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猿 楽 と 面 — 大和・近江 および 白山の周辺 から — Sarugaku Masks: Shaping the Culture of Noh 陳 列 一 覧 List of Works

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MIHO MUSEUM ２０１８年 春季 さ る が く お も て 猿 楽 と 面 — 大和・近江 および 白山の周辺 から — Sarugaku Masks: Shaping the Culture of Noh 陳 列 一 覧 List of Works 前期：３月１０日（土）～４月２２日（日） 後期：４月２４日（火）～６月 ３日（日） Ⅰ期：３月１０日（土）～４月 ８日（日） Ⅱ期：４月１０日（火）～５月 ６日（日） Ⅲ期：５月 ８日（火）～６月 ３日（日） ◎＝重要文化財 〇＝重要美術品 □＝府・県指定文化財 △＝市・町指定文化財 ※都合により展示作品や展示期間が変わる場合があります。 Some works may not be on display during the period indicated. 2018/3/10 現在 前期 後期 3/10～4/22 4/24～6/3 No. 指定 作品名 Name 員数 時代 Period 所蔵 Owner Ⅰ期 Ⅱ期 Ⅲ期 3/10 4/10 5/8 ～4/8 ～5/6 ～6/3 一章 猿楽の源流 Chapter 1 The Origins of Sarugaku 1 伎楽面（迦楼羅） 一面 奈良時代 滋賀・MIHO MUSEUM ○ Gigaku Dance Mask: Karura Nara period Miho Museum, Shiga 2 舞楽面（陵王） 一面 室町時代 滋賀・MIHO MUSEUM Bugaku Dance Mask: Ryōō Muromachi period Miho Museum, Shiga 江戸時代 宝暦5年 （1755） 東京藝術大学大学 信西古楽図 原本：宝徳元年 美術館 3 Shinzei kogakuzu (Shinzei’s 一巻 Illustrated Guide to Classical （1449） The University Art Entertainments) Edo period, dated 1755 Museum, Tokyo University (Hōreki 5) Original: of the Arts 1449 (Hōtoku 1) 追儺面（鬼） 鎌倉時代 京都・丹後国分寺 4 二面 Tango Kokubunji Temple, Tsuina Masks: Demons Kamakura period Kyoto 京都・丹後国分寺 宮津市 追儺面（竜天または毘沙門） 鎌倉時代 5 一面 Tango Kokubunji Temple, Tsuina Mask (Ryūten or Bishamon) Kamakura period △ Kyoto 平安時代 久安3年 6 大分県 追儺面（男） 一面 （1147） 大分・富貴寺 □ Tsuina Mask: Male Demon Heian period, dated Fukiji Temple, Oita 1147 (Kyūan 3) 平安時代 久安3年 7 大分県 追儺面（女） 一面 （1147） 大分・富貴寺 □ Tsuina Mask: Female Demon Heian period, dated Fukiji Temple, Oita 1147 (Kyūan 3) 鎌倉〜南北朝時代 岐阜県 追儺面（一角） 岐阜・［小津］白山神社 8 一面 Kamakura to □ Tsuina Mask: Single-horned Demon Hakusan Shrine, Ozu, Gifu Nanbokuchō period 鎌倉〜南北朝時代 岐阜県 追儺面（両角） 岐阜・［小津］白山神社 9 一面 Kamakura to □ Tsuina Mask: Double-horned Demon Hakusan Shrine, Ozu, Gifu Nanbokuchō period 岐阜県 10 追儺面（青鬼） 一面 室町時代 岐阜・［小津］白山神社 □ Tsuina Mask: Blue Demon Muromachi period Hakusan Shrine, Ozu, Gifu 前期 後期 3/10～4/22 4/24～6/3 No. 指定 作品名 Name 員数 時代 Period 所蔵 Owner Ⅰ期 Ⅱ期 Ⅲ期 3/10 4/10 5/8 ～4/8 ～5/6 ～6/3 追儺面（鬼） 鎌倉〜南北朝時代 滋賀・石山寺 11 一面 Kamakura to Tsuina Mask: Demon Ishiyama Temple, Shiga Nanbokuchō period 追儺面（鬼） 鎌倉〜南北朝時代 滋賀・石山寺 12 一面 Kamakura to Tsuina Mask: Demon Ishiyama Temple, Shiga Nanbokuchō period 安土桃山時代 天正9年（1581） 13 追儺面（鬼） 一面 滋賀・石山寺 Tsuina Mask: Demon Azuchi-Momoyama Ishiyama