DOCSLIB.ORG

The Japanese Shinto Shrines in Early Issei

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Japanese Shinto Shrines in Early Issei 322P&X .2Q.6&. A6P 9avi Introduction 3&,& %*3+%+& Q%/((4&+&&& (&&&&*T&1&& &6&2* %((&&1*3&& +(&Q *3&(& &&1&Q * $ &Q9%&& 4(=*73+&(% "#7#4"#7"*18]&(&*9&(&&% R*.(1&* &%(&[12Qj (&&Q.6&T*3 '&(&&1(&( 2*:<[&<% (+&2&* 36&Q4+(2 1）Real naes are utili,e in this stu* However% the author use pseuons in lieu of the real naes of the sub'ect that preferre to protect their ientit* ― 48 ― 3he apanese Shinto Shrines in Parl Issei（A6P 9avi） 2*22/(((& &%Q%[&*!(O 1%P2&*2= (&&1&O1P& /&&*&1&&&%4/( <&1&&*/((1&* 3(7##(Izumo Taishi2((/&&* &+(*!&( 2'/&&1*/&&OMy mother told me about the time she got married. She said that my father travel all the way to Honolulu to pick me up and in those days you had to go to the docks to the immigration office. After we got out of immigration, we were forced to the Kamisama temple (Izumo Taishakyo Shrine) in downtown (Honolulu) and we had a Shinto style wedding. Soon after that he took his new wife back to Kona*P= (2Q9(&&%& (=[&(Q* &(%'&( 2&%(('&(((% (&(&* &+&&& *(1&&(+&%242/(' 6%2%.*2& &&*"%(&Q &4&4&&*Q33=0]44&OWhen I was little my parents changed (converted) to Christian so I had to attend church every Sunday. So my parents became Christian I became Christian but my friends were all belonging to the Hongwanji. I remembered 'R*+/** R/0'1R''3'' 43''6708*''/'* people that were stronger than my father and refuse to go to the Buddhist events* ((%Q;(%&=/&& &&%OMy father told me that the shrines were made by everyone round here (community). The (Japanese) community donated money and slowly the shrine was built. Some people gave money while others gave their time and other donated supplies.P 2）P&3*7$$8*9;//"*0<='*1X &&5* 3）Q3%=%(/&&Q1&*/( &4*/1Q92423&%Q Q'%&&*/1&(& &*Q3(* ― 49 ― 金城学院大学論集 社会科学編 第 9 巻第 2 号 2013年 3 月 The Inari Shrine 32.&Q9*Inari Okami 8[2 &1&&&%%&*3( 700]%&6&*]32(&Q& (%(&1&Q*! &,2&=(* 32[&&1=(R[%1&%&% &&omamori* Q9%2(&(&&(*% &&*3&&9*/ 21/1%OQP%P&& &*@9[&((&(% &&&+&2& &&*!&&2 ++*;( &*:&1&&%( &&*/('(O+P &&(&&* 36talisman 11QQ 2ofuda*3&% &&1%%&&%&*%( &kamidana*:(&=%&&& 1&1&& * .omamori(&&&*% (&&((&* (1&%(%((&&* 3omamori(<&Q%&&' (*(&( %1&omiyage &* &%2(&&( %&'*?=%Othe shrine was 4）:P%17@11&4 (*&[1261&*! 4V"%###2* 5）(*7$V$* 6）QPjP1%7$87j&=* 7）%=%(/&&Q.1&*2 ― 50 ― 3he apanese Shinto Shrines in Parl Issei（A6P 9avi） always empty, so when we were little we used to go up there and play in the rooms at that time there was **7"#0'1/ a couple weeks preparing for oshogatsu. He used to paint the gate red and make all those kinds of white */'0'1R['* ladies wore their beautiful kimonos*P The Shinto Shrine (Izumo Taishi) 3,3221&70?$Q9 /&&*3(1&&&&(1&( &&*&%%2& 1&*2&((%=(R&%;[ %1&%1+*1 :&:%'((' '((R*;=(%! 