“A Lineage of Dullards” Zen Master Toju Reiso and His Associates

Total Page:16

File Type:pdf, Size:1020Kb

“A Lineage of Dullards” Zen Master Toju Reiso and His Associates Japanese Journal of Religious Studies 1998 25/1-2 “A Lineage of Dullards” Zen Master Toju Reiso and His Associates Kato Shoshun This study concentrates on the relatively unknown Rinzai Mino line to illustrate the liveliness of Rinzai Zen practice in Meiji Japan. Even as struggles over the precepts and politics were being waged within the Zen denominations, some clerics attempted to carry on with their quest for awakening in relative isolation. Through a study of three monks, Toju Reiso, Tairyu Bun % and Seishu Shusetsu, strategies employed to preserve Rinzai Zen ^ spiritual legacy in the face of the turmoil of Meiji are high­ lighted. This article illustrates how these monks did their best to continue their eremetic existence and to pick up the pieces left by the widespread destruction of Buddhist temples and monasteries in early Meiji Japan. Among those familiar w ith Japanese Rinzai Zen it is a well-known fact that the lineage of Hakuin Ekaku 白 隱 慧 鶴 (1686-1769)— the lineage to which all contemporary Rinzai Zen masters belong— presently con­ sists of two branches, the Inzan 隠、山 branch and the Takuju 卓洲 branch. These were founded, respectively, by Inzan Ien 隱山惟琰 (1751-1814) and Takuju Kosen 卓 洲 胡 傳 (1760-1833),two of the fore­ most disciples of Hakuin,s immediate successor Gasan Jito 峨山慈棹 (1727-1797). Less well known, however, is the subdivision of the Inzan line into two separate currents: that of Torin Somo 呆 林 宗 侯 (P-1837)1 and Settan Shohaku S 潭 紹 璞 (1801-1873),2 and that of Taigen Shigen This essay is a translation of Gudon no keifu: Toju Reiso to sono shuhen 愚鈍の系譜一 洞宗令聡とその周辺,published in Meiji no Zensho明治の禅匠,Zenbunka henshubu禅文化編集部 e d .(1981, Kyoto: Zenbunka Kenkyusho, pp. 271-90). The translation was done by Thomas Kirchner. 1 Translator’s note. According to the Zenrinsdbdden Torin died on Tenpo 8/11/10. His other surname is Soju 宗 寿 (Ogino 1973) See also Zengaku daijiten p. 733. (All subsequent notes are also the translator’s.) 2 The reading of Settan5s name and his dates in Zengaku daijiten p. 585 are wrong. See Kinsei Zenrinsdbdden (Ogino 1973)1,pp. 195-200. 152 Japanese Journal of Religious Studies 25/1-2 太 元 孜 元 (1769-1837)3 and Gisan Zenrai 儀 山 善 来 (1802-1878). The lorm/Settan lineage was ongmallv centered m the domain or Mmo (present-day Gifu Prefecture), where Settan, the Dharma successor of Torin, established a sodo 彳曽堂(training monastery) at Shosren-ji i£ 目艮寺 near Ibuka 伊深,an area known for its close connections with Kanzan Egen.4 The Taigen/Gisan lineage is associated more with the Bizen district (present-day Okayama Prefecture), where Taigen and Gisan taught a number of outstanding disciples at the laree monastery of Sogen-ji曹源守 in the town of Okayama. The two lines are often referred to as the Mino school and the Bizen school, respectively, from the areas in which Shogen-ji and Soeen-ji are located. These two currents within the Inzan tradition have tended to be quite different in character.Ihe Bizen line has had a rather high profile, producing—particularly in the Meiji era— a succession of bril­ liant masters who were highly influential in the contemporary Bud­ dhist world. In addition to Lrisan Zenrai, Taieen shigen’s successors included such notables as Daisetsu Joen 大 拙 承 演 (1797-1855),a fierce master nicknamed “Oni Daisetsu” of Shokoku-jiネ目^!