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Umithesis Lye Feedingghosts.Pdf
UMI Number: 3351397 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ______________________________________________________________ UMI Microform 3351397 Copyright 2009 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. _______________________________________________________________ ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 TABLE OF CONTENTS ABSTRACT iv ACKNOWLEDGEMENTS vi INTRODUCTION The Yuqie yankou – Present and Past, Imagined and Performed 1 The Performed Yuqie yankou Rite 4 The Historical and Contemporary Contexts of the Yuqie yankou 7 The Yuqie yankou at Puti Cloister, Malaysia 11 Controlling the Present, Negotiating the Future 16 Textual and Ethnographical Research 19 Layout of Dissertation and Chapter Synopses 26 CHAPTER ONE Theory and Practice, Impressions and Realities 37 Literature Review: Contemporary Scholarly Treatments of the Yuqie yankou Rite 39 Western Impressions, Asian Realities 61 CHAPTER TWO Material Yuqie yankou – Its Cast, Vocals, Instrumentation -
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). -
K=O0 I. SONG- Part I INTRODUCTORY ESSAYS Mitsugu Sakihara
~1ASAT6 . MAISt;1 -- 1DMO¥ffiHI -KUROKAWA MINJ!K=o0 I. SONG- Part I INTRODUCTORY ESSAYS Mitsugu Sakihara Ryukyuan Resources at the University of Hawaii Okinawan Studies in the United St9-tes During the 1970s RYUKYUAN RESOURCES AT THE UNIVERSITY OF HAWAII Introduction The resources for Ryukyuan studies at the University of Hawaii, reportedly the best outside of Japan, have attracted many scholars from Japan and other countries to Hawaii for research. For such study Ryukyu: A Bibliographical Guide to Okinawan Studies (1963) and Ryukyuan Research Resources at the University of Hawaii (1965), both by the late Dr. Shunzo Sakamaki, have served as the best intro duction. However, both books have long been out of print and are not now generally available. According to Ryukyuan Research Resources at the University of Hawaii, as of 1965, holdings totalled 4,197 titles including 3,594 titles of books and documents and 603 titles on microfilm. Annual additions for the past fifteen years, however, have increased the number considerably. The nucleus of the holdings is the Hawley Collection, supplemented by the books personally donated by Dro Shunzo Sakamaki, the Satsuma Collection, and recent acquisitions by the University of Hawaii. The total should be well over 5,000 titles. Hawley Collection The Hawley Collection represents the lifetime work of Mr. Frank Hawley, an English journalist and a well-known bibliophile who resided in Japan for more than 30 yearso When Hawley passed away in the winter of 1961 in Kyoto, Dr. Sakamaki, who happened 1 utsu no shi oyobi jo" [Song to chastize Ryukyu with preface], com posed by Priest Nanpo with the intention of justifying the expedition against Ryukyu in 1609 and of stimulating the morale of the troops. -
The Making of Modern Japan
The Making of Modern Japan The MAKING of MODERN JAPAN Marius B. Jansen the belknap press of harvard university press Cambridge, Massachusetts London, England Copyright © 2000 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Third printing, 2002 First Harvard University Press paperback edition, 2002 Book design by Marianne Perlak Library of Congress Cataloging-in-Publication Data Jansen, Marius B. The making of modern Japan / Marius B. Jansen. p. cm. Includes bibliographical references and index. isbn 0-674-00334-9 (cloth) isbn 0-674-00991-6 (pbk.) 1. Japan—History—Tokugawa period, 1600–1868. 