DOCSLIB.ORG

Ancient Road to Fujisan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ancient Road to Fujisan Fujisan-michi Road ANCIENT ROAD Koshu-dochu road was one of the highways starting from Onuma (Milestone / Wade-miya) Koasumi (Lake Asumiko) Shimoyoshida / Omuro Sengen-jinja Oshi-machi (the base town for Nihonbashi in Edo (present-day Tokyo). People living in the Kanto It was around the present-day Onuma area in Nishikatsura Lake Asumiko is a small lake, but it is one of eight lakes called Shrine worship-ascent) plains walked along Koshu-dochu road to the west, heading for TO FUJISAN Town that people coming along Fujisan-michi could get a chance “Uchihakkai”, which were regarded as the pilgrimage destinations. Silk fabrics have been one of the major industries in Fujisan. e road forked at Otsuki post-town and they walked up for the rst time to see the whole mountain of Fujisan trailing It was drawn as “Fuji seen from Asumi Village” in “Fugaku Shimoyoshida since the Edo period. People have reared silkworms Yamura-ji road along the Katsura River to come to Yoshida. e — Pilgrimage Routes of Fujisan — gently in a conic shape. e old road at Onuma was called Hyakkei”, or one hundred landscapes of Fujisan, by Katsushika to reel silk o cocoons and made silk fabrics. e industry has been Fujisan worshipers named the whole road from Edo “Shuku-dori”, which ourished as a post-town for Hokusai. Lake Asumiko was part of Koasumi Village in the Edo supported by the abundant subsoil water from Fujisan. It has “Fujisan-michi”. worship-ascenders to the summer mountain during the period period, and the people aiming for Fujisan would perform water grown in auence, making the best use of the natural condition, from the Edo era through the present days. rituals here. ey puried themselves with abundant water sprung for example, the water from dierent sources was used for dyeing as Walk on Fujisan-michi Road ! It is said that Onuma Sengen-jinja Shrine was founded in 721. out at the foot of the surrounding mountains, and then set out to necessary. e wholesale stores of silk fabrics used to stand in a row e deities enshrined are Konohana-Sakuya Hime, the goddess of ascend Fujisan. Mitsutoge Station on the east side of the main street, which were called Fujisan, and her husband, Amatsuhikohikohononinigi no Mikoto. “Kinuya-machi”, or the town of silk fabrics stores. 1.9km At Omuro Sengen-jinja Shrine in Shimoyoshida, a Shinto ritual called “Tsutsu-gayu” is conducted from the midnight of January Onuma Sengen-jinja Shrine 14th through the dawn of the following 15th. It is a divine fortune-telling, in which how much porridge and how many grains 4.8km of rice come in the 24 pipes of reed tell us how the crop will be in Lake Asumiko the year. is Shinto ritual also tells us whether the number of climbers to Fujisan is large or small. It was a matter of concern for 2.8km Oshi because their lives were inuenced by it. “Oshi-machi” map Omuro Sengen-jinja Shrine In the Edo period, there were so many Fuji-ko (Fuji pilgrimage 2.0km associations) that it was said there were 808 Fuji-ko groups in Edo. Arakura Sengen-jinja Shrine Lake Asumiko ey came to Yoshida walking through the Fujisan-michi from 0.9km “Chureito” pagoda various places. When the Fuji-ko were at the height of popularity Arakura Sengen-jinja Shrine among the commoners, nearly 100 Oshi-lodgings and related Kana-dorii Sengen-jinja Shrine on the hill houses lined the road. Yoshida developed into the base town for of Arakura is located at the point worship-ascent to Fujisan. 0.4km where it overlooks the Fuji-ko which were popular in Edo and the surrounding areas Onuma Sengen-jinja Shrine “Oshi” Lodging House Ken-marubi lava. It can be made worship-ascent in a group. Oshi accommodated the Fuji-ko (Former House of the Togawa Family) inferred that a ritual would be in their private houses, while they preached the Fujisan belief. Kamikurechi (Ken-marubi Lava) held, praying to quell the lava ow During the mountain climbing seaseon, Oshi took care of Fuji-ko 1.3km e volcanic alluvial fan spreads out on the northern side of and to protect people from “Yabusame” ritual at Omuro Sengen-jinja Shrine groups who stayed in their lodging houses, serving the meals, Kitaguchi Hongu Fujisan, on which there are many streams of lava ow. is area disaster. Today it is getting praying for purication, and guiding the climbing. Fuji Sengen-jinja Shrine had big volcanic activities repeatedly. e new lava of the Shin-Fuji popular as a viewpoint of Fujisan Kana-dorii Kazan (Young Fuji Volcano) are called “___ marubi”. which is known for “Chureito”, “Chureito” pagoda Torii gates usually signify the Ken-marubi lava that owed out near the summit about 1000 ve-storied pagoda. boundaries between the common years ago went down