DOCSLIB.ORG

Shōgo-In Monzeki Temple

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Treasures of Shōgo-in Monzeki temple Explanatory Notes ・This is the complete list of the objects for the exhibition, Treasures of Shōgo-in Monzeki temple held in Ryukoku Museum and The Museum of Kyoto. ・The item numbers in this catalogue and the exhibit numbers in the galleries are identical. The order of display, however, may be different from the serial order in the catalogue. ・At both Museums the exhibits will be partly changed during the exhibition. Consequently, some items in the catalogue may not be on display on certain days. ・In the list, data are given in the following order; number, title, artist’s name, materials, number of items, dimensions, period of production and owner’s name. ・The marks of ◉ , ◎ and ○ indicate objects designated by the Japanese Government as National Treasures, Important Cultural Properties and Important Art Objects respectively. ・Measurements are given in centimeters. Dimensions of works of paintings ,calligraphy and Historical materials are given by height×width. The abbreviations, H. Dia. L. W. T. Dep., stand for height, diameter, length, width, thickness and depth respectively. ・Sanskrit words are placed between〈 〉 brackets. Japanese words are printed in italics. ・About owner’s name, it is attached the prefecture name which the owner belongs after owner’s name. But concerning Shogo-in temple, the name of prefecture “Kyoto” which they belong is left out. ・English translation of this list is by Ishikawa Tomohiko and Nagamura Yoshitomo. Preface 4 7 11 Jimon Denki Horoku Tales of Uji Shūi, vol.5 Shinra Myōjin（The Guarding Priest Zōyo and his great （Complementary records of the God of Onjō-ji temple） works Printed ink on paper biographies of the priests of the 1 of 10 booklets Copied by Reizei Tamechika Jimon school）, vol.13 22.6×16.0 （1823-64） 1 ◎ Edo period, dated 1659 Ink on paper Standing image of Fudō Myōō Ryukoku University Colors on silk 〈Acalanātha〉 1 of 17 booklets Hanging scroll 26.5×19.0 94.4×41.6 Wood Edo period, dated 1729 8 Edo period, dated 1847 H.115.7 Onjō-ji, Shiga Shinra Myōjin（The Guarding Shōgo-in Late Heian period God of Onjō-ji temple） Shōgo-in 5 Colors on silk 12 Shitennō-ji Bettō Shidai Panel Shinra Myōjin（The Guarding 2 （Records of the chief priests of 114.5×81.7 God of Onjō-ji temple） Portrait of priest Zōyo Shitenō-ji temple) Kamakura period Shōgo-in Colors on silk Colors on paper Ink on paper Hanging scroll Hanging scroll Handscroll 109.8×48.2 78.4×44.3 29.6×458.5 9 Kamakura period Edo period Kamakura period Shinra Myōjin（The Guarding Kokawa-dera, Wakayama Shōgo-in Shitennō-ji, Osaka God of Onjō-ji temple） 13 ◎ 3 Copied by Reizei Tamechika 6 （ ） Mandala of the Kumano Kasuga Gongen Genki-e 1823-64 Honchō Kōsōden Shrines divinities in their （Miracles of the Gods of Colors on silk （Complementary records of Hanging scroll original Buddhist form Kasuga）,vol.3 the biographies of Japanese 181.2×101.2 Colors on silk Copied by Reizei Tamechika priests）, vol.51 Edo period, dated 1847 Hanging scroll (1823-64) Shōgo-in Printed ink on paper 104.5×51.2 Colors on silk 1 of 32 booklets Kamakura period 1 of 20 handscrolls 26.6×18.2 10 ◎ Shōgo-in 43.6×987.8 Edo period, dated 1707 Shinra Myōjin（The Guarding Edo period Ryukoku University God of Onjō-ji temple） 14 ◯ Tokyo National Museum Colors on silk Mandala of the Kumano Hanging scroll Shrines divinities in their 86.7×39.4 original Buddhist form Kamakura period Colors on silk Onjō-ji, Shiga Hanging scroll 107.6×49.9 Nambokuchō period Shōgo-in 206 15 22 29 36 ◎ Mandala of the Kumano Sketches of Mt. Yoshino, Seated image of Enno-gyōja Objects in the inner space of a Shrines sanctuaries and Ohmine and Kumano By Enkū（1632-95） statue of priest Chishō-daishi divinities in their original Colors on paper Wood Shōgo-in Buddhist form Handscroll Total H. 30.5 Inventory of sutras brought Colors on silk 30.0×282.9 Edo period Hanging scroll Edo period Kannon-in, Saitama from China Kizō-in, Nara 88.5×40.1 Afterwords by Enchin(814-91) Muromachi period 30 Ink on paper Shōgo-in 23 Portrait of Enno-gyōja, a pair Handscroll Yoshino Kimpusen Zue Ryakki of demons（Zenki and Goki） 27.7×965.0 16 （Guidebook of Mt. Yoshino and and Eight boy attendants Early Heian period, dated 859 Mandala of the Kumano Kimpusen） Colors on silk Nyoirin〈 Cintāmanicakra〉 Shrines divinities in their By Nakamura Kōboku ・ Shinto form Hanging scroll Shinchūshin Shingon-kan 147.8×81.7 Printed ink