2%1&'%OIt started in the very early morning on [*/''*8?7@' *0'17''' of our culture and it was fun for us. After that the people who lived around this area would make mochi or mochitsuki, and that was the one thing I really missed the most. Because for me I always related the time in my childhood to mochitsuki and Kamisama (Shinto shrine), now that I think about it is really sad, 8*'*/**P 2&&2,(& [*;&'Q1%OMy father *G[/'** my brother was only about ten-years-old and he looked so tiny and small at the sumo tournament I was kinda worried that he might get hurt. I still remembered how they threw the salt and prayed to the shrine. So yes, we were I guess Shinto too. Of course we had that kamidana and every morning my *46<*P (2&%2(( (*P1&[ &%,2&&(&+ 1%(+1*3 &&(1&O1&*P !00?44&=%OMy father used to wake up early in the morning and go (1/('2423&*6((= Q.&&4%&&&* 8）!=(Q1&/&&*2( Q9Q*2(((&4'1*; 4'1(1*!*41 ― 51 ― 金城学院大学論集 社会科学編 第 9 巻第 2 号 2013年 3 月 N''N790'1 (Hatsumode), we would make and put on the kamidana you know the big mochi, (rice cakes) mikan, (tangerine) surume, (dry squid) and this pretty Japanese paper on the bottom*P9;=( R%1&4(&<%Q1%& 1&%%((* 9%2& &*&*32 &1&&&&+&&* &&1&R"]%8"@7%(7$%VVV?*3 8"VV(1&&1% &*3118"VV&&&1*318" 1Oshi-niP(((O%PVV%( OsanzanP&O%PO1&%PO*P:% '+&yakubarai2* ==(1&&& &*31+(&Jinja*( &&1*32& (&+&*3(& ((&1&*3 &(&&1( &* %&&'%(&&&( &(+&&&&&*3' &1( (1:&:*3(&&1 1*P(%R( (1(&& 1&(* ##%&'*+,-" &700#R(((& (&*:(% Q9&R7$#?* *2*&&% &&1*&( &1%(&(2 Q/('242*2(1'&((* ― 52 ― 3he apanese Shinto Shrines in Parl Issei（A6P 9avi） (*3(1O41*P$ %(/(( 2(&*3( [(+(1*%(&(&&( 1R&&*Q (2&*3('Q9( 2%1'((2* 3&&(O1P*% (&111& &((((1*3( &*(1&&,& (&*.1((((&1&& &&&Q+&(*;&% ((%(((<&141(*Q9% &(1&(((1& *(=((&&&1%OAmong the older people in Kona, there were many unhappy married women as a result of arranged marriage*P 2&=(j(1* !%OG*'$Q4*6*'UY4*6N gap and the generation period was way too much. In the beginning of the marriage I think they had a little trouble but as they got older, I guess they got used to each other*P =((&&((&1&* :(&=&&( *9(%=(&R* 2&&1&(& %Ono answer%P2!1%ONR'*'/*R say much, they were really Japanese, you know straight face and really serious. Sometimes I was so /*N*P=&7#&1&1!'&* !Q(&(1( &*(&+%((&%( 1R1('/(*3 (%(*31R&( (yuinokin%&(*%1R&(tansu %%(((* &&1=&&(( 9）9;(%7$?0jT&3*7$0V* 10）/(%7$@$=X3[*1&, =!'&* ― 53 ― 金城学院大学論集 社会科学編 第 9 巻第 2 号 2013年 3 月 (&=*3&1& ([&=(*%[1 (((&shiromuku(&&*31(&( tsunokakushi ((%(11&(*3(& (tabi((&zouri*3(& montsuki &4&*1 2&&&((* 2&((&(Q9* %P1R&(&( R%(&&1R(*3( 1R(&&1&*3 ((&1&R&(1( +&* 2&1(7##%( (&+&@##&&*T4R77 post (((+([ &&[4&&1&(&*3( &&<&((*3( (&&&1R*(+%&( (&4*1&&1(&&& &( (*3&( &(*3(& (&/(*;&(= ;&( 3[*5&[%(( ((1(&&&1 (*&11&(&1( Q&,%'%%%&& &*;4(( ([%Q&%&4&&/(&* P[&&(&*&&( &(11&(&&1** 31/(<&&'/( /(&,(%((& *3<&&Q&%&&%% *3&&&/(* 11）%4;1(2/&&& (Q* ― 54 ― 3he apanese Shinto Shrines in Parl Issei（A6P 9avi） Q2%7"=+&%OThe Hawaiians were kind to our family they were always giving us stuff, you know fish, poi, and when they gave, they gave a lot.