守 monastery; and Dokuon Joshu 独 園 承 珠 (1819-1895),who, as head of the Meiji Government’s Daikyo-in 大孝文院(Great Teaching Academy) during the period of Buddhist persecution known as haibutsu kishaku 廃仏毀釈, did much to soften the official attacks. Among the successors of Gisan were several remarkable figures including Ekkei Shuken 越渓守謙 (1810-1884),who founded the sodo at the Myoshin-ji headquarters complex; Kosen Soon 洪 川 宗 温 (1816-1892),who rebuilt the sodo at Engaku-ji 円覚寺 in Kamakura; Tekisui Giboku 滴 水 宜 牧 (1822-1899), who was responsible for reviving" the Tenryu-ji犬育I 寺 branch of Rinzai Zen; and Bokuju Soju 牧 宗 宗 寿 (1820-1891),who became the first rep­ resentative of the Hakuin line in the Daitoku-ji 大徳守 tradition oi Rinzai Zen. In contrast, the masters of the Mino line— masters like lairyu Bun,i 泰 龍 文 彙 (1827-1880),Taigi Sokin 大 義 祖 勤 (1842-1880),Toju Reiso 洞 宗 令 聡 (1854-1916),and Yugaku Gimoku 熊 嶽 宜 黙 (1848-1918)— were virtually unknown in society at large, and seemed to prefer it that way. They tended to be taciturn in character (at least as far as we can tell from their official biographies), and seemed a bit self- conscious about their own lack of learning and sophistication. 3 Taigen’s dates follow Ka to 1967, p. 57. 4 Ibuka was the area in which Kanzan Egen (1277-1361), the founder of Myoshin-ji, is reputed to have done his post-enlightenment training, spending eight years laboring in the fields during the day and meditating at the edge of a high cliff at night. Shogen-ji was founded in commemoration of the 300th anniversary of Kanzan’s death. K a to : Lineage of Dullards 153 The quiet, introspective lives of the Mino-line masters, so different from the brilliant careers of the Bizen representatives, are deserving of greater attention than they have heretofore received. I will thus expand the scope of the present study to include not only Toju Reiso but also several of the more important figures in the Inzan Mino line’s self-acknowledged gudon no keifu 愚鈍の系譜(“lineage of dullards”). T o ju ,s Early Life Toju Reiso, the second child of a certain Ito Shinroku 伊月泰亲;T/、,was born on 1 January 1855 (Ansei 1.11.12) in the Owari domain of cen­ tral Japan (the present-day Nagoya area). In 1867,at the aee of four­ teen, he was oraamed under Kaigan Shuho 戒巌周奉,priest of ^aiho-ji 西芳寺(popularly known as Koke-dera 苔守,the Moss Temple), a Tenryuji- branch subtemple in Kyoto. Kaigan too was a native of the Owari region, which was probably the link that brought youne lo ju to Saiho- ji s gate. The Owari region has been known since ancient times as a Bukkyd okoku, a “Buddhist kingdom” where faith in Buddhism was particularly strong,and it was at one time an established custom for large families in the area to send at least one son off to a Zen temple to be raised as a priest. This was even more the case with impoverished farm families, for whom giving a son to a temple was not only an expression of devo­ tion but also an effective means of reducing the number of mouths to be fed. Although nothing is known of Toju5s childhood, there is little reason to assume that his entrance into the priesthood at Saiho-ji was motivated by anything more significant than this. Toju had never shown much intellieence as a young child, and at Saiho-ji things were no different. The sutras he memorized in the morning would be cleanly forgotten by nightfall. Kaigan’s way of teaching was not the traditional one, in which master and disciple, both sitting ramrod straight, would face each other across a desk and recite texts line by line. Instead, every morning he would join Toju in the earden pulling weeds, pronouncing a single line from the sutras for Toju to repeat every time he removed a weed. He did the same when the two of them worked m the hills behind the temple. Kaigan, exasperated as he was by Toju’s dullness, patiently continued with this approach, repeating every word as many times as was necessary. One rainy morning Kaiean, finally angered by T6ju5s inability to learn, grabbed a small desk by his side and threw it at his disciple, splitting the latter,s scalp open and leaving a scar that remained throughout Toju^ life. If anything, though, Toju himself was even 154 Japanese Journal of Religious Studies 25/1-2 more frustrated than his teacher by his own lack of ability, and any number of times he decided to flee the temple. His plans were always discovered by Kaigan, however, so he had little choice than to remain. In 1872 Toju, then eighteen years old,entered the monastery at Enpuku-ji 円福守 in Yawata south of Kyoto, where he studied under Ian SoseKi惟 庵 宗 碩 (n.d.). Soon afterwards, however, he was called back to Saiho-ji by