” *The Sokui-shiki are ceremonies to inform others that a new emperor has been enthroned, and not ceremonies for the enthronement itself ・For the first time, the Taiirei-Seiden-no-Gi will be performed before the imperial succession *Until now, the succession has generally been carried out after the former emperor passes away. This will be the first time in modern Japanese history that an emperor has abdicated. 3. What Ceremonies Are There? ・Four ceremonies are carried out for the imperial succession ・Kenji-to-Shokei-no-Gi, Koreiden-Shinden-ni-Kijitsu-Hokoku-no-Gi, Kashikodokoro-no-Gi, and Sokui-go-Choken-no-Gi ・In the Kenji-to-Shokei-no-Gi, two of the Three Sacred Treasures that are proof of imperial authority are passed on from the former emperor, the sword Amenomurakumo-no- Tsurugi and the jewel Yasakani-no-Magatama. -
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. -
Shahooct.Pdf
October 2005 VOLUME III ISSUE 10 a place where ancient traditions thrive Hawaii Kotohira Jinsha Hawaii Dazaifu Tenmangu Autumn Thanksgiving Festival 秋季感謝大祭 The point of Thanksgiving is to remember the things we have to be grateful for. It's our special time to give thanks... not just for the food we partake, but for the thousands of fortunate moments, the multitude of blessings that we receive every day of our lives. Giving thanks is a powerful tool that can dramatically improve your life and the lives of those around you. The Autumn Thanksgiving Festival is a special day to express gratitude that will enhance every aspect of our lives. The festival commenced at 3:00 pm on Sunday, October 23, officiated by Rev. Masa Takizawa and assisted by members of the Honolulu Shinto Renmei: Rev. Naoya Shimura of Hawaii Ishizuchi Jinja, Rev. Daiya Amano of Izumo Taishakyo Mission of Hawaii and Rev. Akihiro Okada of Daijingu Temple of Hawaii. A Miko mai entitled Toyosaka no Mai was performed by Shawna Arakaki. Kyodan President Shinken Naitoh welcomed guests and invited all to join members for a time of fellowship. A delectable array of Japanese delicacies were prepared by Fujinkai President Miyono Shimoda, Vice-President Kumiko Sakai and the ladies of the women’s auxiliary club. Adding to the enjoyment was classical Japanese dances by the students of Hanayagi Mitsuyuri of Hanayagi Dancing Academy, students of Harry Urata of Urata Music Studio, hula by Lillian Yajima of the Japanese Women’s Society, Shigin by Kumiko Sakai and Hatsuko Nakazato, karaoke by Shawna Arakaki and an extraordinary rendition of Yasuki Bushi by Vice President, Robert Shimoda. -
The Aesthetics of the Capital, at The
Those Beautiful Images We Know So Well, Shown In Context Rinpa: The Aesthetics of the Capital, at the Kyoto National Museum Review by Emily Sano, October 20, 2015 The abundant exhibitions at many museums in major cities and the national museums provide one of the special treats of visiting Japan in the autumn. This year is no exception, but visitors need to know that this year's most significant exhibit for the traditional Japanese arts is Rinpa: The Aesthetics of the Capital, at the Kyoto National Museum. The exhibition, which opened on October 10, will last only six weeks, until November 23, 2015. While the excellent catalogue lists 175 objects, many are on view for shorter periods of time, and some displays change every week on Mondays during the run of the exhibition. The term Rinpa―which is combined from the second character in Kōrin's name and the character for "school" or "style"―was coined in modern times and did not exist during the Edo period. Though sometimes described as a school, Rinpa is less a direct lineage of teachers and their disciples than a lineage of personal artistic influence: Sōtatsu's work inspired Kōrin, whose oeuvre, in turn, influenced Hōitsu. Of course, these three artists never actually met: most artists working in the Rinpa mode discovered the aesthetic for themselves and pursued it out of admiration for their artistic predecessors. “Rinpa and Kyoto,” English preface, p. V) One of the most familiar of Japanese decorative styles, Rinpa (also spelled Rimpa, which this reviewer prefers, but I will stay with the Museum's spelling) includes works commonly viewed as the epitome of the arts of Japan. -
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). -
Amaterasu - Wikipedia, the Free Encyclopedia
