Inviting the Seven Happy Gods Shichi-Fuku-Jin & Daily Readings
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Myths & Legends of Japan
Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites"). -
Diss Master Draft-Pdf
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Visual and Material Culture at Hokyoji Imperial Convent: The Significance of "Women's Art" in Early Modern Japan Permalink https://escholarship.org/uc/item/8fq6n1qb Author Yamamoto, Sharon Mitsuko Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Gregory P. A. Levine, Chair Professor Patricia Berger Professor H. Mack Horton Fall 2010 Copyright by Sharon Mitsuko Yamamoto 2010. All rights reserved. Abstract Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto Doctor of Philosophy in History of Art University of California, Berkeley Professor Gregory Levine, Chair This dissertation focuses on the visual and material culture of Hōkyōji Imperial Buddhist Convent (Hōkyōji ama monzeki jiin) during the Edo period (1600-1868). Situated in Kyoto and in operation since the mid-fourteenth century, Hōkyōji has been the home for women from the highest echelons of society—the nobility and military aristocracy—since its foundation. The objects associated with women in the rarefied position of princess-nun offer an invaluable look into the role of visual and material culture in the lives of elite women in early modern Japan. -
Fine Japanese and Korean Art I New York I March 20, 2019
Fine Japanese and Korean Art and Korean Fine Japanese I New York I March 20, 2019 I March I New York 25415 Fine Japanese and Korean Art New York I March 20, 2019 Fine Japanese and Korean Art New York | Wednesday March 20 2019, at 1pm BONHAMS BIDS INQUIRIES CLIENT SERVICES 580 Madison Avenue +1 (212) 644 9001 Japanese Art Department Monday – Friday 9am-5pm New York, New York 10022 +1 (212) 644 9009 fax Jeffrey Olson, Director +1 (212) 644 9001 bonhams.com [email protected] +1 (212) 461 6516 +1 (212) 644 9009 fax [email protected] PREVIEW To bid via the internet please visit ILLUSTRATIONS www.bonhams.com/25415 Thursday March 14 Takako O’Grady, Front cover: Lot 247 10am to 5pm Administrator Inside front cover: Lot 289 Friday March 15 Please note that bids should be +1 (212) 461 6523 Back cover: Lot 390 10am to 5pm summited no later than 24hrs [email protected] Inside back cover: Lot 287 Saturday March 16 prior to the sale. New bidders 10am to 5pm must also provide proof of Sunday March 17 identity when submitting bids. REGISTRATION 10am to 5pm Failure to do this may result in IMPORTANT NOTICE your bid not being processed. Monday March 18 Please note that all customers, 10am to 5pm irrespective of any previous activity Tuesday March 19 LIVE ONLINE BIDDING IS with Bonhams, are required to 10am to 3pm AVAILABLE FOR THIS SALE complete the Bidder Registration Please email bids.us@bonhams. Form in advance of the sale. The SALE NUMBER: 25415 com with “Live bidding” in form can be found at the back the subject line 48hrs before of every catalogue and on our the auction to register for this website at www.bonhams.com CATALOG: $35 service. -
The Way of the Gods in Japan
KAMI- NO - M IC H I TH E WAY O F THE GO DS IN jA PAN H O P E H UN T LY LO N D O N R E B M A N LI M I T E D SH A FT ESBURY A EN E w c U . V , . 1 9 1 0 [A H RQML&W W M] KAM I- NO - M IC H I TH E WAY O F T H E GO DS IN JA PA N H O P E H U N T LY LO N D O N R E B M A N LI M I T E D SH A FT ESBU RY A VEN U E w c , . 1 9 1 0 [A 11 Rights Reserv ed ] D E D I C A T E D T O ALLASP IRING SOULS E R RAT A . Pa 2 1 l e 1 f a e n o r En l sh ead Pers i n e . g 4 , i , g i poet r po t “ ” “ Pa e 6 lin f m b m for H am - K i read H a - K i g 7 , e 9 ro otto , ir ri ir Pa e 2 l ne 8 f m to d o d g 7 4 , i ro p , itt itto Pa e 2 l nes — f m to d d g 7 7 , i 4 5 ro p , itto itto Pa e 2 8 l n f m bo m d o d o g 7 , i e 5 ro tto , itt itt Pa e 2 8 6 l ne 6 f m b m d t d g , i ro otto , it o itto P UBLISH ER’S P REFAC E THE desire of the author is to guide her readers - faithfully along this time honoured , half ” obliterated Way of the Gods , clearing the path with reverent , not iconoclastic hands , because recognising it as the Way by which the J apanese were divinely led to their present Th e is mental altitude . -
Panthéon Japonais