around the Komitake Kazan (Komitake e tablet which reads world and the sacred area. Volcano) along the present Fuji Subaru Line Toll Road, which “Sangoku-Daiichi-zan” is put up Kana-dorii standing at the formed Yoshida and Funatsu lava tree molds, and nally reached on the torii at Arakura gateway of Yoshida Town is around Shiraito in Kamikurechi. It is said that it was named Sengen-jinja Shrine. Sangoku, regarded as the rst torii, and the “Ken-marubi” because the shape of the lava ow resembled a meaning three countries, indicates town was formed with the sword, which is called “ken” in Japanese. India, China, and Japan, which religious design as if the inner side signied the whole world in the of the torii would be the sacred Medieval period. at is to say area as well. At the important “Sangoku-Daiichi-zan” meant the points along the route to the No. 1 mountain in the world. summit, there are torii gates, and Gazing at Mt. Fuji from Inume Pass in Uenohara City “Sangoku-Daiichi-zan” tablet Kana-dorii is the rst one. “Kana-dorii” gate Oshi Lodging House (former House of the Togawa Family) Mt. Fuji from Fuji Hokuroku Area Kamakura-kaido Road ere is a road called “Kai-ji”, which branches o from the Kitaguchi Hongu Fuji Sengen-jinja Shrine Kawaguchi Asama-jinja Shrine “Tatami-iwa” Lava Rock at Funatsu-hama “Gyoi ”, or a pilgrim’s garb Kitaguchi Hongu Fuji Sengen-jinja Shrine was the starting historical main road in Japan, Tokai-do Road and leads to the It is believed that the shrine was originally built in order to shore of Lake Kawaguchiko capital of “Kai Province” (present-day Yamanashi Prefecture). It The summit of Fujisan was compared to point of worship-ascent for Fuji-ko. It originated in the place for appease the deity and implore protection against eruptions aer It is thought that “Tatami-iwa” lava rock found at Funatsu-hama a Buddhist paradise or the afterworld by was also called “Misaka-ji” because it crosses “Misaka-toge” Pass. worship from afar (“Yohai”) where Asama no Okami was Fujisan erupted in 864. Since the Medieval period, it has shore of Lake Kawaguchiko was the volcanic feature created by the people who climbed the mountain for a In the Kamakura period (1185-1333), it came to be called enshrined. In 1480, the torii gate was built. e most of the shrine supported Fujisan worship as the shrine which is sited in the center lava ow aer Fujisan’s eruptions in the middle of the Jomon religious purpose. Ascending Fujisan Kamakura-kaido Road since samurai warriors used almost the buildings were completed by the middle of the 17th century of the settlement of “Oshi” period, around 4500 years ago. It is presumed that this spot was meant a religious practice and having an same route to pay a courtesy visit to the Kamakura Shogunate. experience of symbolic death. Descending including the main shrine which was built in 1615. is shrine has religious guides’ lodgings, regarded as one of the places for the “Uchihakkai-meguri,” the From the Muromachi period (1333-1568) onward, a lot of the mountain signified a spiritual rebirth. been deeply connected with Fuji-ko, and the buildings were where believers coming to practice of making a circuit of eight lakes at the base of Fujisan, believers of the general population visited Fujisan and the people Therefore, pilgrims wore white “Gyoi” restored with the donation by the leader of Fuji-ko, Murakami Fujisan via Kamakura-kaido which was conducted by Fuji-ko in the Edo period. from the westward and northward areas from Kofu Basin used clothes which were the same religious Kosei, in the 1730’s. us the present landscape was formed. Road stayed. Religious events white clothes used to dress the deceased. Kamakura-kaido Road as a pilgrimage route to Fujisan. At that closely related to Fujisan are Mt. Fuji from Mt. Takazasu Mt. Fuji from Mt. Ishiwari time, “Oshi” lodging houses to accommodate those believers were still conducted today. One of built in the Kawaguchi area which was located along the road and them is Chigomai dance, they had ourished up to the Edo period (1603-1868). which is designated as an important intangible cultural Walk on Kamakura-kaido Road ! property. The approach to Kawaguchi Asama-jinja Shrine “Goshuin”, or a seal stamp given to visitors to Shinto shrines Kawaguchi Asama-jinja Shrine “Goshuin” is testimony of “Omairi,” which means visiting shrines, making a connection with deities and deepening the relationship with Chigomai dance 10min. them. In short, “Goshuin” is testimony of building the connection with Chigomai dance is one of the Shinto ritual performing arts which have deities.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • 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”.
    [Show full text]
  • 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).