on paper Attributed to Enchin Colors on silk Booklet Nambokuchō-Muromachi period Hanging scroll 24.9×16.2 Shōgo-in Ink on paper 128.8×57.6 Edo period Sheet Kamakura period 28.1×56.0 Kizō-in, Nara 31 Shōgo-in Early Heian period Portrait of Enno-gyōja, a pair 24 of demons（Zenki and Goki） Petition for the constraction 17 Seated image of En-no-gyōja and Eight boy attendants of the statue of priest Chishō- Mandala of the Kumano daishi Shrines divinities in their Wood Copied by Reizei Tamechika H. 87.4 （1823-64） By Kakuchū(1118-77) original Buddhist form Kamakura period Colors on silk Colors on silk Sakuramoto-bō, Nara Ink on paper Hanging scroll Hanging scroll Sheet 165.2×84.6 65.0×27.2 32.0×54.8 25 Edo period, dated 1848 Muromachi period Late Heian period, dated 1143 Shōgo-in Jūshin-in, Kyoto En-no-gyōja, a pair of demons （Zenki and Goki）and Eight Reliquary of Buddha boy attendants 32 〈Śākyamuni〉 18 Colors on silk Portrait of Enno-gyōja, a pair Silver Mandala of the Kumano H. 2.0 Shrines divinities in their Hanging scroll of demons（Zenki and Goki） 97.7×42.2 and Eight boy attendants Late Heian period Shinto form and in their Kamakura period original Buddhist form Matsuo-dera, Osaka Colors on silk Spotted bamboo tube Hanging scroll Bamboo Colors on silk 109.4×55.8 H. 33.0×D. 6.3 Hanging scroll Muromachi period Late Heian period 83.7×42.1 Jūshin-in, Kyoto Muromachi period Chapter 1 Sainan-in, Wakayama Bag of Nishiki brocade with Treasures of Shugendō 33 joined circles and hōsōge owned by Shōgo-in and the scroll pattern 19 Illustrated biography of Enno- temples of Honzan-shugen- gyōja Silk Mandala of making a shū denomination pilgrimage to Kumano Nachi Colors on paper 31.0×21.4 Handscroll Late Heian period shrine 26 32.4×1242.9 Colors on paper Seated images of Enno-gyōja Edo period 37 Hanging scroll and a pair of demons（Zenki Tōnomine shrine, Saitama 144.2×138.7 and Goki） Sambu Manda（Commentary Edo period on the three kinds of mandala） By Dewa-no-kami Masatsune 34 Images of Enno-gyōja and a By Enchin(814-91) 20 Bronze H. Enno-gyōja : 58.5 Zenki : 40.4 pair of demons（Zenki and Ink on paper Kanshin Jippōkai-zu（Ten world Goki : 36.2 Goki） Handscroll realms of Existence） Edo period, dated 1695 26.4×522.2 Wood block Colors on paper Shōgo-in Tang dynasty, dated 855 43.4×26.6 Shōgo-in Hanging scroll Edo period, dated 1699 158.6×162.4 27 Kizō-in, Nara Edo period Seated image of Enno-gyōja 38 ◉ Kokawa-dera, Wakayama Sammiroku-kyō sho 35 ◎ Wood （Commentary on the three H. 53.2 Seated image of priest Chishō- 21 〈Maitreya〉 sutra）, vol. 2 Muromachi period daishi（Enchin） Seated images of Amida Nyorai Saishō-in, Kyoto Ink on paper 〈Amitābha〉, Yakushi Nyorai By Ryōsei 1 of 3 handscrolls 〈Bhaisajyaguru〉and Senju 30.5×880.0 ・ 28 Wood Kannon〈Sahasrabhuja〉; The Seated image of Enno-gyōja H. 86.1 Early Heian period Kumano Shrines divinities in Late Heian period, dated 1143 Onjō-ji, Shiga their original Buddhist form By Kōsei Shōgo-in Wood Wood 39 H.〈 Amitābha〉: 26.8, H. 32.4 Mii Mandara（Mandala of the Momoyama period, dated 1591 H.〈 Bhais・ajyaguru〉: 26.8, divinities of Mii-dera）and H.〈 Sahasrabhuja〉: 29.7 Gaya-in, Hyogo Portraits of five patriarchs of Edo period Shugendō Shōgo-in Colors on silk Pair of hanging scrolls 91.5×38.4・91.7×38.3 Edo period, dated 1843 Shōgo-in 205 40 49 58 67 Mii Mandara（Mandala of the Fudō Myō-ō〈Acalanātha〉and Nyorai-kōjin Landscape of Minō-san Ryūan- divinities of Mii-dera） Two boy attendants Colors on silk ji temple Colors on silk Colors on silk Hanging scroll By Shōsui 1 of 3 hanging scrolls Hanging scroll 93.4×40.8 Printed ink on paper 101.5×45.2 142.8×85.6 Muromachi period Sheet Edo period, dated 1800 Muromachi period Kisshōsō-ji, Nara 36.5×48.0 Mitsumine-jinja, Saitama Shōgo-in Edo period 59 Ryukoku University 41 50 Nyorai-kōjin Portraits of nine patriarchs of Fudō Myō-ō〈 Acalanātha〉 Colors on silk 68 Danna sect Colors on silk Hanging scroll Sacred dogs of Mt. Mitsumine Hanging scroll 92.7×37.9 Colors on silk Wood block 101.9×40.3 Muromachi period Hanging scroll 90.4×38.0 Muromachi period Mimuroto-ji, Kyoto 106.0×48.2 Meiji period Gaya-in, Hyogo Muromachi period Mitsumine-jinja, Saitama Kizō-in, Nara 60 51 ◯ Standing image of Zaō-gongen 42 ◎ Godai Myōō（〈 Vidyāraja〉, By Enkū(1632-95) Standing image of Fudō Myōō Radiant Wisdom Kings） Chapter 2 〈Acalanātha〉 Wood Colors on silk H. 40.4 Tresures of Shōgo-in and Wood 5 hanging scrolls Edo period the related temples H.
Recommended publications
  • Samurai Life in Medieval Japan