2. Japan—History—Meiji period, 1868– I. Title. ds871.j35 2000 952′.025—dc21 00-041352 CONTENTS Preface xiii Acknowledgments xvii Note on Names and Romanization xviii 1. SEKIGAHARA 1 1. The Sengoku Background 2 2. The New Sengoku Daimyo 8 3. The Unifiers: Oda Nobunaga 11 4. Toyotomi Hideyoshi 17 5. Azuchi-Momoyama Culture 24 6. The Spoils of Sekigahara: Tokugawa Ieyasu 29 2. THE TOKUGAWA STATE 32 1. Taking Control 33 2. Ranking the Daimyo 37 3. The Structure of the Tokugawa Bakufu 43 4. The Domains (han) 49 5. Center and Periphery: Bakufu-Han Relations 54 6. The Tokugawa “State” 60 3. FOREIGN RELATIONS 63 1. The Setting 64 2. Relations with Korea 68 3. The Countries of the West 72 4. To the Seclusion Decrees 75 5. The Dutch at Nagasaki 80 6. Relations with China 85 7. The Question of the “Closed Country” 91 vi Contents 4. STATUS GROUPS 96 1. The Imperial Court 97 2. -
Ws \\ I: I, I; I\ Si
x i: w s \\ i: i, i; i\ s i: FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 FOR IMMEDIATE RELEASE MAJOR EXHIBITION OF JAPANESE ART AT NATIONAL GALLERY OF ART Exhibition To Appear Only In Washington WASHINGTON, August 25, 1988- The art of the daimyo, feudal lords who ruled the provinces of Japan for nearly 700 years, will be the focus of a new exhibition, Japan: The Shaping of Daimyo Culture 1185 - 1868, opening this fall at the National Gallery of Art. The exhibition will bring together more than 450 Japanese-owned works of art that express the values that helped shape the aesthetic ideals and social character of the Japanese nation in its feudal age. An unprecedented number of objects officially designated by the Japanese government as National Treasures, Important Cultural Properties and Important Art Objects will be on view in what will be the largest exhibition of its kind ever presented in the West, or even in Japan. This exhibition will appear only in Washington. Japan: The Shaping of Daimyo Culture 1185 - 1868 will be in the East Building of the National Gallery of Art, Oct. 30, 1988 through Jan. 23, 1989. The exhibition is organized by the National Gallery of Art, The Agency for Cultural Affairs of Japan, and The Japan Foundation. The R.J. Reynolds Tobacco Company, The Yomiuri Shimbun and The Nomura Securities Co., Ltd. made the exhibition possible. Japan Air Lines provided transport. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. -
Nihontō Compendium
Markus Sesko NIHONTŌ COMPENDIUM © 2015 Markus Sesko – 1 – Contents Characters used in sword signatures 3 The nengō Eras 39 The Chinese Sexagenary cycle and the corresponding years 45 The old Lunar Months 51 Other terms that can be found in datings 55 The Provinces along the Main Roads 57 Map of the old provinces of Japan 59 Sayagaki, hakogaki, and origami signatures 60 List of wazamono 70 List of honorary title bearing swordsmiths 75 – 2 – CHARACTERS USED IN SWORD SIGNATURES The following is a list of many characters you will find on a Japanese sword. The list does not contain every Japanese (on-yomi, 音読み) or Sino-Japanese (kun-yomi, 訓読み) reading of a character as its main focus is, as indicated, on sword context. Sorting takes place by the number of strokes and four different grades of cursive writing are presented. Voiced readings are pointed out in brackets. Uncommon readings that were chosen by a smith for a certain character are quoted in italics. 1 Stroke 一 一 一 一 Ichi, (voiced) Itt, Iss, Ipp, Kazu 乙 乙 乙 乙 Oto 2 Strokes 人 人 人 人 Hito 入 入 入 入 Iri, Nyū 卜 卜 卜 卜 Boku 力 力 力 力 Chika 十 十 十 十 Jū, Michi, Mitsu 刀 刀 刀 刀 Tō 又 又 又 又 Mata 八 八 八 八 Hachi – 3 – 3 Strokes 三 三 三 三 Mitsu, San 工 工 工 工 Kō 口 口 口 口 Aki 久 久 久 久 Hisa, Kyū, Ku 山 山 山 山 Yama, Taka 氏 氏 氏 氏 Uji 円 円 円 円 Maru, En, Kazu (unsimplified 圓 13 str.) 也 也 也 也 Nari 之 之 之 之 Yuki, Kore 大 大 大 大 Ō, Dai, Hiro 小 小 小 小 Ko 上 上 上 上 Kami, Taka, Jō 下 下 下 下 Shimo, Shita, Moto 丸 丸 丸 丸 Maru 女 女 女 女 Yoshi, Taka 及 及 及 及 Chika 子 子 子 子 Shi 千 千 千 千 Sen, Kazu, Chi 才 才 才 才 Toshi 与 与 与 与 Yo (unsimplified 與 13 -
Streams of Tradition: Buddhism, East to West