    [Show full text]
  • 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'.
    [Show full text]
  • The Yamanashi Grapevine
    The Yamanashi Grapevine July 2003 Editor’s note Before summer’s heat saps all our energy, we went to visit two cities in Yamanashi. The first, Fujiyoshida, is probably the most famous place in Yamanashi as it is the point from where most Mount Fuji climbers start their long journey to the top. The second, Nirasaki, may not be as well renowned, but it might be known to some football (or should I say “soccer”?!) fans as the home of the high school where current Parma player Hidetoshi Nakata’s talent was discovered. On page 8, Geoff Wigan, an Assistant Language Teacher on the Table of Contents JET programme, takes us on a philosophical journey through his first year in p.2 Nirasaki City Yamanashi. p.4 Fujiyoshida City This edition holds a special meaning to me as it marks my last contribution to the P.6 News Spotlight Grapevine. As a writer and an editor, I have had the opportunity to experience and share the richness of nature in Yamanashi as well as the warmth of its p.8 ALT Experiences people, which is something I will never forget. p.10 Upcoming Events Lastly, you might be surprised by the cover photograph. But don’t! This is one of p.12 Meet the Authors the Showa Era houses destined to become a trendy bar in Fujiyoshida. Maguelonne Billy Nirasaki. “Leek point.” The name of this city in Whilst the area has a long and varied history, the city of Nirasaki itself the north-western region of Yamanashi Prefecture is preparing to greet its 50th anniversary in the coming year, 2004.
    [Show full text]
  • A Comprehensive Yamanashi Guide to Coronavirus COVID-19
    April 6th , 2020 May 8 th , 2020rev A comprehensive Yamanashi Guide to Coronavirus COVID-19 What is COVID-19? What are the symptoms? How does it spread? Who is at High Risk? Can I take leave? Government issued Guidelines When should I, and how can I consult a medical professional? HELPFUL RESOURCES April 6th , 2020 May 8 th , 2020rev What is COVID-19? COVID-19 is the new respiratory disease spreading around the world and it is caused by a coronavirus. COVID-19 is short for Coronavirus Disease 2019. The 2019 Novel Coronavirus (2019-nCoV) often referred to as COVID-19 or more simply, the coronavirus is a severe acute respiratory syndrome (SARS-CoV-2) that was newley identified in Wuhan City, Hubei Province, China. Since the first cases were reported, the outbreak has rapidly spread through China and many locations worldwide. Coronaviruses are a large family of viruses that can cause illness in both humans and animals. The illnesses brought about from the coronavirus have ranged from the common cold (ex. Respiratory syndrome, fever, cough, etc.) to more severe sicknesses such as pneumonia and severe acute respiratory syndrome . PLEASE NOTE: The virus that causes COVID-19 and the one that caused the outbreak of Severe Acute Respiratory Syndrome (SARS) in 2003 are related to each other genetically, but the diseases they cause are quite different. SARS was more deadly but much less infectious than COVID-19, the SARS that may be caused by the coronavirus is a different strain of this so please keep this in mind. As of April 06, 2020 there have been over 1,270,000 in at least 180 countries and territories with the highest numbers being in America, Italy, Spain, China and Germany in that order.
    [Show full text]
  • 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.
    [Show full text]
  • Organic Architecture and Frank Lloyd Wright
    Elizabethtown College First Year Seminar FYS100 Section A ORGANIC ARCHITECTURE and FRANK LLOYD WRIGHT Fall 2021 Basic principles of architecture and urban design including sustainable design and mitigating environmental impacts. Major emphasis on Frank Lloyd Wright’s “Organic Architecture” and his life and selected works (from his ~500 built designs) in Wisconsin (mostly rural), Illinois (mostly Chicago), New York, Pennsylvania, California, Arizona, Japan (a major influence), and Italy (Tuscany). Born in 1867 soon after the Civil war, he lived through two World Wars and the Great Depression. He died in 1959 at the beginning of the Space Race. An Introduction to Site Analysis & Design, Landscape Architecture, Architecture Theory, Architectural Materials & Methods, and Passive Architectural Illumination, Solar, HVAC, and Acoustical Design. Joseph T Wunderlich PhD Mondays 11:00AM-12:20 in E273 Wednesdays 11:00AM at locations stated below Fridays 11:00AM-12:20 in E273 All lectures, readings, and videos may be tested; and many should be referenced in your semester paper. Some content may be duplicated for fault-tolerance, variable access (software & device), and availability to the public on My website and My YouTube channel. Assignments, readings, and announcements will be posted in Canvas. Pre-semester Orientation (8/20-8/22) ▪ Sat: “Roundtable #1: Electronic Resources” (with your peer mentors) – look for announcement from Peer-Mentor for location WEEK 1 (8/23-8/27) ▪ Mon: LECTURE: Course expectations Upcoming Wunderlich book on Frank Lloyd
    [Show full text]
  • MATERIAL and ORNAMENT in KATSURA and Nlkko DANABUNTROCK University of Illinois at Chicago