    Samurai Life in Medieval Japan

    http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period.
  • Watanabe, Tokyo, E

    Watanabe, Tokyo, E

    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed.
  • Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū

    Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū

    Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino Submitted in partial fulfillment of the Requirement for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Takuya Hino All rights reserved ABSTRACT Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryū in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryū, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryū, while the introduction will address the portrayal of this tradition in twentieth-century scholarship. TABLE OF CONTENTS List of Abbreviations……………………………………………………………………………...ii Acknowledgements………………………………………………………………………………iii Dedication……………………………………………………………………………….………..vi Preface…………………………………………………………………………………………...vii Introduction………………………………………………………………………….…………….1 Chapter 1: Genealogy of a Divination Transmission……………………………………….……40 Chapter
  • Medieval Japan Through Art: Samurai Life in Medieval Japan

    Medieval Japan Through Art: Samurai Life in Medieval Japan

    www.colorado.edu/ptea-curriculum/imaging-japanese-history Medieval Japan Through Art: Samurai Life in Medieval Japan by Jaye Zola, Retired Teacher and Librarian, Boulder Valley Schools Introduction: Teachers are encouraged to read “Medieval Japan: An Introductory Essay,” by historian Ethan Segal, prior to conducting this lesson. The introductory essay may also be assigned to students with advanced reading abilities (grades 11-12). The essay provides context for this lesson by sketching the history of medieval Japan. Medieval Japan saw warfare and chaos. The growth of the warrior class and the influence of Buddhism eventually gave rise to a refined culture having roots in the classical Japanese tradition. The time period referred to as medieval Japan actually comprised three distinct periods: the Kamakura (1185-1333), Muromachi (1336-1573), and Momoyama (1568-1603). Beginning with the Kamakura through the mid-19th century, military rulers governed Japan. During the Muromachi and Momoyama, the feudal structure concentrated wealth, culture, and power in the hands of feudal lords called daimyō. The social structure of samurai as retainers to noble lords enabled a few powerful daimyō to eventually be shogun or the military ruler. This lesson is designed to challenge the view of sword-wielding samurai of U.S. movies. Rather than focusing on one particular art form, this lesson uses a variety of images from scrolls, screens, and artifacts. Using these visual sources, students learn about the three different periods of medieval Japan. Adding to the visual record of this time period, literature selections bring the voice of the samurai into the historical account.
  • Arts in the Wind: JICC Kite Collection List and Supplementary Descriptions 2017 6/12-8/18