Temple, Shiga period, dated 1581 (Tenshō 9) 14 追儺面（赤鬼） 一面 室町時代 兵庫・長田神社 Tsuina Mask: Red Demon Muromachi period Nagata Shrine, Hyogo 15 追儺面（青鬼） 一面 室町時代 兵庫・長田神社 Tsuina Mask: Blue Demon Muromachi period Nagata Shrine, Hyogo 16 追儺面（姥鬼） 一面 室町時代 兵庫・長田神社 Tsuina Mask: Old Woman Demon Muromachi period Nagata Shrine, Hyogo 17 追儺面 一面 江戸時代 岐阜・［関市］春日神社 ◎ Tsuina Mask Edo period Kasuga Shrine, Seki, Gifu 鬼 安土桃山時代 京都・妙法院 18 一面 Azuchi-Momoyama Demon Myōhōin Temple, Kyoto period 鬼 安土桃山時代 京都・壬生寺 19 一面 Azuchi-Momoyama Demon Mibu Temple, Kyoto period 平安時代 応保2年 大分県 20 陣道面 一面 （1162） 大分・奈多宮 □ Jindō Mask Heian period, dated Nadagū Shrine, Oita 1162 (Ōhō 2) 21 翁 一面 南北朝時代 岩手・中尊寺 Okina Nanbokuchō period Chūsonji Temple, Iwate 22 老女 一面 鎌倉時代 岩手・中尊寺 Rōjo Kamakura period Chūsonji Temle, Iwate 鎌倉時代 正応4年 23 ◎ 若女 一面 （1291） 岩手・中尊寺 Jakujo Kamakura period, dated Chūsonji Temple, Iwate 1291 (Shōō 4) 24 癋見 一面 鎌倉時代 千葉・香取神宮 Beshimi Kamakura period Katori Shrine, Chiba 25 飛出 一面 鎌倉時代 千葉・香取神宮 Tobide Kamakura period Katori Shrine, Chiba 26 女（老年） 一面 鎌倉時代 千葉・香取神宮 Onna (Elder) Kamakura period Katori Shrine, Chiba 悪尉 鎌倉〜南北朝時代 福岡・太宰府天満宮 27 一面 Kamakura to Dazaifu Tenmangū Shrine, Aku-jō Nanbokuchō period Fukuoka 癋見 南北朝時代 福岡・太宰府天満宮 28 一面 Dazaifu Tenmangū Shrine, Beshimi Nanbokuchō period Fukuoka 女 室町時代 福岡・太宰府天満宮 29 一面 Dazaifu Tenmangū Shrine, Onna Muromachi period Fukuoka 男 室町時代 福岡・太宰府天満宮 30 一面 Dazaifu Tenmangū Shrine, Otoko Muromachi period Fukuoka 若い女 室町時代 福岡・太宰府天満宮 31 一面 Dazaifu Tenmangū Shrine, Wakai-onna Muromachi period Fukuoka 前期 後期 3/10～4/22 4/24～6/3 No. 指定 作品名 Name 員数 時代 Period 所蔵 Owner Ⅰ期 Ⅱ期 Ⅲ期 3/10 4/10 5/8 ～4/8 ～5/6 ～6/3 32 京都府 翁 一面 室町時代 京都・阿須須伎神社 □ Okina Muromachi period Asusugi Shrine, Kyoto 33 京都府 父尉 一面 室町時代 京都・阿須須伎神社 □ Chichi-no-jō Muromachi period Asusugi Shrine, Kyoto 34 京都府 翁 一面 室町時代 京都・阿須須伎神社 □ Okina Muromachi period Asusugi Shrine, Kyoto 安土桃山時代 京都府 三番叟 京都・阿須須伎神社 35 一面 Azuchi-Momoyama Sanbasō Asusugi Shrine, Kyoto □ period 36 京都府 若い女 一面 室町時代 京都・阿須須伎神社 □ Wakai-onna Muromachi period Asusugi Shrine, Kyoto 37 癋見 一面 室町時代 京都・浦嶋神社 Beshimi Muromachi period Urashima Shrine, Kyoto 悪尉 安土桃山時代 京都・浦嶋神社 38 一面 Azuchi-Momoyama Aku-jō Urashima Shrine, Kyoto period 和歌山・［古沢］ 若い女 安土桃山時代 39 一面 Azuchi-Momoyama 厳島神社 Wakai-onna period Itsukushima Shrine, Kosawa, Wakayama 和歌山・［古沢］ 癋見 安土桃山時代 40 一面 Azuchi-Momoyama 厳島神社 Beshimi period Itsukushima Shrine, Kosawa, Wakayama 