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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries Permalink https://escholarship.org/uc/item/90w6w5wz Author Carter, Caleb Swift Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Caleb Swift Carter 2014 ABSTRACT OF THE DISSERTATION Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries by Caleb Swift Carter Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2014 Professor William M. Bodiford, Chair This dissertation considers two intersecting aspects of premodern Japanese religions: the development of mountain-based religious systems and the formation of numinous sites. The first aspect focuses in particular on the historical emergence of a mountain religious school in Japan known as Shugendō. While previous scholarship often categorizes Shugendō as a form of folk religion, this designation tends to situate the school in overly broad terms that neglect its historical and regional stages of formation. In contrast, this project examines Shugendō through the investigation of a single site. Through a close reading of textual, epigraphical, and visual sources from Mt. Togakushi (in present-day Nagano Ken), I trace the development of Shugendō and other religious trends from roughly the thirteenth through mid-nineteenth centuries. This study further differs from previous research insofar as it analyzes Shugendō as a concrete system of practices, doctrines, members, institutions, and identities. -
Through the Case of Izumo Taishakyo Mission of Hawaii
The Japanese and Okinawan American Communities and Shintoism in Hawaii: Through the Case of Izumo Taishakyo Mission of Hawaii A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʽI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AMERICAN STUDIES MAY 2012 By Sawako Kinjo Thesis Committee: Dennis M. Ogawa, Chairperson Katsunori Yamazato Akemi Kikumura Yano Keywords: Japanese American Community, Shintoism in Hawaii, Izumo Taishayo Mission of Hawaii To My Parents, Sonoe and Yoshihiro Kinjo, and My Family in Okinawa and in Hawaii Acknowledgement First and foremost, I would like to express my deep and sincere gratitude to my committee chair, Professor Dennis M. Ogawa, whose guidance, patience, motivation, enthusiasm, and immense knowledge have provided a good basis for the present thesis. I also attribute the completion of my master’s thesis to his encouragement and understanding and without his thoughtful support, this thesis would not have been accomplished or written. I also wish to express my warm and cordial thanks to my committee members, Professor Katsunori Yamazato, an affiliate faculty from the University of the Ryukyus, and Dr. Akemi Kikumura Yano, an affiliate faculty and President and Chief Executive Officer (CEO) of the Japanese American National Museum, for their encouragement, helpful reference, and insightful comments and questions. My sincere thanks also goes to the interviewees, Richard T. Miyao, Robert Nakasone, Vince A. Morikawa, Daniel Chinen, Joseph Peters, and Jikai Yamazato, for kindly offering me opportunities to interview with them. It is a pleasure to thank those who made this thesis possible. -
Honji Suijaku Faith
Japanese Journal of Religious Studies 16/2-3 Honji Suijaku Faith Susan Tyler The term shinbutsu shugo 神仏習合 is used when speaking of the early rapprochement of S h in to and Buddhism, while honji suijaku 本地垂逆 is most often used to refer to a theory according to which the kami were treated as incarnations of the Buddhist deities. This relationship 01 kami and buddhas is the major characteristic and apparent content of Buddhist/Shinto syncretism and the term konjt suijaku can be used to refer to fully developed syncretism. The impression given by most books about either Shinto or Bud dhism is that they were separate religions with borders that over lapped thanks to the theory of honji suijaku. On the other hand, innocent reading of texts such as Heike monogatari and observation of religious practice and religious places today suggest instead that mingled Shinto and Buddhism has been, and in some instances still is, an important system of belief and practice. Further investigation confirms this perception. Institutional mingling was pervasive enough to occasion widespread destruction when the religions were declared separate; and personal devotion was a complicated and effective par taking of both Shinto and Buddhism. The idea that Shinto can be studied separately from Buddhism, with still separate attention given to honji suijaku, is due not to a study of history, but to an overemphasis on doctrine to define reli gion and to the motives for the strict separation of Shinto and Buddhism, both in fact and in scholarship, from early Meiji until the end of the Second World War.* In reaction, it has recently 1 This is not due just to the attitude of scholars. -