Kaiean, who, fearing for the future of Buddhism under the government’s then-current policy of haibutsu kishaku, urged his disciples to leave the priesthood. Kaigan had two disciples in addi­ tion to Toju, one named Ryoeei 令芸 and the other Shuten 周恬. Shuten was still too young to make such a decision on his own, but Ryogei followed his teacher’s advice and decided to return to lay life. Toju, however, adamantly refused. “Even if they tear down every temple, can they tear down the Bud­ dha Dharma?” he asked. “Even if it becomes impossible to remain a monk, I ,ll continue my Buddhist training with my hair grown out. 1 hat’s the only road open to a dullard like me.” So saying, he rejected Kaiean’s suggestion and returned to Enpuku-ji, where, it is said, he applied himself to practice with untiring zeal. The environment for training was less than ideal at Enpuku-ji, how­ ever.
Recommended publications
  • Pression That Talks About the "Medicinal Stone" Cooking (Yakuseki Ryori)
    All-Japan Young Soto Zen Buddhist Priest Association presents A film by Katsuya Tomita director of Saudade and Bangkok Nites To address the post-Fukushima social crisis, Chiken - a Buddhist monk - throws himself into various tasks such as a suicide helpline in his temple in Yamanashi. In Fukushima, his old mate Ryugyo - whose temple was wrecked by the tsunami - lives in a temporary shelter and helps clean up the debris as a construction worker. Japan / 2019 / 59min. / colour / 1:1.85 / DCP / 5.1ch Language: Japanese with English subtitles http://sousei.gr.jp/tenzo/en/ Synopsis Director: Katsuya TOMITA Two young monks, Chiken and Ryugyo, return to their temples - one to Born in 1972 in Kofu, Japan. After graduating from high school, he saved money Yamanashi and the other to Fukushima - after completing their training to make films by working as a construction worker and a truck driver. For three apprenticeship at the dojo of the Soto Buddhist school. Ten years later, facing years, with an 8mm camera, he spent his weekends making his first film with his the post-Fukushima socio-economic crisis, both monks, under different guises, childhood friends as actors. Above the Clouds was released in 2003. With the have taken on more of a community role. Chiken volunteers on a suicide grant he received with the film, he then shot Off Highway 20 (2007) on 16mm. prevention hotline through his temple in Yamanashi and has learnt through his In 2008, he started to make Saudade, based on the story of his hometown Kofu, religion that the synchronicity of food and nature can have a positive impact on which was partly funded by the people of the city.
    [Show full text]
  • A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected]
    Student Research and Creative Works Book Collecting Contest Essays University of Puget Sound Year 2015 The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/book collecting essays/6 Krista Silva The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works I am an inhabitant of the Whedonverse. When I say this, I don’t just mean that I am a fan of Joss Whedon. I am sincere. I live and breathe his works, the ever-expanding universe— sometimes funny, sometimes scary, and often heartbreaking—that he has created. A multi- talented writer, director and creator, Joss is responsible for television series such as Buffy the Vampire Slayer , Firefly , Angel , and Dollhouse . In 2012 he collaborated with Drew Goddard, writer for Buffy and Angel , to bring us the satirical horror film The Cabin in the Woods . Most recently he has been integrated into the Marvel cinematic universe as the director of The Avengers franchise, as well as earning a creative credit for Agents of S.H.I.E.L.D. My love for Joss Whedon began in 1998. I was only eleven years old, and through an incredible moment of happenstance, and a bit of boredom, I turned the television channel to the WB and encountered my first episode of Buffy the Vampire Slayer . I was instantly smitten with Buffy Summers. She defied the rules and regulations of my conservative southern upbringing.