Streams of Tradition: Buddhism, East to West Acknowledgements I wish to express my deepest appreciation to the Numata Center for Research and Translation and to its manager Rev. Brian Nagata for his patience and kindness in allowing me the time to complete this project. Also I wish to express my thanks to Dr. David Komito, Director of Faculty Relations, Professor, Division of Distance Education, Eastern Oregon University. Dr. Komito gave me invaluable assistance reviewing the chapter on Tibet. For editorial assistance I express my deepest gratitude to Mrs. Kimi Hisatsune and to Ven. Tao-che-Kenya-Lee Province. Their editing and advice has also been extremely invaluable. All errors and omissions are entirely the responsibility of the author. 1 Contents Acknowledgements Introduction Chapter One Life and Times of Gautama Siddhartha Chapter Two The Teaching of the Buddha: Two Streams of Tradition A. The Theravada Tradition: The Way of the Elders B. The Mahayana Tradition: The Greater Vehicle, Universality and Adaptation Chapter Three Chinese Buddhist Tradition: Harmony with Reality Chapter Four Korean Buddhism: The Way of Synthesis Chapter Five The Flowering of Buddhism in Japan Chapter Six Vajrayana: Esoteric Buddhism of Tibet Chapter Seven Buddhism Flows East to West Conclusion Appendix Selected Passages 2 Buddhism in History Festivals and Observances Glossary Bibliography Endnotes Index 3 Introduction It is the purpose of this text to provide the reader with an orientation to central features of the various streams of Buddhist tradition and to clarify the distinctive teachings that unite the entire tradition as Buddhist. There has been change and continuity throughout its history, as well as diversity in unity among the traditions. -
Science, Art, and Nature in Kojima Usui's Mountain Literature
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Summer 8-15-2019 In Praise of the Peaks: Science, Art, and Nature in Kojima Usui’s Mountain Literature Aaron Paul Jasny Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Asian Studies Commons, East Asian Languages and Societies Commons, English Language and Literature Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Jasny, Aaron Paul, "In Praise of the Peaks: Science, Art, and Nature in Kojima Usui’s Mountain Literature" (2019). Arts & Sciences Electronic Theses and Dissertations. 1914. https://openscholarship.wustl.edu/art_sci_etds/1914 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of East Asian Languages and Cultures Dissertation Examination Committee: Marvin H. Marcus, Chair Nancy E. Berg Rebecca Copeland Ji-Eun Lee Jamie Lynn Newhard In Praise of the Peaks: Science, Art, and Nature in Kojima Usui’s Mountain Literature by Aaron Paul Jasny A dissertation presented to The Graduate School of Washington University in partial -
A Guide to Japanese Buddhism
A Guide to Japanese Buddhism Japan Buddhist Federation Downloaded from www.holybooks.com A Guide to Japanese Buddhism First edition published: October 2004 Published by: Japan Buddhist Federation Meisho Kaikan Hall 2F, 4–7–4, Shiba-koen, Minato-ku, Tokyo 105-0011, Japan Phone: +81–3–3437–9275 Fax: +81–3–3437–3260 E-mail: [email protected] URL: http://www.jbf.ne.jp Edited by: Rev. Kōdō Matsunami Designed and printed by: JABICS (Japanese Buddhism International Communications Service) Department, Omega-Com, Inc. Mita Keio Busidence 2F, 2–14–4, Mita, Minato-ku, Tokyo 108–0073, Japan © 2004 by Japan Buddhist Federation. All rights reserved. Contents PREFACE.......................................................................................................................ii Part I A Brief History of Buddhism in Japan 1.. BUDDHISM INTRODUCED.TO.JAPAN....................................................................... 1 2. THE NARA.PERIOD.(A.D..710–784).....................................................................3 3. THE HEIAN.PERIOD.(A.D..794–1185)..................................................................7 4. THE.KAMAKURA.PERIOD.(A.D..1192–1333)......................................................10 5. THE MUROMACHI.PERIOD.(A.D..1336–1573)...................................................15 6. THE MOMOYAMA.PERIOD.(A.D..1573–1603)...................................................16 7. THE EDO.PERIOD.(A.D..1603–1867)..................................................................17 8. UNDER IMPERIAL.JAPAN.(A.D..1868–1945)......................................................19 -