אמאטרסו أماتيراسو آماتراسو Amaterasu - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Amaterasu Amaterasu From Wikipedia, the free encyclopedia Amaterasu (天照 ), Amaterasu- ōmikami (天照大 神/天照大御神 ) or Ōhirume-no-muchi-no-kami (大日孁貴神 ) is a part of the Japanese myth cycle and also a major deity of the Shinto religion. She is the goddess of the sun, but also of the universe. The name Amaterasu derived from Amateru meaning "shining in heaven." The meaning of her whole name, Amaterasu- ōmikami, is "the great august kami (god) who shines in the heaven". [N 1] Based on the mythological stories in Kojiki and Nihon Shoki , The Sun goddess emerging out of a cave, bringing sunlight the Emperors of Japan are considered to be direct back to the universe descendants of Amaterasu. Look up amaterasu in Wiktionary, the free Contents dictionary. 1 History 2 Worship 3 In popular culture 4 See also 5 Notes 6 References History The oldest tales of Amaterasu come from the ca. 680 AD Kojiki and ca. 720 AD Nihon Shoki , the oldest records of Japanese history. In Japanese mythology, Amaterasu, the goddess of the sun, is the sister of Susanoo, the god of storms and the sea, and of Tsukuyomi, the god of the moon. It was written that Amaterasu had painted the landscape with her siblings to create ancient Japan. All three were born from Izanagi, when he was purifying himself after entering Yomi, the underworld, after failing to save Izanami. Amaterasu was born when Izanagi washed out his left eye, Tsukuyomi was born from the washing of the right eye, and Susanoo from the washing of the nose. -
Matrix: a Journal for Matricultural Studies “In the Beginning, Woman
Volume 02, Issue 1 March 2021 Pg. 13-33 Matrix: A Journal for Matricultural Studies M https://www.networkonculture.ca/activities/matrix “In the Beginning, Woman Was the Sun”: Takamure Itsue’s Historical Reconstructions as Matricultural Explorations YASUKO SATO, PhD Abstract Takamure Itsue (1894-1964), the most distinguished pioneer of feminist historiography in Japan, identified Japan’s antiquity as a matricultural society with the use of the phrase ‘women-centered culture’ (josei chūshin no bunka). The ancient classics of Japan informed her about the maternalistic values embodied in matrilocal residence patterns, and in women’s beauty, intelligence, and radiance. Her scholarship provided the first strictly empirical verification of the famous line from Hiratsuka Raichō (1886-1971), “In the beginning, woman was the sun.” Takamure recognized matricentric structures as the socioeconomic conditions necessary for women to express their inner genius, participate fully in public life, and live like goddesses. This paper explores Takamure’s reconstruction of the marriage rules of ancient Japanese society and her pursuit of the underlying principles of matriculture. Like Hiratsuka, Takamure was a maternalist feminist who advocated the centrality of women’s identity as mothers in feminist struggles and upheld maternal empowerment as the ultimate basis of women’s empowerment. This epochal insight into the ‘woman question’ merits serious analytic attention because the principle of formal equality still visibly disadvantages women with children. Keywords Japanese women, Ancient Japan, matriculture, Takamure Itsue, Hiratsuka Raicho ***** Takamure Itsue (1894-1964), pionière éminente de l'historiographie feministe au Japon, a découvert dans l'antiquité japonaise une société matricuturelle qu'elle a identifiée comme: une 'société centrée sur les femmes' (josei chūshin no bunka) ou société gynocentrique. -
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. -
El Drama Minúsculo Poética De Flores Y Pájaros En El Imaginario Artístico Japonés
UNIVERSIDAD DE SEVILLA departamento de Dibujo TESIS DOCTORAL el drama minúsculo poética de flore ! p"jaro en el ima#inario art$ tico japoné % Vol. I directora &ilar 'arcía (ern"nde) doctorando (ranci co *avier Rui) Carra co , -NDICE .ip/te i 0 introducci/n 1 , todo c"li) e morada O#ata 23rin ,4 4 el drama min5 culo 2ami a6a Se66a 78 9 flore ! p"jaro Suzuki 2iit u 1: 0 re+erencia por la naturale)a Ta;ara!a S3tat u :, 7 la reflexi/n de la flore Sa6ai =3it u ,,: 1 el bot"nico ! el flori ta >atanabe Seitei ,9? ? ep$lo#o ,71 conclusione ,81 #lo ario ,?7 bibli#raf$a ,:0 4 Par l'oiseau rappelant l'oiseau tombé du nid. Par l'herbe qui a soif et recueille l'ondée. (ranci *amme 9 =I&@TESIS 0 La dimen i/n art$ tica del dibujo japoné re ide en u narrati+a% Es a.$A en la línea ar#umental, donde e intuye la +erdadera ma#nitud de la obra% En el ca o de la tem"tica de flores y pájaros el ar#umento e pre enta en cierto modo +eladoA como i el autor Bui iera di imular al#una .i toria per onal dentro de la con+er aci/n entre la planta ! la be te)uela% &or e o .a! Bue e tar tan atento al di"lo#o entre e to do peBueCo prota#oni ta A porBue pen amo Bue e a.$ donde acababa buena parte del cora)/n del arti ta% D a partir de e ta upo ici/n tra)amo nue tra principal .ip/te i E de de la Bue intuimo Bue la cultura japone a podr$a pro!ectar e en el di"lo#o entre la flor ! el p"jaro% Esta te i parte de de e e per onalí mo punto de vi ta% No parece un punto de partida dema iado con+encional, por e o .emo decidido continuar nue tro trabajo de de una per pecti+a poco -