安土桃山時代 慶長15年 和歌山・［古沢］ 41 悪尉 Aku-jō 一面 （1610） 厳島神社 Azuchi-Momoyama Itsukushima Shrine, period, dated 1610 Kosawa, Wakayama (Keichō 15) 南北朝〜室町時代 静岡県 男（老年） 静岡・息神社 42 一面 Nanbokuchō to □ Otoko (Elder) Oki Shrine, Shizuoka Muromachi period 静岡県 43 若い女 一面 室町時代 静岡・息神社 □ Wakai-onna Muromachi period Oki Shrine, Shizuoka 静岡県 44 女（中年） 一面 室町時代 静岡・息神社 □ Onna (Middle Age) Muromachi period Oki Shrine, Shizuoka 静岡県 45 霊の男 一面 室町時代 静岡・息神社 □ Ryō-no-otoko Muromachi period Oki Shrine, Shizuoka 室町〜安土桃山時代 静岡県 鼻高 静岡・息神社 46 一面 Muromachi to Azuchi- □ Hanadaka Oki Shrine, Shizuoka Momoyama period 静岡県 47 鼻高 一面 室町時代 静岡・息神社 □ Hanadaka Muromachi period Oki Shrine, Shizuoka 48 翁 一面 鎌倉時代 Okina Kamakura period 翁 室町〜安土桃山時代 49 一面 Muromachi to Azuchi- Okina Momoyama period 50 父尉 一面 室町時代 Chichi-no-jō Muromachi period 51 男 一面 南北朝時代 Otoko Nanbokuchō period 翁 南北朝〜室町時代 52 一面 Nanbokuchō to Okina Muromachi period 前期 後期 3/10～4/22 4/24～6/3 No. 指定 作品名 Name 員数 時代 Period 所蔵 Owner Ⅰ期 Ⅱ期 Ⅲ期 3/10 4/10 5/8 ～4/8 ～5/6 ～6/3 53 尉 一面 南北朝時代 Jō Nanbokuchō period 54 女 一面 室町時代 Onna Muromachi period 二章 猿楽と面─大和 Chapter 2 Sarugaku and Masks: Yamato 南北朝〜室町時代 奈良県 翁 奈良・長尾神社 55 一面 Nanbokuchō to □ Okina Nagao Shrine, Nara Muromachi period 南北朝〜室町時代 奈良県 尉 奈良・長尾神社 56 一面 Nanbokuchō to □ Jō Nagao Shrine, Nara Muromachi period 南北朝〜室町時代 奈良県 延命冠者 奈良・長尾神社 57 一面 Nanbokuchō to □ Enmei-kaja Nagao Shrine, Nara Muromachi period 奈良県 58 悪尉 一面 室町時代 奈良・長尾神社 □ Aku-jō Muromachi period Nagao Shrine, Nara 奈良・［水間］八幡神社 奈良県 翁 室町時代 59 一面 Hachiman Shrine, Mima, □ Okina Muromachi period Nara 奈良・［水間］八幡神社 奈良県 三番叟 江戸時代 60 一面 Hachiman Shrine, Mima, □ Sanbasō Edo period Nara 安土桃山時代 奈良・［水間］八幡神社 奈良県 尉 61 一面 Azuchi-Momoyama Hachiman Shrine, Mima, □ Jō period Nara 奈良・［水間］八幡神社 奈良県 延命冠者 江戸時代 62 一面 Hachiman Shrine, Mima, □ Enmei-kaja Edo period Nara 奈良・［水間］八幡神社 奈良県 若い男 室町時代 63 一面 Hachiman Shrine, Mima, □ Wakai-otoko Muromachi period Nara 奈良・［水間］八幡神社 奈良県 若い女 室町時代 64 一面 Hachiman Shrine, Mima, □ Wakai-onna Muromachi period Nara 奈良・［水間］八幡神社 奈良県 飛出 喜兵作 室町時代 65 一面 Hachiman Shrine, Mima, □ Tobide by Kihei Muromachi period Nara 奈良・［柳生］八坂神社 奈良県 翁 江戸時代 66 一面 Yasaka Shrine, Yagyū, □ Okina Edo period Nara 奈良県 67 翁 一面 江戸時代 奈良・正福寺 □ Okina Edo period Shōfukuji Temple, Nara 室町〜安土桃山時代 奈良県 父尉 奈良・正福寺 68 一面 Muromachi to Azuchi- □ Chichi-no-jō Shōfukuji Temple, Nara Momoyama period 奈良県 69 三番叟 一面 室町時代 奈良・正福寺 □ Sanbasō Muromachi period Shōfukuji