Liste des divinités et des héros des légendes et de la mythologie japonaises Divinité Kami (m) Kami (f) Esprit Bouddhisme Monstre Animal Humain Acala Déité bouddhique du mikkyo, maître immuable associé au feu et à la colère; il est l'un des cinq rois du savoir. Agyo-zo Dans le bouddhisme japonais, Agyo-zo et Ungyo-zo se tiennent à la porte des édifices pour les protéger. Aizen myo-o Déité du bouddhisme japonais qui purifie les hommes des désirs terrestres et les libère de l'illusion. Il est représenté en rouge vif (passion), avec trois yeux, six bras et un air irritée, Il tient à la main un arc et des flèches ou un crochet. Ajisukitakahikone ou Aji-Shiki ou Kamo no Omikami Kami de l'agriculture, de la foudre et des serpents. Il créa la montagne Moyama dans la province de Mino en piétinant une maison de deuil parce qu'on l'avait pris pour le défunt. Akashagarbha Un des treize bouddhas de l’école tantrique japonaise Shingon Ama no Fuchigoma Cheval mythique de Susanoo qui est décrit dans le Nihon-Shoki . Ama no Kagaseo Autre nom de Amatsu Mikaboshi le kami du mal Ame no Tajikarao Kami des exercices physiques et de la force brutale qui dégagea l'entrée de la grotte où Amatersu s'était réfugiée. Amakuni Forgeron légendaire qui forgea le tachi, l'épée courbe ancêtre de Takana. Ama no Zako Monstrueuse kami née des vomissures de Susanoo Amaterasu Kami du soleil et reine des Hautes Plaines Célestes Amatsu mikaboshi Kami du mal Ame no Oshido Mimi Fils d'Amaterasu qui refusa d'aller gouverner la terre qu'il trouvait trop pleine de cMhaos. -
Masterpieces of Japanese Art Cincinnati Art Museum February 14 – August 30, 2015 Docent Packet
Masterpieces of Japanese Art Cincinnati Art Museum February 14 – August 30, 2015 Docent Packet The Masterpieces of Japanese Art exhibit celebrates the beauty and breadth of the Cincinnati Art Museum’s permanent collection. The one hundred featured artworks exemplify five centuries of artistic creation. They were selected from over three thousand Japanese objects, including paintings, screens, ceramics, lacquer and metal wares, ivory carvings, arms and armor, dolls, masks, cloisonné, textiles and costumes. The Cincinnati Art Museum was one of the first museums in the United States to collect Japanese art, thanks to many generous patrons, including business people and artists, who traveled to Japan. From the Director’s Forward to the catalog: “We will forever be grateful to Dr. Hou-mei Sung for assembling Masterpieces of Japanese Art and for spearheading an extensive project of researching, cataloging, documenting, and preserving these works. Without her scholarship, her vision and her passion for Japanese art we would not be in a position to share this collection in such a complete and thorough fashion.” Aaron Betsky The packet begins with a short history of Japanese art history and a discussion of Heian Court Life which influenced many artworks in the exhibit. Five sections are organized around themes that could be used to plan a tour or to select artworks across the themes to customize a tour. The Animals and Fashion tours are family friendly. The Asian Painting, Religion and Donors tours appeal to a wide audience. The committee is very grateful to Dr. Sung for selecting the highlights of the exhibit that are featured in this docent packet. -
India-Japan Cultural Syncretism Reflected in Japanese Pantheon of Deities Siddharth Singh Director, Vivekananda Cultural Centre
India-Japan Cultural syncretism reflected in Japanese Pantheon of deities Siddharth Singh Director, Vivekananda Cultural Centre, Embassy of India, Tokyo “India is culturally, Mother of Japan. For centuries it has, in her own characteristic way, been exercising her influence on the thought and culture of Japan. …..without Indian influence, Japanese culture would not be what it is today. As most Japanese profess the Buddhist faith, needless to say, they have generally been influenced by Indian ideas to a great extent.” [1] Hajime Nakamura “It is very important for the Japanese to know that in the bottom of Japanese culture, Indian culture is very firmly imprinted.”[2] Yasukuni Enoki, Former Ambassador of Japan to India It is pertinent to know how closely Indian culture is embedded in the Japanese past and present and a bright example of such deeper linkages is Japanese temples containing the statues of various deities. Numerous major and minor deities, ubiquitously present in Japanese temples, have their origin in the ancient Indian pantheon of gods and goddesses, but since these deities were introduced to Japan via China with Chinese names, Japanese people, in most of the cases, are unaware of their origins. There are well-theorized claims that establish the introduction of Indian culture to Japan even before the formal introduction of Buddhism from Korea in 552 CE. According to the Book of Liang, which was written in 635, five Buddhist monks from the Gandhara region of India traveled to Japan during the Kofun period (250-538 CE) in 467 CE. [3] After the arrival of Buddhism, Aryadhamma, a Buddhist monk from Rajgriha (Bihar, India) seems to have entered Japan via China in 645 CE,[4] much before Bodhisena’s arrival at Naniwa (Osaka). -