    [Show full text]
  • Lineage: Beginnings
    Soto Zen Buddhism in Australia March 2018, Issue 71 LINEAGE: BEGINNINGS ABBOT’S NEWS I CANNOT STEP ON REMEMBERING RAISING A WALL INDIA STUDY ABROAD Hannah Forsyth THEIR SHADOW NARASAKI ROSHI Katherine Yeo & Karen Sunao Ekin Korematsu & Seido Suzuki Roshi Nonin Chowaney Threlfall Jake Kepper BUDDHA'S BOUNDLESS RETURNING HOME, DIRECT REALISATION BACK TO THE FUTURE SOTO KITCHEN COMPASSION SITTING PEACEFULLY HUT John Hickey Karen Threlfall Ikko Narasaki Roshi Ekai Korematsu Osho Deniz Yener Korematsu MYOJU IS A PUBLICATION OF JIKISHOAN ZEN BUDDHIST COMMUNITY INC Editorial Myoju “Even though the ways of ceaseless practice by our founding Editor: Ekai Korematsu Osho Ancestors are many, I have given you this one for the present.” Editorial Committee: Hannah Forsyth, Shona Innes, Robin Laurie, Jessica Cummins —Dogen Zenji, Shobogenzo Gyoji: On Ceaseless Practice Myoju Coordinator: Jessica Cummins Production: Dan Carter Website Manager: Lee-Anne Armitage As Jikishoan approaches its 20th anniversary in 2019, IBS Teaching Schedule: Hannah Forsyth this year Myoju will explore our identity as a community Jikishoan Calendar of Events: Shona Innes through the theme of Lineage. As a young, lay communi- Contributors: Ikko Narasaki Roshi, Seido Suzuki Roshi, ty, practising in a spiritual tradition that originates far be- Ekai Korematsu Osho, Shudo Hannah Forsyth, Shona yond our land and culture, we do not do so in isolation. Innes, Nonin Chowaney, Deniz Yener Korematsu, 78 generations of the Soto Zen Buddhist tradition are em- Katherine Yeo, Karen Threlfall, John Hickey, Sunao Ekin bodied in the forms of our practice and training, allowing Korematsu, Jake Kepper. us to experience an inclusivity and belonging that takes us Cover Image: Ikko Narasaki Roshi beyond our individual practice.
    [Show full text]
  • Excerpts for Distribution
    EXCERPTS FOR DISTRIBUTION Two Shores of Zen An American Monk’s Japan _____________________________ Jiryu Mark Rutschman-Byler Order the book at WWW.LULU.COM/SHORESOFZEN Join the conversation at WWW.SHORESOFZEN.COM NO ZEN IN THE WEST When a young American Buddhist monk can no longer bear the pop-psychology, sexual intrigue, and free-flowing peanut butter that he insists pollute his spiritual community, he sets out for Japan on an archetypal journey to find “True Zen,” a magical elixir to relieve all suffering. Arriving at an austere Japanese monastery and meeting a fierce old Zen Master, he feels confirmed in his suspicion that the Western Buddhist approach is a spineless imitation of authentic spiritual effort. However, over the course of a year and a half of bitter initiations, relentless meditation and labor, intense cold, brutal discipline, insanity, overwhelming lust, and false breakthroughs, he grows disenchanted with the Asian model as well. Finally completing the classic journey of the seeker who travels far to discover the home he has left, he returns to the U.S. with a more mature appreciation of Western Buddhism and a new confidence in his life as it is. Two Shores of Zen weaves together scenes from Japanese and American Zen to offer a timely, compelling contribution to the ongoing conversation about Western Buddhism’s stark departures from Asian traditions. How far has Western Buddhism come from its roots, or indeed how far has it fallen? JIRYU MARK RUTSCHMAN-BYLER is a Soto Zen priest in the lineage of Shunryu Suzuki Roshi. He has lived in Buddhist temples and monasteries in the U.S.