Temple, Nara 室町〜安土桃山時代 奈良県 延命冠者 奈良・正福寺 70 一面 Muromachi to Azuchi- □ Enmei-kaja Shōfukuji Temple, Nara Momoyama period 奈良県 71 若い女 一面 江戸時代 奈良・正福寺 □ Wakai-onna Edo period Shōfukuji Temple, Nara 室町時代 永享年間 奈良県 （1429〜41） 72 霊の男（阿波男か） 一面 奈良・正福寺 □ Ryō-no-otoko (possibly Awa-otoko) Muromachi period, dated Shōfukuji Temple, Nara 1429–41 (Eikyō era) 前期 後期 3/10～4/22 4/24～6/3 No. 指定 作品名 Name 員数 時代 Period 所蔵 Owner Ⅰ期 Ⅱ期 Ⅲ期 3/10 4/10 5/8 ～4/8 ～5/6 ～6/3 安土桃山時代 奈良県 霊の男（怪士か） 奈良・正福寺 73 一面 Azuchi-Momoyama □ Ryō-no-otoko (possibly Ayakashi) Shōfukuji Temple, Nara period 安土桃山時代 奈良県 飛出 奈良・正福寺 74 一面 Azuchi-Momoyama □ Tobide Shōfukuji Temple, Nara period 室町時代 明応2年 75 若い女 ヒカキモト七郎作 一面 （1493） 奈良・吉水神社 Wakai-onna by Higaimoto Shichirō Muromachi period, dated Yoshimizu Shrine, Nara 1493 (Meiō 2) 室町時代 明応2年 76 若い男 ヒカヰモト七郎作 一面 （1493） 奈良・吉水神社 Wakai-otoko by Higaimoto Shichirō Muromachi period, dated Yoshimizu Shrine, Nara 1493 (Meiō 2) 和歌山・［河根］ 九度山町 77 獅子口 七郎作 一面 室町時代 丹生神社 △ Shishiguchi by Shichirō Muromachi period Niu Shrine, Kane, Wakayama 和歌山・［河根］ 九度山町 78 翁 一面 室町時代 丹生神社 △ Okina Muromachi period Niu Shrine, Kane, Wakayama 和歌山・［河根］ 安土桃山時代 九度山町 痩男（尉か） 79 一面 Azuchi-Momoyama 丹生神社 △ Yase-otoko (possibly Jō) period Niu Shrine, Kane, Wakayama 和歌山・［河根］ 九度山町 80 女 一面 室町時代 丹生神社 △ Onna Muromachi period Niu Shrine, Kane, Wakayama 翁（摩多羅神） 安土桃山〜江戸時代 奈良・談山神社 81 一面 Azuchi-Momoyama to Okina (Matarajin) Tanzan Shrine, Nara Edo period 82 延命冠者 一面 江戸時代 奈良・談山神社 Enmei-kaja Edo period Tanzan Shrine, Nara 83 延命冠者 一面 室町時代 奈良・談山神社 Enmei-kaja Muromachi period Tanzan Shrine, Nara 84 女 一面 江戸時代 奈良・談山神社 Onna Edo period Tanzan Shrine, Nara 85 若い女 一面 江戸時代 奈良・談山神社 Wakai-onna Edo period Tanzan Shrine, Nara 86 悪尉 一面 室町時代 奈良・談山神社 Aku-jō Muromachi period Tanzan Shrine, Nara 奈良薪能絵巻 江戸時代 東京・永青文庫 87 Illustrated Scroll of “Nara Takigi 一巻 Eisei-Bunko Museum, Edo period Noh” Tokyo 奈良水屋能絵巻 江戸時代 東京・永青文庫 88 Illustrated Scroll of “Nara Mizuya 一巻 Eisei-Bunko Museum, Edo period Noh” Tokyo 安土桃山時代 天正2年（1574） 89 翁 おちのきたらう作 一面 奈良・天河神社 ◎ Okina by Ochi no Kitarō Azuchi-Momoyama Tenkawa Shrine, Nara period, dated 1574 (Tenshō 2) 室町時代 延徳2年 90 ◎ 三番叟 一面 （1490） 奈良・天河神社 Sanbasō Muromachi period, dated Tenkawa Shrine, Nara 1490 (Entoku 2) 前期 後期 3/10～4/22 4/24～6/3 No.
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    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).
  • SHINTO SYMBOLS (Continued from Vol