    I1996 ACSA European Conference Copenhagen MATERIAL AND ORNAMENT IN KATSURA AND NlKKO DANABUNTROCK University of Illinois at Chicago INTRODUCTION tea master. Robert Treat Paine and Alexander Soper dated it to the Momoyama period, which is generally agreed to have ended The Katsura Detached Palace and the Toshogu at around 1617, while others date the earliest construction to about Nikko could not be more different. Katsura, a retrear outside 1616, under the supervision ofprince Toshihito, with construc- Kyoto constructed in the early seventeenth century, was built for tion continuing through 1655, supervised by Prince Toshitada. Prince Hachijo Toshihito, the younger brother of Emperor The recent two-volume encyclopedia published by Kodansha Goyozei; built in the shoin and sukiya styles, materials are used dates the original Old Shoin and some small structures to plainly and left unpainted; ornament and color are kept to a between 1620 and 1625 and remainingconstruction to between minimum.' By contrast, the Toshogu, built between I616 and 1641 and 1662, again splitting credit for supervision between 1617 to enshrine Tokugawa Ieyasu and reconstructed between the two princes.Wther recent scholarship roughly shares this 1634 and 1636 by the third Shogun, Tokugawa Iemitsu, is an dating and sequence. ornamental orgy: there are a total of 5,173 distinct carvings and At Katsura, ornament is minimal and limited; instead, surfaces are a riot of color.' materials are used decoratively to achieve a rich effect. Although Yet these two buildings share a place in time and some the paulownia and the chrysanthemum, both signifying Prince of the best artisans ofthe day are known to have worked on both.
    [Show full text]
  • Introduction This Exhibition Celebrates the Spectacular Artistic Tradition
    Introduction This exhibition celebrates the spectacular artistic tradition inspired by The Tale of Genji, a monument of world literature created in the early eleventh century, and traces the evolution and reception of its imagery through the following ten centuries. The author, the noblewoman Murasaki Shikibu, centered her narrative on the “radiant Genji” (hikaru Genji), the son of an emperor who is demoted to commoner status and is therefore disqualified from ever ascending the throne. With an insatiable desire to recover his lost standing, Genji seeks out countless amorous encounters with women who might help him revive his imperial lineage. Readers have long reveled in the amusing accounts of Genji’s romantic liaisons and in the dazzling descriptions of the courtly splendor of the Heian period (794–1185). The tale has been equally appreciated, however, as social and political commentary, aesthetic theory, Buddhist philosophy, a behavioral guide, and a source of insight into human nature. Offering much more than romance, The Tale of Genji proved meaningful not only for men and women of the aristocracy but also for Buddhist adherents and institutions, military leaders and their families, and merchants and townspeople. The galleries that follow present the full spectrum of Genji-related works of art created for diverse patrons by the most accomplished Japanese artists of the past millennium. The exhibition also sheds new light on the tale’s author and her female characters, and on the women readers, artists, calligraphers, and commentators who played a crucial role in ensuring the continued relevance of this classic text. The manuscripts, paintings, calligraphy, and decorative arts on display demonstrate sophisticated and surprising interpretations of the story that promise to enrich our understanding of Murasaki’s tale today.
    [Show full text]
  • Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Laura Nuffer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the Medieval Studies Commons Recommended Citation Nuffer, Laura, "Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan" (2014). Publicly Accessible Penn Dissertations. 1389. https://repository.upenn.edu/edissertations/1389 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1389 For more information, please contact [email protected]. Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Abstract Interspecies marriage (irui kon'in) has long been a central theme in Japanese literature and folklore. Frequently dismissed as fairytales, stories of interspecies marriage illuminate contemporaneous conceptions of the animal-human boundary and the anxieties surrounding it. This dissertation contributes to the emerging field of animal studies yb examining otogizoshi (Muromachi/early Edo illustrated narrative fiction) concerning elationshipsr between human women and male mice. The earliest of these is Nezumi no soshi ("The Tale of the Mouse"), a fifteenth century ko-e ("small scroll") attributed to court painter Tosa Mitsunobu. Nezumi no soshi was followed roughly a century later by a group of tales collectively named after their protagonist, the mouse Gon no Kami. Unlike Nezumi no soshi, which focuses on the grief of the woman who has unwittingly married a mouse, the Gon no Kami tales contain pronounced comic elements and devote attention to the mouse-groom's perspective.
    [Show full text]