Load more

Recommended publications
  • 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.
    [Show full text]
  • In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine
    In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Patricia Shehan Campbell, Chair Jeffrey M. Perl Christina Sunardi Paul S. Atkins Program Authorized to Offer Degree: Music ii ©Copyright 2017 Michiko Urita iii University of Washington Abstract In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita Chair of the Supervisory Committee: Professor Patricia Shehan Campbell Music This dissertation explores the essence and resilience of the most sacred and secret ritual music of the Japanese imperial court—kagura taikyoku and kagura hikyoku—by examining ways in which these two songs have survived since their formation in the twelfth century. Kagura taikyoku and kagura hikyoku together are the jewel of Shinto ceremonial vocal music of gagaku, the imperial court music and dances. Kagura secret songs are the emperor’s foremost prayer offering to the imperial ancestral deity, Amaterasu, and other Shinto deities for the well-being of the people and Japan. I aim to provide an understanding of reasons for the continued and uninterrupted performance of kagura secret songs, despite two major crises within Japan’s history. While foreign origin style of gagaku was interrupted during the Warring States period (1467-1615), the performance and transmission of kagura secret songs were protected and sustained. In the face of the second crisis during the Meiji period (1868-1912), which was marked by a threat of foreign invasion and the re-organization of governance, most secret repertoire of gagaku lost their secrecy or were threatened by changes to their traditional system of transmissions, but kagura secret songs survived and were sustained without losing their iv secrecy, sacredness, and silent performance.
    [Show full text]
  • 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.
    [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 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Childbearing in Japanese Society: Traditional Beliefs and Contemporary Practices
    Childbearing in Japanese Society: Traditional Beliefs and Contemporary Practices by Gunnella Thorgeirsdottir A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Social Sciences School of East Asian Studies August 2014 ii iii iv Abstract In recent years there has been an oft-held assumption as to the decline of traditions as well as folk belief amidst the technological modern age. The current thesis seeks to bring to light the various rituals, traditions and beliefs surrounding pregnancy in Japanese society, arguing that, although changed, they are still very much alive and a large part of the pregnancy experience. Current perception and ideas were gathered through a series of in depth interviews with 31 Japanese females of varying ages and socio-cultural backgrounds. These current perceptions were then compared to and contrasted with historical data of a folkloristic nature, seeking to highlight developments and seek out continuities. This was done within the theoretical framework of the liminal nature of that which is betwixt and between as set forth by Victor Turner, as well as theories set forth by Mary Douglas and her ideas of the polluting element of the liminal. It quickly became obvious that the beliefs were still strong having though developed from a person-to- person communication and into a set of knowledge aquired by the mother largely from books, magazines and or offline. v vi Acknowledgements This thesis would never have been written had it not been for the endless assistance, patience and good will of a good number of people.