    Arts in the Wind: JICC Kite Collection List and Supplementary Descriptions 2017 6/12-8/18

    Arts in the Wind: JICC Kite Collection List and Supplementary Descriptions 2017 6/12-8/18 Goryokaku: 1 This kite, designed by Hikozo Ohta, originates in Hakodate, Hokkaido and depicts Fort Goryokaku, where loyalists to the Shogunate staged their final resistance when the Meiji Restoration returned power to the Emperor. Today, the remains of the fort, in what is now known as Goryokaku Park, are a special Historical Site and popular cherry blossom viewing spot. Noshiro kite: 2, 3, 8 This type of kite originated in Noshiro, Akita Prefecture. It is unique in that the frame has no diagonal pieces and no bottom. Daruma: 7, 16, 39, 49 Bodhidharma, a Zen Buddhist mystic from the 5th or 6th century, is known as Daruma in Japan. The Daruma doll (left) is used to achieve an important goal. Upon undertaking a task, one eye is filled. The other eye is filled only when the goal is achieved. In one legend, he is said to have sat facing a wall in a cave near the Shaolin Monastery for nine years, neither moving nor speaking, as his legs atrophied. This is why the Daruma doll commonly seen in Japan has neither arms nor legs. “Rashomon”: 11, 69 “Rashomon” is a Noh story which contains a depiction of the battle between a samurai and an oni at Rashomon. The samurai here is Watanabe no Tsuna, who is one of the four champions of Minamoto no Yorimitsu - a revered samurai lord of the Minamoto Clan from the Heian period (794 - 1185.) Kintoro/Sakata Kintoki: 21, 33 Contemporary to Watanabe no Tsuna, this legendary figure was also one of the four champions of Minamoto no Yorimitsu.
  • Edo: Art in Japan 1615-1868; Teaching Program

    Edo: Art in Japan 1615-1868; Teaching Program

    edo teach.qxd4 12/9/98 10:42 AM Page 1 Teaching Program Edo art in japan 1615 – 1868 national gallery of art, washington edo teach.qxd4 12/9/98 10:42 AM Page 2 The exhibition Edo: Art in Japan 1615 – 1868 is made possible by NTT Exhibition dates: 15 November 1998 through 15 February 1999 edo teach.qxd4 12/9/98 10:42 AM Page 1 Edo Art in Japan 1615 – 1868 Teaching Program National Gallery of Art, Washington edo teach.qxd4 12/9/98 10:42 AM Page 2 acknowledgments notes to the reader This teaching program was written for the The Japanese government has designated education division by Christine Guth, an inde- numerous works of art as National Treasures, pendent scholar. Since receiving her Ph.D. in Important Cultural Properties, or Important Art Fine Arts from Harvard University in 1976, she Objects because of their artistic quality, historic has taught at institutions such as Harvard, value, and rarity. Several works with these des- Princeton, and the University of Pennsylvania. ignations are included in this publication. Her recent publications include Art, Tea, and Industry: Masuda Takashi and the Mitsui Circle Dimensions are in centimeters, followed by (Princeton, 1993) and Art of Edo Japan: The Artist inches in parentheses, height preceding width, and the City, 1615Ð1868 (New York, 1996). and width preceding depth. Concept development and teaching activities Cover: Watanabe Shik¿, Mount Yoshino, early by Anne Henderson, Heidi Hinish, and Barbara eighteenth century, detail from a pair of six- Moore. panel screens; ink, color, and gold on paper, Private Collection, Kyoto Thanks to Leo Kasun, Elisa Patterson, Ruth Perlin, Renata Sant’anna, Takahide Tsuchiya, Title page: Dish with radish and waves design, and Susan Witmer for their assistance with c.
  • Discovering Your Japanese American Roots – Family Names and Crests