    [Show full text]
  • Japan Studies Review
    JAPAN STUDIES REVIEW Volume Nineteen 2015 Interdisciplinary Studies of Modern Japan Steven Heine Editor Editorial Board John A. Tucker, East Carolina University Yumiko Hulvey, University of Florida Matthew Marr, Florida International University Ann Wehmeyer, University of Florida Hitomi Yoshio, Florida International University Copy and Production María Sol Echarren Rebecca Richko Ian Verhine Kimberly Zwez JAPAN STUDIES REVIEW VOLUME NINETEEN 2015 A publication of Florida International University and the Southern Japan Seminar CONTENTS Editor’s Introduction i Re: Subscriptions, Submissions, and Comments ii ARTICLES Going Postal: Empire Building through Miniature Messages on German and Japanese Stamps Fabian Bauwens 3 Old, New, Borrowed, and Blue: Hiroshi Senju’s Waterfall Paintings as Intersections of Innovation Peter L. Doebler 37 Delightfully Sauced: Wine Manga and the Japanese Sommelier’s Rise to the Top of the French Wine World Jason Christopher Jones 55 “Fairness” and Japanese Government Subsidies for Sickness Insurances Yoneyuki Sugita 85 ESSAYS A “Brief Era of Experimentation”: How the Early Meiji Political Debates Shaped Japanese Political Terminology Bradly Hammond 117 The Night Crane: Nun Abutsu’s Yoru No Tsuru Introduced, Translated, and Annotated Eric Esteban 135 BOOK REVIEWS Scream from the Shadows: The Women’s Liberation Movement in Japan By Setsu Shigematsu Reviewed by Julia C. Bullock 169 Critical Buddhism: Engaging with Modern Japanese Buddhist Thought By James Mark Shields Reviewed by Steven Heine 172 Banzai Babe Ruth: Baseball, Espionage, & Assassination During the 1934 Tour of Japan By Robert K. Fitts Reviewed by Daniel A. Métraux 175 Supreme Commander: MacArther’s Triumph in Japan By Seymour Morris Reviewed by Daniel A. Métraux 177 CONTRIBUTORS/EDITORS i EDITOR’S INTRODUCTION Welcome to the nineteenth volume of the Japan Studies Review (JSR), an annual peer-reviewed journal sponsored by the Asian Studies Program at Florida International University Seminar.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • Surgical Technique Variety of Orthopaedic Applications
    ™ The ELEOS Limb Salvage System offers ELEOS Limb options for patients with significant bone loss due to cancer, trauma, or previous Salvage System surgical procedures. The locking taper design has a history of clinical use in a Surgical Technique variety of orthopaedic applications. With an array of options in a multitude of Total Femoral Replacement sizes, the ELEOS system provides the surgeon the ability to meet a variety of patient needs. ELEOS Limb Salvage System ELEOS Limb Salvage System TOTAL FEMORAL REPLACEMENT TABLE OF CONTENTS: PRODUCT DESCRIPTION SURGICAL TECHNIQUE STEPS TIBIAL PREPARATION o TIBIAL REAMING o TIBIAL RESECTION o TIBIAL STEM EXTENSION (OPTIONAL) TIBIAL BASEPLATE PREPARATION o TIBIAL BASEPLATE REAMING o TIBIAL BASEPLATE KEEL PUNCH ACETABULAR PREPARATION FEMORAL COMPONENT SIZING TRIALING o TRIAL ASSEMBLY o TRIAL REDUCTION COMPONENT ASSEMBLY o FEMORAL COMPONENT o TIBIAL COMPONENT CEMENT PREPARATION COMPONENT INSERTION o TIBIAL COMPONENT o FEMORAL COMPONENT o FEMORAL HEAD ASSEMBLY TIBIAL HINGE ASSEMBLY PATELLA RECONSTRUCTION (OPTIONAL) BLOCK AUGMENTS (OPTIONAL) COMPONENT DISASSEMBLY EXPLANTATION INFORMATION IMPLANT PART NUMBERS INSTRUMENT PART NUMBERS Proper surgical procedures and techniques are the responsibility of the medical professional. The following guidelines are furnished for informational purposes only. Each surgeon must evaluate the appropriateness of the procedures based on his or her personal medical training, experience and patient condition. Prior to the use of the system, the surgeon should refer to the product package insert for additional warnings, precautions, indications, contraindications and adverse effects. Instruction for use package inserts are also available at www.onkossurgical/ELEOS/IFU. 2 ELEOS Limb Salvage System PRODUCT DESCRIPTION The ELEOS Total Femoral System consists of ten components: Proximal Femur, Midsection(s), Distal Femur, Tibial Baseplate, Tibial Polyethylene Spacer, Tibial Hinge Component, Axial Pin, Optional Stem Extension and Femoral Head.