The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees. -
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. -
The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible. -
The Moon Bear As a Symbol of Yama Its Significance in the Folklore of Upland Hunting in Japan
Catherine Knight Independent Scholar The Moon Bear as a Symbol of Yama Its Significance in the Folklore of Upland Hunting in Japan The Asiatic black bear, or “moon bear,” has inhabited Japan since pre- historic times, and is the largest animal to have roamed Honshū, Shikoku, and Kyūshū since mega-fauna became extinct on the Japanese archipelago after the last glacial period. Even so, it features only rarely in the folklore, literature, and arts of Japan’s mainstream culture. Its relative invisibility in the dominant lowland agrarian-based culture of Japan contrasts markedly with its cultural significance in many upland regions where subsistence lifestyles based on hunting, gathering, and beliefs centered on the mountain deity (yama no kami) have persisted until recently. This article explores the significance of the bear in the upland regions of Japan, particularly as it is manifested in the folklore of communities centered on hunting, such as those of the matagi, and attempts to explain why the bear, and folklore focused on the bear, is largely ignored in mainstream Japanese culture. keywords: Tsukinowaguma—moon bear—matagi hunters—yama no kami—upland communities—folklore Asian Ethnology Volume 67, Number 1 • 2008, 79–101 © Nanzan Institute for Religion and Culture nimals are common motifs in Japanese folklore and folk religion. Of the Amammals, there is a wealth of folklore concerning the fox, raccoon dog (tanuki), and wolf, for example. The fox is regarded as sacred, and is inextricably associated with inari, originally one of the deities of cereals and a central deity in Japanese folk religion. It has therefore become closely connected with rice agri- culture and thus is an animal symbol central to Japan’s agrarian culture. -
The Making of an American Shinto Community
THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 -
Kamidana a Kamidana Houses an Ofuda (Symbol of Kami)
A Brief History of the kamidana A kamidana houses an ofuda (symbol of kami). In the edo period, ise-kô (ise shrine fraternal groups) formed in every part of Japan. When a pilgrimage was made to ise jingu, an amulet or "oharai-taima" was taken home. These amulets were also distributed throughout Japan by the various ise-kô. A "daijingu-dana" or house shrine was set up to enshrine these amulets of the Grand Shrine of ise. This practice was the origin of the kamidana. Setting Up a kamidana Before setting up a kamidana you must cleanse (purify) your home. Choose a site that is pure, light, quiet and high. Also it should be where the family gathers, convenient for making offerings to kami, convenient for daily prayers, and on a North or West wall (so the kamidana's doors open to the South or East) If there is a floor above the kamidana it is best to write the word "kumoi" 雲井 (sky) on a piece of paper and place it above the kamidana so any people upstairs will not be walking over the kamidana. Place the kamidana just above head height. On each side of the kamidana place evergreen branches in the sakaki tate (special vases). A shimenawa (straw rope) with shide (paper shapes) should be hung above the kamidana. shinki shinki are ritual implements. Sets are available online (http://www.tsubakishrine.org/omamori/kamidana.html), or you can assemble your own – plain white china and unfinished wood are preferred. At a minimum, you will need: two tall vases (for evergreen branches); two shallow bowls (one for rice and one for salt); two covered, short vases or glasses (one for water and one for sake); and a holder or hinged box (for the ofuda). -
Japanese Myths and Rituals
