Roof Typology and Composition in Traditional Japanese Architecture
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The Reliquaries of Hyrule: a Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time
Press Start The Reliquaries of Hyrule The Reliquaries of Hyrule: A Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time Jared Hansen University of Oregon Abstract This study is a semiotic and iconographic analysis of the sacred architecture in The Legend of Zelda: Ocarina of Time (Nintendo, 1998). Through an analysis of the visual elements of the game, the researcher found evidence of visual metaphors that coded three temples as sacred spaces. This coding of the temples is accomplished through the symbolism of progression that matches the design of shrines and cathedrals, drawing on iconography and other symbolism associated with Shinto, Buddhist, and Christian sacred architecture. Such indications of sacred spaces highlight the ways in which these virtual environments are designed to symbolize the progression of the player from secular to sacred, much like the player’s progression from zero to hero. By using the architecture and symbolism of the three aforementioned belief systems, Ocarina of Time signifies these temples as reliquaries—that is, sacred places that house reverential items as part of the apotheosis of the player. Keywords Art history; The Legend of Zelda; sacred space; symbolism; temple. Press Start 2021 | Volume 7 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Hansen The Reliquaries of Hyrule Introduction The video game experiences that I remember and treasure most are the feelings I have within the virtual environments. -
Shiva's Waterfront Temples
Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. -
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VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン=ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS -
Ryokan Sono Alberghi in Stile Giapponese
Naima-Is-Online RRYYOOKKAANN I ryokan sono alberghi in stile giapponese. Al loro interno, si applicano le stesse norme generali di comportamento delle abitazioni in stile tradizionale e dei templi e santuari, quindi parte delle indicazioni contenute in questo documento potranno tornarvi utili anche in caso decideste di non soggiornare in ryokan. Vediamo di seguito i principali aspetti della vita quotidiana in un ambiente tradizionale giapponese. LA STANZA GIAPPONESE: WASHITSU Una caratteristica peculiare delle stanze in tatami (pavimenti in paglia intrecciata) è la loro doppia valenza: esse si trasformano da stanza da giorno a camera da letto in un attimo. Di giorno, infatti, nella stanza c'è solo il tavolo basso con i cuscini su cui sedersi, mentre la sera la cameriera sposta il tavolo e stende i futon (materassi) per terra, preparandoli per la notte. Il mattino, lasciata libera la stanza, la cameriera stende i futon a prendere aria prima di riporli nell'armadio e prepara il tavolo in centro alla stanza. Questo ciclo si ripete ogni giorno. In alcuni ryokan, la stanza viene sempre lasciata allestita a notte. Se si soggiorna in un minshuku, ryokan a conduzione familiare, e' probabile che siano gli stessi ospiti a doversi preparare il futon. Nelle stanze vengono serviti tè verde e dolcetti ogni giorno. www.naima-is-online.it di Alessia Ravelli Pag. 1 Naima-Is-Online Le donne siedono sui cuscini inginocchiate, o al massimo inginocchiate con le gambe messe leggermente di traverso, mentre gli uomini possono sedere inginocchiati o a gambe incrociate. Questa regola vale sempre quando si è sui tatami: al ristorante, nella camera del ryokan, al tempio, ecc. -
The Lesson of the Japanese House
Structural Studies, Repairs and Maintenance of Heritage Architecture XV 275 LEARNING FROM THE PAST: THE LESSON OF THE JAPANESE HOUSE EMILIA GARDA, MARIKA MANGOSIO & LUIGI PASTORE Politecnico di Torino, Italy ABSTRACT Thanks to the great spiritual value linked to it, the Japanese house is one of the oldest and most fascinating architectural constructs of the eastern world. The religion and the environment of this region have had a central role in the evolution of the domestic spaces and in the choice of materials used. The eastern architects have kept some canons of construction that modern designers still use. These models have been source of inspiration of the greatest minds of the architectural landscape of the 20th century. The following analysis tries to understand how such cultural bases have defined construction choices, carefully describing all the spaces that characterize the domestic environment. The Japanese culture concerning daily life at home is very different from ours in the west; there is a different collocation of the spiritual value