    [Show full text]
  • Omori Sogen the Art of a Zen Master
    Omori Sogen The Art of a Zen Master Omori Roshi and the ogane (large temple bell) at Daihonzan Chozen-ji, Honolulu, 1982. Omori Sogen The Art of a Zen Master Hosokawa Dogen First published in 1999 by Kegan Paul International This edition first published in 2011 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Simultaneously published in the USA and Canada by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © The Institute of Zen Studies 1999 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 10: 0–7103–0588–5 (hbk) ISBN 13: 978–0–7103–0588–6 (hbk) Publisher’s Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent. The publisher has made every effort to contact original copyright holders and would welcome correspondence from those they have been unable to trace. Dedicated to my parents Contents Acknowledgements Introduction Part I - The Life of Omori Sogen Chapter 1 Shugyo: 1904–1934 Chapter 2 Renma: 1934–1945 Chapter 3 Gogo no Shugyo: 1945–1994 Part II - The Three Ways Chapter 4 Zen and Budo Chapter 5 Practical Zen Chapter 6 Teisho: The World of the Absolute Present Chapter 7 Zen and the Fine Arts Appendices Books by Omori Sogen Endnotes Index Acknowledgments Many people helped me to write this book, and I would like to thank them all.
    [Show full text]
  • The Grass Flute Zen Master: Sodo Yokoyama
    THE GRASS FLUTE ZEN MASTER ALSO BY ARTHUR BRAVERMAN Translations: Mud and Water: A Collection of Talks by Zen Master Bassui Warrior of Zen: The Diamond-hard Wisdom of Suzuki Shosan A Quiet Room: The Poetry of Zen Master Jakushitsu Non Fiction: Living and Dying in Zazen Fiction: Dharma Brothers: Kodo and Tokujo Bronx Park: A Pelham Parkway Tale Opposite: Yokoyama playing the grass flute at Kaikoen Park Copyright © 2017 by Arthur Braverman All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be used or reproduced in any manner whatsoever without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews. Library of Congress Cataloging-in-Publication Data is available. Cover and Interior design by Gopa & Ted2, Inc. ISBN 978-1-61902-892-0 COUNTERPOINT 2560 Ninth Street, Suite 318 Berkeley, CA 94710 www.counterpointpress.com Printed in the United States of America Distributed by Publishers Group West 10 9 8 7 6 5 4 3 2 1 For Ari, Oliver and Sanae: The next generation Contents 1. In Search of a Japanese Maharshi 2. Noodles and Memories of a Leaf-Blowing Monk 3. Sitting with Joko by the Bamboo Grove 4. The Magic Box with the Sound of the Universe 5. Fragrant Mist Travels a Thousand Leagues 6. A Pheasant Teaches Sodo-san about Zazen 7. Always a Little Out of Tune 8. Sodo-san, the Twentieth-Century Ryokan 9. Sodo-san’s Temple Under the Sky 10. Zazen Is Safe. This Life Is Easy.