    SHINTO SYMBOLS (Continued from Vol

    SHINTO SYMBOLS (Continued from Vol. VII, No.1) VI. SACRED VESSELS AND EQUIPMENT A great many articles are employed jn conducting Shinto rituals and worship. These are called ;~iif[b~ts~ ( sacred vessels) and are tokens of the kami, abodes of kami (kami-no-yorishiro), or decorations. They are almost all inseparable from Shinto. The articles employed in rituals are sanctified and treated as symbolic, or representative of Shinto. The term seikibutsu (sacred vessel) includes all the Shinto equipment and articles used in Shinto ceremonies. It is impos­ sible in this brief study to do more than to touch a few of the most significant ones. The order in which they are dis­ cussed is as follows: himorogi, tamagushi, gohei, onusa, shime­ nawa, goshiki-no-hata, shimp'll, the mirror, sword and jewels, kamidana, and mikoshi. Himorogi ( divine enclosure) generally consists of a gohei or a branch of the sakaki tree hung with strips of paper or hemp and set upon a table covered with a clean straw mat. Sometimes it is a fenced-in sakaki tree or some other specific kind of evergreen tree, hung with strips of paper, hemp, or possibly a mirror. Original Himorogi - 89- l Shinto Symbols The origin of himorogi has been the subject of much con­ troversy, but it is agreed that from earliest times it was a part of the ceremonial equipment. It is thought that himorogi may have originally signified: 1) a place1 enclosed by evergreen trees for invoking the kami; 2) sacred trees in a grove in which kami dwelt, 3) trees which protected the kami; 4) a sacred fence made of cypress for use III rituals.2 However, the following is the most Himorogi widely accepted theory.
  • HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon

    HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon

    SPIRITS AND IDENTITY IN NINETEENTH-CENTURY NORTHEASTERN JAPAN: HIRATA KOKUGAKU AND THE TSUGARU DISCIPLES by Gideon Fujiwara A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gideon Fujiwara, 2013 ABSTRACT While previous research on kokugaku , or nativism, has explained how intellectuals imagined the singular community of Japan, this study sheds light on how posthumous disciples of Hirata Atsutane based in Tsugaru juxtaposed two “countries”—their native Tsugaru and Imperial Japan—as they transitioned from early modern to modern society in the nineteenth century. This new perspective recognizes the multiplicity of community in “Japan,” which encompasses the domain, multiple levels of statehood, and “nation,” as uncovered in recent scholarship. My analysis accentuates the shared concerns of Atsutane and the Tsugaru nativists toward spirits and the spiritual realm, ethnographic studies of commoners, identification with the north, and religious thought and worship. I chronicle the formation of this scholarly community through their correspondence with the head academy in Edo (later Tokyo), and identify their autonomous character. Hirao Rosen conducted ethnography of Tsugaru and the “world” through visiting the northern island of Ezo in 1855, and observing Americans, Europeans, and Qing Chinese stationed there. I show how Rosen engaged in self-orientation and utilized Hirata nativist theory to locate Tsugaru within the spiritual landscape of Imperial Japan. Through poetry and prose, leader Tsuruya Ariyo identified Mount Iwaki as a sacred pillar of Tsugaru, and insisted one could experience “enjoyment” from this life and beyond death in the realm of spirits.
  • Noh Theater and Religion in Medieval Japan