Planting Edo: a Field Guide
Planting Edo: A Field Guide is a collaboration between the Arnold PLANTING EDO: Arboretum of Harvard University and the Harvard Art Museums, inspired by the exhibition Painting Edo: Japanese Art from the Feinberg Collection. We invite you to use this field guide to learn more about the botanical features and poetic significance of various flowers and trees featured in Painting Edo by observing artworks from the exhibition alongside the living collections of the Arnold Arboretum. Harvard Art Museums Arnold Arboretum of Harvard University 32 Quincy Street 125 Arborway Cambridge, MA 02138 Boston, MA 02130 harvardartmuseums.org arboretum.harvard.edu A FIELD GUIDE How to Use This Field Guide Table of Contents In the pages that follow, you will find key plants from the Painting Edo exhibition TREES paired with their counterparts from the living collections at the Arnold Arboretum. Japanese Maple (Acer palmatum) 4 Japanese Black Pine (Pinus thunbergii) 5 Whether you print this guide to take with you while visiting the Arnold Arboretum Japanese Red Pine (Pinus densiflora) 6 in person or if you’re exploring the Painting Edo exhibition online, you can use Higan Cherry (Prunus subhirtella) 7 this guide to learn about the botanical and poetic lives of each plant, compare Yoshino Cherry (Prunus × yedoensis) 8 living plants at the Arnold Arboretum with those depicted in paintings exhibited Sargent Cherry (Prunus sargentii) 9 in Painting Edo, document what you discover, and get inspired to create. Take photos of your explorations at the Arnold Arboretum and share them on social PLANTS media using #PlantingEdo. We will repost our favorite discoveries every week! Ōyama Magnolia (Magnolia sieboldii) 10 Tree Peony (Paeonia spp.) 11 Though the Harvard Art Museums remain closed for now, the Arnold Arboretum— Clematis (Clematis ssp.) 12 Harvard’s remarkable “museum of trees”—is free to visit and open to all every Bigleaf Hydrangea (Hydrangea macrophylla) 13 day, from sunrise to sunset. -
Ancient Literature, Ancient Chronicles Volume 1 : the Middle East, Africa and Asia
ANCIENT LITERATURE, ANCIENT CHRONICLES VOLUME 1 : THE MIDDLE EAST, AFRICA AND ASIA STUDENT TEXTBOOK Compiled and edited by J. Parnell McCarter ANCIENT LITERATURE, ANCIENT CHRONICLES VOLUME 1 : THE MIDDLE EAST, AFRICA AND ASIA Compiled and edited by J. Parnell McCarter ©2004 J. Parnell McCarter. All Rights Reserved. 6408 Wrenwood Jenison, MI 49428 (616) 457-8095 The Puritans’ Home School Curriculum www.puritans.net 2 ANCIENT LITERATURE, ANCIENT CHRONICLES VOLUME 1 : THE MIDDLE EAST, AFRICA AND ASIA TABLE OF CONTENTS INTRODUCTION……………………………………………………………..p. 4 CHAPTER 1 : OF THE JEWS ……….………………………………………..p. 5 CHAPTER 2 : OF THE CANAANITES ……………….………….…….….p. 19 CHAPTER 3 : OF THE HITTITES.…………………………………………..p. 58 CHAPTER 4 : OF SUMER IN MESOPOTAMIA…………………………....p. 64 CHAPTER 5 : OF AKKADIA IN MESOPOTAMIA ……..………………....p. 96 CHAPTER 6 : OF BABYLONIA IN MESOPOTAMIA……..………….…..p. 101 CHAPTER 7 : OF ASSYRIA ………………….…..…………..………….….p. 114 CHAPTER 8 : OF NEO-BABYLONIA IN MESOPOTAMIA ……………....p. 133 CHAPTER 9 : OF THE MEDES AND PERSIANS…...….….……………….p. 146 CHAPTER 10 : OF ARMENIA………….………….…..…………………….p. 169 CHAPTER 11 : OF EGYPT…………………………….…………………….p. 177 CHAPTER 12 : OF INDIA…………………………………………………….p. 207 CHAPTER 13 : OF CHINA…………………..……………………………….p. 214 CHAPTER 14 : OF JAPAN………………..………………………………….p. 227 APPENDIX : FURTHER STUDY……………………..………………….….p. 267 3 INTRODUCTION The purpose of the Ancient Literature, Ancient Chronicles series is to provide high school students with a broad exposure to the literature (and especially the chronicles) of ancient peoples from many parts of the world. The series is designed as a follow-up textbook to the textbook Introduction to Ancient Literature, published by The Puritans’ Home School Curriculum ( www.puritans.net ). Like Introduction to Ancient Literature, the textbook Ancient Literature, Ancient Chronicles is especially prepared for courses taught by Westminster Covenant Academy.