    [Show full text]
  • Learning Lineage and the Problem of Authenticity in Ozark Folk Music
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Learning Lineage And The Problem Of Authenticity In Ozark Folk Music Kevin Lyle Tharp Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Tharp, Kevin Lyle, "Learning Lineage And The Problem Of Authenticity In Ozark Folk Music" (2020). Electronic Theses and Dissertations. 1829. https://egrove.olemiss.edu/etd/1829 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. LEARNING LINEAGE AND THE PROBLEM OF AUTHENTICITY IN OZARK FOLK MUSIC A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Music The University of Mississippi by KEVIN L. THARP May 2020 Copyright Kevin L. Tharp 2020 ALL RIGHTS RESERVED ABSTRACT Thorough examination of the existing research and the content of ballad and folk song collections reveals a lack of information regarding the methods by which folk musicians learn the music they perform. The centuries-old practice of folk song and ballad performance is well- documented. Many Child ballads and other folk songs have been passed down through the generations. Oral tradition is the principal method of transmission in Ozark folk music. The variants this method produces are considered evidence of authenticity. Although alteration is a distinguishing characteristic of songs passed down in the oral tradition, many ballad variants have persisted in the folk record for great lengths of time without being altered beyond recognition.
    [Show full text]
  • Visual and Material Culture at Hōkyōji Imperial Convent: the Significance of “Women’S Art” in Early Modern Japan
    Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Gregory P. A. Levine, Chair Professor Patricia Berger Professor H. Mack Horton Fall 2010 Copyright by Sharon Mitsuko Yamamoto 2010. All rights reserved. Abstract Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto Doctor of Philosophy in History of Art University of California, Berkeley Professor Gregory Levine, Chair This dissertation focuses on the visual and material culture of Hōkyōji Imperial Buddhist Convent (Hōkyōji ama monzeki jiin) during the Edo period (1600-1868). Situated in Kyoto and in operation since the mid-fourteenth century, Hōkyōji has been the home for women from the highest echelons of society—the nobility and military aristocracy—since its foundation. The objects associated with women in the rarefied position of princess-nun offer an invaluable look into the role of visual and material culture in the lives of elite women in early modern Japan. Art associated with nuns reflects aristocratic upbringing, religious devotion, and individual expression. As such, it defies easy classification: court, convent, sacred, secular, elite, and female are shown to be inadequate labels to identify art associated with women. This study examines visual and material culture through the intersecting factors that inspired, affected, and defined the lives of princess-nuns, broadening the understanding of the significance of art associated with women in Japanese art history.
    [Show full text]
  • ZEN BUDDHISM TODAY -ANNUAL REPORT of the KYOTO ZEN SYMPOSIUM­ No
    Monastic Tradition and Lay Practice from the Perspective of Nantenb6 A Response of Japanese Zen Buddhism to Modernity MICHEL MOHR A !though the political transformations and conflicts that marked the Meiji ..fiRestoration have received much attention, there are still significant gaps in our knowledge of the evolution that affected Japanese Zen Buddhism dur­ ing the nineteenth century. Simultaneously, from a historical perspective, the current debate about the significance of modernity and modernization shows that the very idea of "modernity" implies often ideologically charged presup­ positions, which must be taken into account in our review of the Zen Buddhist milieu. Moreover, before we attempt to draw conclusions on the nature of modernization as a whole, it would seem imperative to survey a wider field, especially other religious movements. The purpose of this paper is to provide selected samples of the thought of a Meiji Zen Buddhist leader and to analyze them in terms of the evolution of the Rinzai school from the Tokugawa period to the present. I shall first situ­ ate Nantenb6 lff:Rtf by looking at his biography, and then examine a reform project he proposed in 1893. This is followed by a considerarion of the nationalist dimension of Nantenb6's thought and his view of lay practice. Owing to space limitations, this study is confined to the example provided by Nantenb6 and his acquaintances and disciples. I must specify that, at this stage, I do not pretend to present new information on this priest. I rely on the published sources, although a lot remains to be done at the level of fun­ damental research and the gathering of documents.
    [Show full text]