    [Show full text]
  • Harai-Kiyome Di Kuil Takekoma Takekoma Jinja De No Harai
    HARAI-KIYOME DI KUIL TAKEKOMA TAKEKOMA JINJA DE NO HARAI-KIYOME SKRIPSI Skripsi ini diajukan kepada panitia ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan untuk melengkapi salah satu syarat ujian Sarjana dalam Bidang Ilmu Sastra Jepang Oleh: M. BRAWIJAYA NIM: 140708100 PROGRAM STUDI SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Puji dan syukur penulis ucapkan kepada Allah SWT karena dengan rahmat dan hidayah-Nya penulis diberikan kesehatan selama mengikuti perkuliahan hingga penulis dapat menyelesaikan skripsi ini. Usaha yang diiringi dengan doa merupakan dua hal yang membuat penulis mampu menyelesaikan skripsi ini. Penulisan skripsi yang berjudul “HARAI-KIYOME DI KUIL TAKEKOMA” ini penulis susun sebagai salah satu syarat untuk meraih gelar sarjana pada Departemen Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. Dalam penulisan skripsi ini penulis tidak terlepas dari bimbingan, dukungan, dorongan serta bantuan dari berbagai pihak. Oleh karena itu, pada kesempatan ini penulis ingin menyampaikan rasa terima kasih yang sebesar- besarnya kepada: 1. Bapak Dr. Budi Agustono, M.S selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara. 2. Bapak Prof. Hamzon Situmorang, M.S, Ph.D., selaku ketua Program Studi Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. 3. Bapak Drs. Amin Sihombing.,M.Si selaku dosen pembimbing sekaligus Dosen Penasehat Akademik, yang telah ikhlas memberikan dorongan dan meluangkan banyak waktu, pikiran, serta tenaga dalam membimbing penulis sehingga skripsi ini dapat penulis selesaikan dengan baik. 4. Bapak Alimansyar, SS,M.A.,Ph.D selaku dosen Bahasa Jepang yang bersedia membimbing, meluangkan waktu, pikiran serta memberikan i UNIVERSITAS SUMATERA UTARA sumber-sumber data untuk penulis sehingga skripsi ini dapat penulis selesaikan dengan baik.
    [Show full text]
  • Der Reisbau Und Seine Rituale in Japan
    10 Feature Der Reisbau und seine Rituale in Japan Ulrich Pauly Abb.1: Bauer pflügt mit einem auch in Japan jahrhundertelang verwendeten Pflugtyp. Der Weg des Reises nach Japan – Der Reis ist mit rund 50% weltweit und mit 80% in Asien das wichtigste Getreide. Auch in Japan ist er nach wie vor das wichtigste Grund- nahrungsmittel und das wird der Reis trotz des in den letzten Jahrzehnten stark ge- stiegenen Weizenkonsums vermutlich auch bleiben, weil Japan mit seinen Klimazo- nen zwar gut für den Reisbau, aber für den Weizenanbau nur sehr bedingt geeignet ist. Im Unterschied zum feinkörnigen, länglichen indischen Reis (lat. Oryza sativa indi- ca) ist der in Japan bevorzugte japanische Reis (lat. Oryza sativa japonica) rundkörnig und wegen seines hohen Stärkeanteils klebrig. In China wurde der Reis in den frucht- baren Ebenen entlang des Jangtse (ch. Yangzi) schon ab etwa 8000 v. Chr. kultiviert und auf bewässerten Feldern angebaut. Dieser ostasiatische Reis gelangte später auch nach Japan und wuchs dort vermutlich ab 2000 v. Chr. auf vereinzelten Trockenfeldern. Er wird heute meist kurz „Japonica“ genannt. In der Yayoi-Zeit (300 v. – 300 n.Chr.) OAG Notizen 11 brachten politische Wirren chinesisch-stämmige sowie koreanische Einwanderer von der koreanischen Halbinsel auf die Insel Kyūshū in Südjapan. Neben fortschrittlichen Trockenfeldbau-Technologien hatten die Einwanderer die für den Nassreisbau erfor- derlichen Bewässerungstechniken und Technologien sowie mit ihm verbundene chine- sisch-koreanische Glaubensvorstellungen im Gepäck (Abb.1). Von Kyūshū aus breitete sich der Nassreisbau im Laufe der Jahrhunderte langsam bis nach Nordjapan aus, wo er schließlich 1865 auf der Insel Hokkaidō anlangte.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]