Tenmangu Shrine
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
True Words, Silence, and the Adamantine Dance on Japanese Mikkyo and the Formation of the Shingon Discourse
Japanese Journal of Religious Studies 1994 21/4 True Words, Silence, and the Adamantine Dance On Japanese Mikkyo and the Formation of the Shingon Discourse Fabio R am b e lli This paper deals with Japanese esoteric Buddhism (Mikkyo), in particular the Shingon tradition, as it relates to the emergence of new and peculiar epistemological concerns. Through a discussion of the kenmitsu system outlined by Kuroda Toshio,the paper first situates Mikkyo within the reli gious and institutional framework of medieval Japan, underlining its lim- inal and heterological nature as both an institutionalized discourse and a reservoir of oppositional possibilities. The paper then analyzes the forma tion of Shingon orthodoxy as an attempt to systematize the Tantric field in Japan through a re-organization of preexisting religious doctrines and practices. Special attention is given to the actual articulation of the ken mitsu episteme and its orders of significance. Finally, the paper outlines some fundamental epistemological tenets of Mikkyo discourse. Though it focuses on Shingon discourse and orthodoxy, this paper confronts basic epistemic assumptions and discursive practices common to the multi farious forms of esoteric Buddhism in Japan. The purpose of this paper is to describe the discourse of Japanese esoteric Buddhism (particularly the Shingon 具百 tradition) as it developed in conjunction with the emergence of a distinctive form of philosophical reflection on signs and the formation of a corpus of An earlier draft of this essay, entitled “Kenmitsu Episteme and Mikkyo Heterology: On the Semiotic Doctrines and Practices in Medieval Japan,” was presented at the 45th Annual Meeting of the Association for A sian Studies, Los Angeles, March 1993. -
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. -
Myths & Legends of Japan
Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites"). -
Hāritī Notebook. Slide 23, Condensed Visual Classroom Guide to Daikokuten Iconography in Japan
Hāritī Notebook. Slide 23, Condensed Visual Classroom Guide to Daikokuten Iconography in Japan. Copyright Mark Schumacher. 2016. Why did Hāritī become a kitchen god? Hāritī was among the most popular deities of Buddhism in the first few centuries of the Common Era. Artwork of her and consort Pāñcika is abundant. In most traditions, Hāritī/ Pāñcika are said to have bred 500 powerful children. By the 7th-century CE, Hāritī is also paired with Jambhala (Pāñcika’s double) and with Mahākāla (aka Daikokuten). The latter pair was installed in India’s monastery kitchens to ensure the food supply. Why Hāritī? Hāritī is a composite deity of Buddhist origin, but she actually represents an amalgamation of thousands of village goddesses from India’s local traditions. In nearly all cases, these village goddesses were goddesses of fertility, motherhood/children and of smallpox. They guarded the borders of the village from disease, pestilence and even human enemies – just like a mother protects her own children. In many cases, these village goddesses were simply referred to affectionately as “mother.” Hāritī’s evil child-eating ways may be read as a direct reference to her role as the smallpox deity. Until the discovery of vaccinations, smallpox was the most serious of deadly diseases. Children were the first victims of the disease, and thus the people considered the goddess as a terrible mother, the devourer of their children. At the same time, ample evidence shows that many of these goddesses were the spirits of women who died during their pregnancies or when delivering their children. People began to approach these goddesses with offerings and prayers as a means to protect their own children. -
Inviting the Seven Happy Gods Shichi-Fuku-Jin & Daily Readings
Inviting the Seven Happy Gods Shichi-Fuku-Jin & Daily Readings of Nichiren’s Words & Prayer for the Thrity Protective Deities Sanjū banshin Monday | Na Bishamon — Dignity Patron of physicians, policemen, soldiers and ambassadors The Buddhist guardian of the north (Vaisravana), Bishamon is the God of Warriors (not war). He is also a God of Defense Against Evil. Almost always dressed in armor with a fi erce look and standing over one or two demons symbolizing the defeat of evil. In one hand he has a weapon to fi ght against evil and suppress enemies. On the other hand he holds a treasure pagoda or stupa. Tuesday | Mu Ebisu — Honesty Patron of seamen, attorneys, executives and merchants Also known as Yebisu or Kotoshiro-nushi-no-kami. The God of Fishing, Shipping and Commerce, he is the only one to have his origins in Japan. Ebisu is very popular among farmers and sailors. He is commonly presented wearing formal court clothes or hunting robes. He is often presented with a fi shing rod in his right hand and a large red sea bream under his left arm. Wednesday | Myo Benzaiten — Joy Patron of writers, musicians, painters and sculptors Benzaiten (Benten) is the Goddess of Arts and Knowl- edge. Her common form is a beautiful woman dressed in a fl owing Chinese-style dress and playing the biwa. She is frequently depicted riding on, or accompanied by, a sea dragon. Thursday | Ho Jurōjin — Wisdom Patron of philosophers, politicians, teachers, journalists and engineers The God of Wisdom, he is commonly presented as an old man wearing a hat with a long white beard holding a knobbed walking staff with a scroll tied to it. -
Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū
Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino Submitted in partial fulfillment of the Requirement for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Takuya Hino All rights reserved ABSTRACT Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryū in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryū, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryū, while the introduction will address the portrayal of this tradition in twentieth-century scholarship. TABLE OF CONTENTS List of Abbreviations……………………………………………………………………………...ii Acknowledgements………………………………………………………………………………iii Dedication……………………………………………………………………………….………..vi Preface…………………………………………………………………………………………...vii Introduction………………………………………………………………………….…………….1 Chapter 1: Genealogy of a Divination Transmission……………………………………….……40 Chapter -
Diss Master Draft-Pdf
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Visual and Material Culture at Hokyoji Imperial Convent: The Significance of "Women's Art" in Early Modern Japan Permalink https://escholarship.org/uc/item/8fq6n1qb Author Yamamoto, Sharon Mitsuko Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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. -
The Mystery of Wealth and the Role of Divinities: the Economy in Pre-Modern Japanese Fiction and Practice
The Mystery of Wealth and the Role of Divinities: The Economy in Pre-Modern Japanese Fiction and Practice FABIO RAMBELLI University of California, Santa Barbara [email protected] Keywords: Buddhist economics, Buddhist literature, merit-making, general economy, Buddhist and Shinto relations, Buddhist temple economic activities DOI: https://dx.doi.org/10.15239/hijbs.02.02.06 Abstract: This article presents an overview of the economic dimen- sions of premodern Japanese Buddhism—both economic ideas and activities—by focusing on representative primary sources and im- portant secondary scholarship. It opens with a discussion of econom- ic activities in which temple-shrines and their personnel were directly engaged in. Next, in order to find some type of theorization for those practices, it examines a number of popular stories from medieval and early modern Japan (some of which are still circulating today as children’s tales) that deal with the origin of wealth. It problematizes their underlying economic thought, including examples of resistance to dominant ideas about production and wealth. Finally, the paper offers some considerations on the ‘general economy’ of premodern Japanese Buddhism. Hualin International Journal of Buddhist Studies, 2.2 (2019): 163–201 163 164 FABIO RAMBELLI uddhist institutions were important economic hubs in medieval Band early modern Japan, as in other Buddhist countries. Still, it is somewhat surprising that normative canonical texts do not offer any specific teachings about the economy beyond superficial consider- ations about generosity, merit-making, and karmic retribution. One must look instead at specific economic practices and texts elucidating them (narratives, legal documents, etc.)—materials that were part of the ‘practical canon’ of Buddhism. -
Sōtō Zen in Medieval Japan
Soto Zen in Medieval Japan Kuroda Institute Studies in East Asian Buddhism Studies in Ch ’an and Hua-yen Robert M. Gimello and Peter N. Gregory Dogen Studies William R. LaFleur The Northern School and the Formation of Early Ch ’an Buddhism John R. McRae Traditions of Meditation in Chinese Buddhism Peter N. Gregory Sudden and Gradual: Approaches to Enlightenment in Chinese Thought Peter N. Gregory Buddhist Hermeneutics Donald S. Lopez, Jr. Paths to Liberation: The Marga and Its Transformations in Buddhist Thought Robert E. Buswell, Jr., and Robert M. Gimello Studies in East Asian Buddhism $ Soto Zen in Medieval Japan William M. Bodiford A Kuroda Institute Book University of Hawaii Press • Honolulu © 1993 Kuroda Institute All rights reserved Printed in the United States of America 93 94 95 96 97 98 5 4 3 2 1 The Kuroda Institute for the Study of Buddhism and Human Values is a nonprofit, educational corporation, founded in 1976. One of its primary objectives is to promote scholarship on the historical, philosophical, and cultural ramifications of Buddhism. In association with the University of Hawaii Press, the Institute also publishes Classics in East Asian Buddhism, a series devoted to the translation of significant texts in the East Asian Buddhist tradition. Library of Congress Cataloging-in-Publication Data Bodiford, William M. 1955- Sotd Zen in medieval Japan / William M. Bodiford. p. cm.—(Studies in East Asian Buddhism ; 8) Includes bibliographical references (p. ) and index. ISBN 0-8248-1482-7 l.Sotoshu—History. I. Title. II. Series. BQ9412.6.B63 1993 294.3’927—dc20 92-37843 CIP University of Hawaii Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources Designed by Kenneth Miyamoto For B. -