    Discovering Your Japanese American Roots – Family Names and Crests

    Discovering Your Japanese American Roots: Family Name & Family Crest Chester Hashizume [email protected] (626) 644-1954 Class Outline ▪ Your Family Name: Myoji ▪ Your Family Crest: Kamon Discovering Your Japanese American Roots © Chester Hashizume 2020 Page 1 Tracing Your Japanese Family Tree: Where to Start ▪ Need to determine WHERE your ancestors came from ▪ Most of the first Japanese immigrants from the late 1800s came from rural areas and small villages ▪ History of the Japanese family is inseparable from the native village or town of their ancestors (furusato or hometown). ▪ Families tended to live in the same village for hundreds of years because of a lack of mobility and incentive to move Discovering Your Japanese American Roots © Chester Hashizume 2020 Page 2 Tracing Your Japanese Family Tree: Where to Start ▪ Possible/probable that descendants are still living in the same area today ▪ Identifying the village (mura) or town (machi, cho) is key to discovering one’s Japanese roots ▪ Prefecture (ken), e.g., Hiroshima, Kumamoto, is too large an area to be able to locate a family Discovering Your Japanese American Roots © Chester Hashizume 2020 Page 3 Japanese Family Names: History ▪ Japanese family names or surnames (myōji) are inherently linked to the origin and history of the family, and reflect the customs and norms of Japanese society ▪ Until 1870’s, over 80% of the Japanese did not have family names o Having a myōji symbolized status/privilege/power, so for the most part, only the nobility and bushi/samurai had (allowed) family
  • ZOTMUN Crisis Topic Synopsis

    ZOTMUN Crisis Topic Synopsis

    MODEL UNITED NATIONS AT THE UNIVERSITY OF CALIFORNIA, IRVINE ZOTMUN | sites.uci.edu/ucimun Welcome Delegates, Our names are Angie Lo and Mary Lee, and we are the Secretaries-General for the UCI Model United Nations 2020-2021 school year! This year, we are excited to host our first ever collegiate-level online conference, ZOTMUN, and thrilled to have you all join our new journey. We have worked hard to make this conference happen, and we hope that everyone will have a fun and engaging time in debate. Angie is a fourth year Sociology and Political Science double major. She has been involved in MUN since freshman year of high school and loved her experiences there so much she has continued being a part of MUN throughout all of her college years. Throughout her time at MUN at UCI, she has been Assistant Director and Director for General Assembly, Under Secretary-General of Mains, and now has been Secretary General for the past 2 years. When not busy with her school, research, MUN and work, she likes drawing and playing video games. Mary is a third year Criminology, Law and Society major. She has been involved in UCIMUN since freshman year of college and loved her experiences here by far. Her favorite part of actively being involved in MUN is cooperating with other students to contribute to raising awareness of global issues and international affairs. In UCIMUN, she has been an Assistant Director of the Legal Committee and Director of the SPECPOL Committee. Outside of UCIMUN, she is actively involved in research and a networking organization on campus.
  • Japanese Prints of Historical Narratives and Legendary Tales, September 28, 2007-January 13, 2008

    Japanese Prints of Historical Narratives and Legendary Tales, September 28, 2007-January 13, 2008

    Heroes and Warriors: Japanese Prints of Historical Narratives and Legendary Tales, September 28, 2007-January 13, 2008 Tall tales, heroic sagas, stories woven from history and legend — these are the sources from which Japanese printmakers drew to create the vivid images that fill this gallery. Such narratives have been part of the storytelling tradition for centuries and in the Edo period (1603–1868) became part of the puppet and kabuki theater repertory as well. Chinese stories were also popular in Japan, and illustrations from two of the most famous Chinese novels are included in this exhibition. Many of these prints glorify loyalty, courage, and fidelity unto death, the virtues so often associated with the Japanese warrior class (samurai) beginning in the late 12th and 13th centuries. According to the code by which samurai lived, loyalty and fidelity often dictated revenge for injustices and perceived wrongs within the context of complex struggles for political power. The stories related through these prints touch upon camaraderie, failed ambitions of heroes and political leaders, and noble endings of brave men. The history of the great warrior Minamoto no Yoshitsune (1159–89) assumes epic dimensions in its retellings. He was perceived as a threat by his elder half-brother Yoritomo (1147–99), consequently persecuted, and eventually killed. Another true-life story concerns 47 masterless samurai (ro¯nin) who took revenge on behalf of their dead lord in 1703 and became martyrs when they were ordered to commit ritual suicide (seppuku). These dramatic tales live on in numerous forms, including the visually lively and powerful versions on view here.
  • Deconstructing `Japan'