    Noh Theater and Religion in Medieval Japan

    Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure.
  • The Miare Festival Is an Expression of the Living Faith of Local Fishermen. Chapter 3 Justification for Inscription

    The Miare Festival Is an Expression of the Living Faith of Local Fishermen. Chapter 3 Justification for Inscription

    The Miare Festival is an expression of the living faith of local fishermen. Chapter 3 Justification for Inscription 3.1.a Brief Synthesis 3.1.b Criteria Under Which Inscription is Proposed 3.1.c Statement of Integrity 3.1.d Statement of Authenticity 3.1.e Protection and Management Requirements 3.2 Comparative Analysis 3.3 Proposed Statement of Outstanding Universal Value The Sacred Island of Okinoshima and Associated Sites in the Munakata Region Chapter 3 Justification for Inscription Justification for Inscription 3.1.a Brief Synthesis The Sacred Island of Okinoshima and Associated Sites in the Munakata Region is located in the western coastal area of Japan. It is a serial cultural property that has eight component parts, all of which are linked to the worship of a sacred island that has continued from the fourth century to the present day. These component parts include Okitsu-miya of Munakata Taisha, which encompasses the entire island of Okinoshima and its three attendant reefs, located in the strait between the Japanese archipelago and the Korean peninsula; Okitsu- miya Yohaisho and Nakatsu-miya of Munakata Taisha, located on the island of Oshima; and Hetsu-miya of Munakata Taisha and the Shimbaru-Nuyama Mounded Tomb Group, located on the main island of Kyushu. Okinoshima has unique archaeological sites that have survived nearly intact, providing a chronological account of how ancient rituals based on nature worship developed from the fourth to the ninth centuries. It is of outstanding archaeological value also because of the number and quality of offerings discovered there, underscoring the great importance of the rituals and serving as evidence of their evolution over a period of 500 years, in the midst of a process of dynamic overseas exchange in East Asia.
  • Taosrewrite FINAL New Title Cover

    Taosrewrite FINAL New Title Cover

    Authenticity and Architecture Representation and Reconstruction in Context Proefschrift ter verkrijging van de graad van doctor aan Tilburg University, op gezag van de rector magnificus, prof. dr. Ph. Eijlander, in het openbaar te verdedigen ten overstaan van een door het college voor promoties aangewezen commissie in de Ruth First zaal van de Universiteit op maandag 10 november 2014 om 10.15 uur door Robert Curtis Anderson geboren op 5 april 1966 te Brooklyn, New York, USA Promotores: prof. dr. K. Gergen prof. dr. A. de Ruijter Overige leden van de Promotiecommissie: prof. dr. V. Aebischer prof. dr. E. Todorova dr. J. Lannamann dr. J. Storch 2 Robert Curtis Anderson Authenticity and Architecture Representation and Reconstruction in Context 3 Cover Images (top to bottom): Fantoft Stave Church, Bergen, Norway photo by author Ise Shrine Secondary Building, Ise-shi, Japan photo by author King Håkon’s Hall, Bergen, Norway photo by author Kazan Cathedral, Moscow, Russia photo by author Walter Gropius House, Lincoln, Massachusetts, US photo by Mark Cohn, taken from: UPenn Almanac, www.upenn.edu/almanac/volumes 4 Table of Contents Abstract Preface 1 Grand Narratives and Authenticity 2 The Social Construction of Architecture 3 Authenticity, Memory, and Truth 4 Cultural Tourism, Conservation Practices, and Authenticity 5 Authenticity, Appropriation, Copies, and Replicas 6 Authenticity Reconstructed: the Fantoft Stave Church, Bergen, Norway 7 Renewed Authenticity: the Ise Shrines (Geku and Naiku), Ise-shi, Japan 8 Concluding Discussion Appendix I, II, and III I: The Venice Charter, 1964 II: The Nara Document on Authenticity, 1994 III: Convention for the Safeguarding of Intangible Cultural Heritage, 2003 Bibliography Acknowledgments 5 6 Abstract Architecture is about aging well, about precision and authenticity.1 - Annabelle Selldorf, architect Throughout human history, due to war, violence, natural catastrophes, deterioration, weathering, social mores, and neglect, the cultural meanings of various architectural structures have been altered.
  • Inter Cultural Studies of Architecture (ICSA) in Japan 2012