Fine Japanese and Korean Art I New York I March 20, 2019
Fine Japanese and Korean Art and Korean Fine Japanese I New York I March 20, 2019 I March I New York 25415 Fine Japanese and Korean Art New York I March 20, 2019 Fine Japanese and Korean Art New York | Wednesday March 20 2019, at 1pm BONHAMS BIDS INQUIRIES CLIENT SERVICES 580 Madison Avenue +1 (212) 644 9001 Japanese Art Department Monday – Friday 9am-5pm New York, New York 10022 +1 (212) 644 9009 fax Jeffrey Olson, Director +1 (212) 644 9001 bonhams.com [email protected] +1 (212) 461 6516 +1 (212) 644 9009 fax [email protected] PREVIEW To bid via the internet please visit ILLUSTRATIONS www.bonhams.com/25415 Thursday March 14 Takako O’Grady, Front cover: Lot 247 10am to 5pm Administrator Inside front cover: Lot 289 Friday March 15 Please note that bids should be +1 (212) 461 6523 Back cover: Lot 390 10am to 5pm summited no later than 24hrs [email protected] Inside back cover: Lot 287 Saturday March 16 prior to the sale. New bidders 10am to 5pm must also provide proof of Sunday March 17 identity when submitting bids. REGISTRATION 10am to 5pm Failure to do this may result in IMPORTANT NOTICE your bid not being processed. Monday March 18 Please note that all customers, 10am to 5pm irrespective of any previous activity Tuesday March 19 LIVE ONLINE BIDDING IS with Bonhams, are required to 10am to 3pm AVAILABLE FOR THIS SALE complete the Bidder Registration Please email bids.us@bonhams. Form in advance of the sale. The SALE NUMBER: 25415 com with “Live bidding” in form can be found at the back the subject line 48hrs before of every catalogue and on our the auction to register for this website at www.bonhams.com CATALOG: $35 service. -
Puzzles May Be Printed to Solve, and Nothing in This Intro Relates to the Puzzles Beyond That Which Does So Overtly
HERE COMES THE SUN The strife between Amaterasu, Japanese goddess of the sun, and her brother Susano-o, god of storms, nally became so great that Amaterasu took mournful refuge in a deep cave. Though many deities, Shinto and Buddhist alike, cajoled and pleaded with her, she refused to emerge. The ancient land suered in darkness, as the rice elds withered and the people froze. Finally, the mirthful old goddess Uzume devised a plan: a beautiful mirror was hung by the cavern's entrance, and Uzume danced drunkenly, inspiring raucous revelry among the assembled gods. Poking her head out of the cave to see what was going on, Amaterasu became happily entranced by her own dazzling reection. The cave sealed behind her, she remained outside, and light and joy were returned to the land. At least for a moment. Unfortunately, Susano-o chose that moment to sneeze loudly, and the resulting lightning bolts leveled a swath of Amaterasu's sacred elds and several of her attendants. With a shriek, Amaterasu burst into tears and ducked through a previously unnoticed back entrance into the cave, sealing it behind her and vowing never to come out again. The gods laid gifts outside Amaterasu's cave, but none would entice her to emerge. "When the sun goddess is miserable, so is the entire world," murmured Omoikane, god of wisdom. "We must do everything in our power to __________!" What? Dear Solvers, When you’ve arrived at your nal answer, please send it to me at markhalpin3 at gmail dot com to score a place on the Leaderboard. -
The Way of the Gods in Japan
KAMI- NO - M IC H I TH E WAY O F THE GO DS IN jA PAN H O P E H UN T LY LO N D O N R E B M A N LI M I T E D SH A FT ESBURY A EN E w c U . V , . 1 9 1 0 [A H RQML&W W M] KAM I- NO - M IC H I TH E WAY O F T H E GO DS IN JA PA N H O P E H U N T LY LO N D O N R E B M A N LI M I T E D SH A FT ESBU RY A VEN U E w c , . 1 9 1 0 [A 11 Rights Reserv ed ] D E D I C A T E D T O ALLASP IRING SOULS E R RAT A . Pa 2 1 l e 1 f a e n o r En l sh ead Pers i n e . g 4 , i , g i poet r po t “ ” “ Pa e 6 lin f m b m for H am - K i read H a - K i g 7 , e 9 ro otto , ir ri ir Pa e 2 l ne 8 f m to d o d g 7 4 , i ro p , itt itto Pa e 2 l nes — f m to d d g 7 7 , i 4 5 ro p , itto itto Pa e 2 8 l n f m bo m d o d o g 7 , i e 5 ro tto , itt itt Pa e 2 8 6 l ne 6 f m b m d t d g , i ro otto , it o itto P UBLISH ER’S P REFAC E THE desire of the author is to guide her readers - faithfully along this time honoured , half ” obliterated Way of the Gods , clearing the path with reverent , not iconoclastic hands , because recognising it as the Way by which the J apanese were divinely led to their present Th e is mental altitude .