assigned to some rooms in the hierarchy of project prioritization: within the eastern mindset one should guarantee the harmony of spaces that are able to satisfy the spiritual needs of everyone that lives in that house. The Japanese house is a new world: every space is evolving thanks to its versatility. Lights and shadows coexist as they mingle with nature, another factor in understanding the ideology of Japanese architects. In the following research, besides a detailed description of the central elements, incorporates where necessary a comparison with the western world of thought. All the influences will be analysed, with a particular view to the architectural features that have influenced the Modern Movement. -
(PANDEMIC ISSUE) EDITOR in CHIEF Arch
ISSN 2611-3872 N.4 DEC 2020 (PANDEMIC ISSUE) EDITOR IN CHIEF Arch. Maria Maddalena Margaria SCIENTIFIC COMMITTEE: Prof. Valeria Minucciani - POLYTECHNIC OF TURIN Dr. Katelijn Quartier - UNIVERSITY OF HASSELT Prof. Francesca Murialdo - MIDDLESEX UNIVERSITY Prof. Penny Sparke - KINGSTON UNIVERSITY Prof. Elena Dellapiana - POLITECNICO DI TORINO Prof. Ricardo Guasch Ceballos - ELISAVA Prof. Graeme Brooker - RCA LONDON Prof. Els de Vos - ANTWERPEN UNIVERSITY WWW.INNEMAGAZINE.ORG COVER AND DESIGN: DARIOBOVERO.IT LIVING IN A PANDEMIC STATE: HOW INTERIORS FACE TO ISOLATION (PANDEMIC ISSUE) Index 6 HOME OR ‘PANOPTIC’ SPACE OF WORK WRITTEN BY Pierluigi Panza, Faculty Design Sciences, University Antwerp 14 UTILIZING DESIGN CREATIVITY TO PROTECT AND CONNECT IN PANDEMIC TIMES WRITTEN BY Ashlyn Powers Assoc. AIA, Assoc. IIDA Pipa Bradbury ASID, NCIDQ, Illinois Registered Interior Designer #161.003564 20 PANDEMIC AND POST PANDEMIC. THE ANNUS HORRIBILIS AND THE DISCIPLINARY RE-CONSTITUTION WRITTEN BY Pier Federico Caliari 31 POST PANDEMIC INTERIORS - THE DESIGN INTERNS’ VISTA WRITTEN BY Mani Makhija Student of IV year of Architecture of School of Planning and Architecture, Bhopal, India 38 SPECTRUM OF SPATIAL MANIFESTATIONS IN HOMES, DURING A PANDEMIC AUTHOR: Deepiga Kameswaran Associate Professor, Faculty of Architecture, Dr.MGR Educational & Research Institute Chennai. CO AUTHOR: Anil Ravindranathan Professor, Faculty of Architecture, Dr. MGR Educational & Research Institute Chennai. 50 HEALTHIER LIVING SPACES ARCHITECTURAL DESIGN AND SCIENTIFIC-TECHNOLOGICAL INNOVATION WRITTEN BY Clelia Maria Bonardi Dott.ssa in Architecture 58 THE CHANGE IN INTERIOR SPACE AND THE CONCEPT OF WELL-BEING IN RELATION TO THE NEW CORONAVIRUS WRITTEN BY Nilufer Saglar Onay HOME OR ‘PANOPTIC’ SPACE OF WORK WRITTEN BY Pierluigi Panza Faculty Design Sciences, University Antwerp Michel Foucault (1926 – 1984) Abstract he timing of the renewal of labour strategies in the global market is too rapid for private housing, if it has a future, to adapt to it T every time. -
Description of Fences
Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Description of Fences フェンスの説明 / Description des obstacles Fence 1 – The Great Wave off Kanagawa. Hokusai. Author: (Katsushika Hokusai) Original Title: (Kanagawa-oki nami ura) Year: 1829 – 1832 Base/stand: Colour-engraved upon a wooden block. Japanese ukiyo-e master. The Great Wave is the most recognized piece by Japanese painter Katsushika Hokusai, who specializes in ukiyo-e. Published between 1830 and 1833 during the Edo period, it forms part of the collection “Thirty-six views of Mount Fuji”, even though Mount Fuji is the smallest element. The wave references the relentless force of nature, the sea, and the importance this event has in Japan’s economy and its cultural development, given the country is formed by 4 islands. EQUO JUMPTEAM----------FNL-0002RR--_03B 1 Report Created SAT 7 AUG 2021 16 :45 Page 1/7 Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Fence 4 – Mascot of the Tokyo 2020 Olympics Japanese illustrator Ryo Taniguchi. Manga and gamer references are seen, in representation of the Japanese contemporary visual culture and with a character design inspired by the Tokyo 2020 Olympic Games’ Logo. The pair of futuristic characters combine tradition and innovation. The name of the Olympics mascot, Miraitowa, fuses the Japanese words for future and eternity. Someity, the Paralympics mascot, is derived from Somei-yoshino, a type of cherry blossom, cherry blossom variety "Someiyoshino" and is a play on words with the English phrase “So mighty”. -
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). -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
University of Nevada, Reno American Shinto Community of Practice
University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice. -
Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance. -
Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work.