Seven Lucky Gods of Japan
Seven Lucky Gods of Japan The Treasure Ship and the Seven Lucky Gods From bottom left: Daikokuten (with magic mallet), Fukurokuju (with large head), Bishimonten (in helmet), Benten (with lute), Ebisu (with fish), Jurojin (with white beard) and Hotei (with treasure sack) The Shichifukujin 七福神 are an eclectic group of deities from Japan, India, and China. Only one is native to Japan (Ebisu) and Japan’s indigenous Shint, tradition. Three are deva from India’s Hindu pantheon (Benzaiten, Bishamonten, Daikokuten) and three are gods from China’s Taoist-Buddhist traditions (Fukurokuju, Hotei, Jur,jin). Each deity existed independently before Japan’s “artificial” creation of the group. The origin of the group is unclear, although most scholars point to the Muromachi era (1392-1568) and the late 15th century. By the 19th century, most major cities had developed special pilgrimage circuits for the seven. These pilgrimages remain well trodden in contemporary times, but many people now use cars, buses, and trains to move between the sites. Today images of the seven appear with great frequency in Japan. In one popular Japanese tradition, they travel together on their treasure ship (Takarabune 宝船 ) and visit human ports on New Year’s Eve to dispense happiness to believers. Children are told to place a picture of this ship (or of Baku, the nightmare eater) under their pillows on the evening of January first. Local custom says if they have a good dream that night, they will be lucky for the whole year. Ebisu: origin Japan. God of the Ocean, Fishing Folk, Good Fortune, Honest Labor, Commerce. -
Aspects of Shinto in Japanese Communication*
Intercultural Communication Studies XII-4 2003 Asian Approaches to Human Communication Aspects of Shinto in Japanese Communication* Kazuya Hara Meikai University, Japan Abstract A person’s religious view is one of the elements that strongly influences his or her guiding principle in daily communication. In this essay, the author focuses on Shinto and attempts to conceptualize its influence on aspects of Japanese daily life and communication. First, the author reviews Shinto’s definitions, types of modern Shinto, the concept of kami (gods), the-other- world-views, reverence of nature, worship of ancestors, musubi (the mystical power of becoming or creation), and purity. Then, the author proposes two communication models based on a Shinto perspective: (1) kan’no (responding to nature as a deity) as intrapersonal communication; and (2) the sense of oneness with kami achieved by carrying mikoshi (a portable Shinto shrine) in matsuri festival. Introduction Sound human communication is being confronted with crises because of environmental disruption, superficial human relationships in society, or inhumane crimes. In such a time, it seems meaningful to rethink what we live by, and to what we owe our appreciation for our existence in this world. A person’s religious view is one of the elements that strongly influences his or her guiding principle in daily communication. For example, Wakimoto (1990) states that religious worldview not only inspires a person’s way of life, but also sways his or her value judgment and decision making. Among various religious and cultural views held, for most Japanese people, Shinto1 has had the greatest influence on their communication as the nucleus of their mental and behavioral culture with its simplicity (e.g., Irwin, 1996; Tsujimura, 1987). -
COX-DISSERTATION-2018.Pdf (5.765Mb)