97 Association of the Sun and the Rice in Japanese Myths and Rituals Atsuhiko Yoshida Key words:myth, ritual, Shinto, Amaterasu, Izanagi, Mikuratananokami, Susanowo, Ukemochi, Tsukiyomi, Okuninushi, Hononinigi, Amenouzume, Toyouke, Tent6, Daij6sai, Ise, A Izumo, Takachiho, Tsushim3. Summary:The Sun-goddess Amaterasu, being the supreme deity of Shintδ, is closely associated also with the rice crop throughout the mythology as well as in her cult celebrated at the Inner and Outer Shrines of Ise. She even obviously shows some of the characteristic traits common to the rice deities of the East Asian rice cultivators. A similar tendency to connect a solar deity with the rice is found also in folk beliefs and lores all around Japan;one of the conspicuous examples being the Tent6 festival of the island of Tstlshima, in which a straw bag containing grains of a special kind of holy red rice is most solemnly reverenced as an incarnation of a solar deity. The most prominent figure of Japanese mythology is the resplendent Sun-goddess Amatera- su(Glorious-Shiner-of-Heaven). She is claimed to be the divine ancestress of the Imperial Family and to rule universe sovereignly and magnanimously from her realm, the Plain of High Heaven(Takamagahara), where eight millions of celestial deities submit themselves willingly to her command. According to one version of the myth, she is one of the three last born and noblest children of her divine father, Izanagi. This god was sent down in primor・ dial times from Heaven with his sister, the goddess Izanami, who became -
Talismans and Amulets in the Japanese Collection1
ANNALS OF THE NÁPRSTEK MUSEUM 35/1 • 2014 • (p. 39–68) TALISMANS AND AMULETS IN THE JAPANESE COLLECTION1 Alice Kraemerová2 ABSTRACT: This article describes all types of amulets and talismans present in the Náprstek Museum Japanese collection and uncovers their symbolic meaning. These are mostly talismans from shrines and temples dating to the beginning of the 20th century, traditional hand-crafted items from famous places of pilgrimage and toys used as talismans. KEY WORDS: Japan – Buddhist temple – Shintǀ shrine – shamanism – talisman – amulet– ofuda – ema – omamori – collecting – Náprstek Museum of Asian, African and American Cultures (Prague) 1. Defining terminology Amulet is considered to have protective or otherwise salutary effects while talisman primarily attracts fortune. Various authors describe different classifications of amulets and talismans according to their functional principles: homeopathic principle, contact principle, the principle of the magic of the written word, principle of colour magic, the principle of magic substances, the principle of the personifies higher power and the combinatorial principle (Nuska 2012). In this article we shall not use this division as for such a detailed analysis it would be necessary to acknowledge all types of amulets and talismans, not just those collected by the Czech travellers and brought into the NpM collections. Most of the available literature deals with the European view on amulets and talismans; the furthest it gets is the Near East. The Far East is usually not that well mapped due to the geographical distance and the language barrier. For the Japanese talismans, there are several often used terms: mayoke (㨱 㝖ࡅ) or yakuyoke (གྷ㝖ࡅ), omamori (࠾Ᏺࡾ) and ofuda (ᚚᮐ) or gofu (ㆤ➢). -
The Benzaiten and Dakiniten Mandalas: a Problem Or an Enigma?" by Bernard Faure, Columbia University
"The Benzaiten and Dakiniten mandalas: A Problem or an Enigma?" by Bernard Faure, Columbia University Toward the end of the Heian period, an esoteric Buddhist text refelred to a strange tliree-faced deity called Yaksa or Matarajin as the protector of TOji, the headqua~tersof the Sliingon school. Its thee faces were those of the devas Dakiniten, Benzaiten, and SliOten (or Kangiten), three major figures of medieval esotericism. Unfortunately, no representation of that deity remains. It is only some three or four centuries later, during the Muromaclii period, that a series of painted scrolls representing the Thee Devas as one composite fox-riding deity surrounded by its acolytes became popular. These paintings present affinities with another type of representations known as the Tenkawa Benzaiten mandala. This paper is trying to address the iconological problems raised by such paintings and their cultic background. The Benzaiten and Dakiniten mandalas: A Problem or an Enigma? The Three-faced Deity of Ttiji The Gyciki, a ritual text compiled around 1179 by the imperial priest Shukaku (Shukaku Shitm6, 1150-1202), contains an interesting passage concerning the image of the protecting deity of T6ji, the headquarters of the Shingon school. This image, unfortunately no longer extent, was that of a Yaksa (yashajin) called Matarajin, who is described as a "strange deity" (kijin) with three faces and six amls. Its central face (golden it1 color) was that of Sh6ten, while the riglit (red) face was that of Benzaiten, and the left (white) face that of Dakiniten. This Yaksa is said to be a messenger of the Inari deity, and he was believed to predict fnture events, eli~ninatecalamities, and bring good fortune.