    Inter Cultural Studies of Architecture (ICSA) in Japan 2012

    Intercultural Understanding, 2013, volume 3, pages 69-78 Inter Cultural Studies of Architecture (ICSA) in Japan 2012 Based on the general exchange agreement between Mukogawa Women’s University (MWU) and Bahçeşehir University (BU), students and professors from the Faculty of Architecture and Design of BU joined us at Koshien Hall and the Architecture Studio on MWU’s Kami-Koshien Campus from June 26th to August 3rd, 2012. BU’s students were tackling a design projects for third-year students. By participating in this program, they gained knowledge, learned techniques, and increased their awareness for designing of architecture. They also joined a basic design studio for first-year students and had the opportunity to experience such traditional Japanese culture as Ikebana (Japanese flower arrangement under Ryuho Sasaoka, a headmaster of the Ikebana Misho-ryu Sasaoka in Kyoto) or woodwork (with Sadahide Kanda, a master carpenter in Hyogo). They also participated in fieldwork on Saturdays to explore such Japanese cities and architecture examples as Funaya in a town called Ine, Amanohashidate, Itsukushima Shrine, Nishi Honganji Temple, Himeji Castle, and the Jodo-do of the Jodo-ji Temple. Participants Professors: Assistant professor Murat Dündar, Research assistants Belinda Torus and Sinem Kültür Students: Beyza Nur Bozkurt, Binnaz Kalcoğlu, Didem Dinçkal, Ece Yağan, Gonca Hande Şahin, Gözde Uyar, Kübra Pars, and Şahsena Bildirici 1. Greetings 1.1. Welcome Party: June 28 Eight students and two teachers from Bahçeşehir University were greeted by the students and teachers of Mukogawa Women’s University. Prof. Dr. Shigeyuki Okazaki (Chair, Department of Architecture, MWU) and Assist. Prof. Dr. Murat Dündar (Vice-Dean, Faculty of Architecture & Design, BU) gave speeches and the BU students and teachers introduced themselves.
  • A POPULAR DICTIONARY of Shinto

    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.
  • YOKOHAMA and KOBE, JAPAN

    YOKOHAMA and KOBE, JAPAN

    YOKOHAMA and KOBE, JAPAN Arrive Yokohama: 0800 Sunday, January 27 Onboard Yokohama: 2100 Monday, January 28 Arrive Kobe: 0800 Wednesday, January 30 Onboard Kobe: 1800 Thursday, January 31 Brief Overview: The "Land of the Rising Sun" is a country where the past meets the future. Japanese culture stretches back millennia, yet has created some of the latest modern technology and trends. Japan is a study in contrasts and contradictions; in the middle of a modern skyscraper you might discover a sliding wooden door which leads to a traditional chamber with tatami mats, calligraphy, and tea ceremony. These juxtapositions mean you may often be surprised and rarely bored by your travels in Japan. Voyagers will have the opportunity to experience Japanese hospitality first-hand by participating in a formal tea ceremony, visiting with a family in their home in Yokohama or staying overnight at a traditional ryokan. Japan has one of the world's best transport systems, which makes getting around convenient, especially by train. It should be noted, however, that travel in Japan is much more expensive when compared to other Asian countries. Japan is famous for its gardens, known for its unique aesthetics both in landscape gardens and Zen rock/sand gardens. Rock and sand gardens can typically be found in temples, specifically those of Zen Buddhism. Buddhist and Shinto sites are among the most common religious sites, sure to leave one in awe. From Yokohama: Nature lovers will bask in the splendor of Japan’s iconic Mount Fuji and the Silver Frost Festival. Kamakura and Tokyo are also nearby and offer opportunities to explore Zen temples and be led in meditation by Zen monks.