Copyright Copyright by Benjamin Davis Cox 2018 Signature Page The Dissertation Committee for Benjamin Davis Cox certifies that this is the approved version of the following dissertation: Gods Without Faces Childhood, Religion, and Imagination in Contemporary Japan Committee: ____________________________________ John W. Traphagan, Supervisor ____________________________________ A. Azfar Moin ____________________________________ Oliver Freiberger ____________________________________ Kirsten Cather Title Page Gods Without Faces Childhood, Religion, and Imagination in Contemporary Japan by Benjamin Davis Cox Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2018 Dedication For my mother, who tirelessly read all of my blasphemies, but corrected only my grammar. BB&tt. Acknowledgments Fulbright, CHLA This research was made possible by the Fulbright-Hays Doctoral Dissertation Fellowship, a Hannah Beiter Graduate Student Research Grant from the Children’s Literature Association, and a grant from the Mitsubishi Heavy Industries Endowment in the College of Liberal Arts, University of Texas at Austin. I would additionally like to thank Waseda University for sponsoring my research visa, and in particular Glenda Roberts for helping secure my affiliation. Thank you to the members of my committee—John Traphagan, Azfar Moin, Oliver Freiberger, and Kirsten Cather—for their years of support and intellectual engagement, and to my ‘grand-advisor’ Keith Brown, whose lifetime of work in Mizusawa opened many doors to me that would otherwise have remained firmly but politely shut. I am deeply indebted to the people of Mizusawa for their warmth, kindness, and forbearance. -
Soto Zen and the Inari Cult: Symbiotic and Exorcistic Trends in Buddhist and Folk Religious Amalgamations
Soto Zen and the Inari Cult: Symbiotic and Exorcistic Trends in Buddhist and Folk Religious Amalgamations Steven Heine Pennsylvania State University We revere the Dharma, whether manifested in a round pillar, a garden lantern, a buddha, a fox, a demon or a deity, a man or a woman. Dogen, ShobIJgenzo '"Raihaitokuzui"l FOLK RELIGIOUS AND BUDDHIST INARI IMAGES This paper investigates the historical and ideological roots of the syncretism between Soto Zen and the cult of Inari, which venerates the god of the rice harvest and fertility often represented by its chief mes senger and avatar, the fox (kitsune). This example of Buddhist-folk re ligious syncretism is most evident in a small network of branch temples of So to which, although affiliated with one of the sect's two main temples at Eiheiji, has its own main temple in Toyokawa city in Aichi prefecture southeast of Nagoya and several subsidiary temples, including one in Tokyo Akasaka. This institution is referred to simultaneously, or at times interchangeably, as Myogonji temple (the Buddhist name) and Tokoyawa Inari, and it enshrines at least three forms of the fox/rice deity which are considered mutually supportive as protector deities for the temple-shrine complex and its followers: the Buddhist deity Dakini shinten depicted as a female bodhisattva astride a flying white fox en shrined in the dharma-hall; the indigenous Inari fertility deity known here as Toyokawa Inari in a shrine hall; and a variety of small fox icons which are guardians of these images. 76 Pacific World, New Series, No. 10, 1994 Although Dakini-shinten is labeled Buddhist, the formation ofits imagery and iconography has little precedent in Indian or Chinese mod els and seems to reflect a prior syncretism with the native god. -
Tenmangu Shrine
TENMANGU SHRINE Thank you for visiting Tenmangu Shrine today. Before the tour begins, however, please listen to a short history of the shrine which will explain how it came to be founded here. After the historical explanation, we will walk through the compound. History During the reign of Emperor Keiko (71 AD – 130 AD), a Japanese aristocrat dedicated a shrine on a hill in Isobe to Amenohohi no Mikoto, the forefather of the aristocratic Haji clan. This shrine was for the worship of Isobe Myojin, a Shinto god, and is the historical antecedent of what later became Tenmangu Shrine. After the passage of many centuries, successive generations of the Kiryu Clan, which had taken control of the area from around the year 1187, honored this Shinto deity as their protector. During the Northern and Southern Court Period (mid to late 14 th century), the Kiryu clan had the Shinto god worshipped at Kitano Tenmangu Shrine in Kyoto apportioned, and moved the shrine to its present location, renaming it Kiryu Tenmangu. From that time this god came to be regarded as the tutelary god protecting the fifty-four villages in the Kiryu area. In the year 1581, Lord Tokugawa Ieyasu, praying for success in his eastern campaign, granted protected status to the shrine as an official Tokugawa Clan shrine. In 1591, the district fell under Tokugawa control. Under their administration, the area in front of the shrine’s Torii Gate was designated “Kiryu Shin Machi” or Kiryu New Town. The land south of the torii gate was divided into districts called “cho,” a totally new system in Japan.