    Deconstructing `Japan'

    East Asian History NUMBER 3 . JUNE 1992 THE CONTINUATION OF Paperson Far EasternHistory Institute of Advanced Studies Australian National University Editor Geremie Barme Assistant Editor Helen 1.0 Editorial Board John Clark Igor de Rachewiltz Mark Elvin (Convenor) Helen Hardacre John Fincher Colin Jeffcott W.J.F. Jenner 1.0 Hui-min Gavan McCormack David Marr Tessa Morris-Suzuki Michael Underdown Business Manager Marion Weeks Production Oahn Collins & Samson Rivers Design Maureen MacKenzie, Em Squared Typographic Design Printed by Goanna Print, Fyshwick, ACT This is the second issue of EastAsian Historyin the series previously entitled Papers on Far Eastern History. The journal is published twice a year. Contributions to The Editor, EastAsian History Division of Pacific and Asian History, Research School of Pacific Studies Australian National University, Canberra ACT 2600, Australia Phone +61-6-2493140 Fax +61-6-2571893 Subscription Enquiries Subscription Manager, East Asian History, at the above address Annual Subscription Rates Australia A$45 Overseas US$45 (for two issues) iii CONTENTS 1 Politics and Power in the Tokugawa Period Dani V. Botsman 33 Shanghai Before Nationalism YeXiaoqing 53 'The Luck of a Chinaman' : Images of the Chinese in Popular Australian Sayings LachlanStraha n 77 The Interactionistic Epistemology ofChang Tung-sun Yap Key-chong 121 Deconstructing Japan' Amino Yoshthtko-tr anslated byGava n McCormack iv Cover calligraphy Yan Zhenqing ���Il/I, Tang calligrapher and statesman Cover illustration Kazai*" -a punishment
  • Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge

    Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge

    Woolley, Elesabeth Amber (2019) ‘Suspicious Steeds and Evil Deeds’ : Ambition and Misconduct in the Genpei Jōsuiki. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/32202 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. ‘Suspicious Steeds and Evil Deeds’: Ambition and Misconduct in the Genpei Jōsuiki Elesabeth Amber Woolley Thesis submitted for the degree of PhD 2019 1 Abstract Japan’s Genpei War (1180-1185) has inspired generations of storytellers, artists and playwrights, whose work has brought alive stories featuring the warrior families of Minamoto and Taira. Many of the best-known tales about Genpei War warriors exist because of a collection of War Tale (gunki monogatari) texts known as the Heike Monogatari, which detail the highs and lows of the war, with embellishment and artistic licence. While much scholarly attention has focused on one fourteenth century performance version of this text, other variants have not been so closely studied.
  • Shuten Dōji “Drunken Demon”

    Shuten Dōji “Drunken Demon”

    Noriko T. Reider Miami University Oxford, Ohio Shuten Dōji “Drunken Demon” Abstract The story of Shuten Dōji is one of Japan’s most famous oni (demon/ogre) legends. By imperial command, the warrior-hero Minamoto no Raikō (948–1021) and his men conquer the cannibalistic demons, Shuten Dōji and his diabolical cohorts, who have abducted and eaten young maidens from in and around the capital. “Shuten dōji” belongs to a literary genre called otogi zōshi or “companion tales,” short stories writ- ten from the fourteenth to seventeenth centuries for the purpose of entertainment and moral/religious edification. Despite the legend’s longevity, popularity, and liter- ary significance, to date, there has only been one English translation of the otogi zōshi “Shuten dōji.” Rendered more than one century ago, that translation was intended for young readers and is much abbreviated. The present translation is the first full-length annotated translation of the otogi zōshi “Shuten dōji.” Keywords: oni – Japanese ogre – demon – warrior-hero – legend – otogi zōshi Asian Folklore Studies, Volume 64, 2005: 207–231 Reider.indd 207 12/20/2005 1:54:43 PM n one of Japan’s most renown and gruesome oni 鬼 (demon/ogre) legends, Shuten Dōji 酒顚童子, a demon, kidnaps, enslaves, and cannibalizes young Kyoto maidens. Transcending time and place, the story has enjoyed great popularityI in Japan over the ages, in part because of the conniving heroics of Minamoto no Raikō (or Yorimitsu) 源頼光 (948–1021). Minamoto no Raikō was a general of the mid-Heian period known for his valor. He served five emper- ors and became the governor of several important provinces.