Mountain Mandalas Shugendo in Kyushu Bloomsbury Academic, an Imprint of Bloomsbury Publishing PLC
http://www.bloomsbury.com/uk/mountain-mandalas-9781474249003/ © Allan G. Grapard (2016) Mountain Mandalas Shugendo in Kyushu Bloomsbury Academic, an imprint of Bloomsbury Publishing PLC THE 183 SITES OF CULT OF THE KUNISAKI PENINSULA RITUAL PEREGRINATION DATED: 1755 Translation: Allan Grapard http://www.bloomsbury.com/uk/mountain-mandalas-9781474249003/ © Allan G. Grapard (2016) Mountain Mandalas Shugendo in Kyushu Bloomsbury Academic, an imprint of Bloomsbury Publishing PLC ♦No. 1 [Location]: Usa District [gun], Fube Township [mura], Tateshi, Hibira.i [Name of the site of cult]: Ushiroyama Kongōshōji. [Status]: No priest in residence. [Amulets]: [go to] Ushiroyama Iwaya. [Main object of cult]: Amida nyorai.ii [Distance to] Dainichi Iwaya:12 chō.iii ♦No. 2 Hayami District, Tateshi Village [chō], Mukuno, Matsuo. [Name of the site of cult]: Dainichi Iwaya. [Main object of cult]: Dainichi nyorai. [Distance to] Kannonji: 15 chō. ♦No. 3 Usa District, Fube Township, Tateshi, Shindō. [Name of the site of cult]: Kannonji. [Sectarian affiliation]: Zen. [Status]: Priest in residence. [Main object of cult]: Kannon. [Distance to] Nagabata: 14 chō. ♦No. 4 Usa District, Kita Maki Township, Ryōkai, Nagabata. [Name of the site of cult]: Kissui Fukushōji (Reikiji). [Sectarian affiliation]: Zen, Sōtō. [Main object of cult]: Amida nyorai (built in the Reiki era). [Distance to] Yoshihisa: 5 chō. ♦No. 5 Usa District, Kita Maki Township, Eguma, Yoshihisa. [Name of the site of cult]: Kōgen-in. [Main object of cult]: Mida. [Sectarian affiliation]: Zen. Destroyed by fire.iv ♦No. 6 Usa District, Kita Maki Township, Eguma, Izumimoto. [Name of the site of cult]: Ita Shrine. [Main object of cult]: Roku Kannon. -
A Guide to Japanese Buddhism
AA GuideGuide toto JapaneseJapanese BuddhismBuddhism Japan Buddhist Federation HAN DD ET U 'S B B O RY eOK LIBRA E-mail: [email protected] Web site: www.buddhanet.net Buddha Dharma Education Association Inc. A Guide to Japanese Buddhism Japan Buddhist Federation A Guide to Japanese Buddhism First edition published: October 2004 Published by: Japan Buddhist Federation Meisho Kaikan Hall 2F, 4–7–4, Shiba-koen, Minato-ku, Tokyo 105-0011, Japan Phone: +81–3–3437–9275 Fax: +81–3–3437–3260 E-mail: [email protected] URL: http://www.jbf.ne.jp Edited by: Rev. Kōdō Matsunami Designed and printed by: JABICS (Japanese Buddhism International Communications Service) Department, Omega-Com, Inc. Mita Keio Busidence 2F, 2–14–4, Mita, Minato-ku, Tokyo 108–0073, Japan © 2004 by Japan Buddhist Federation. All rights reserved. Contents PREFACE.......................................................................................................................ii Part I A Brief History of Buddhism in Japan 1.. BUDDHISM INTRODUCED.TO.JAPAN....................................................................... 1 2. THE NARA.PERIOD.(A.D..710–784).....................................................................3 3. THE HEIAN.PERIOD.(A.D..794–1185)..................................................................7 4. THE.KAMAKURA.PERIOD.(A.D..1192–1333)......................................................10 5. THE MUROMACHI.PERIOD.(A.D..1336–1573)...................................................15 6. THE MOMOYAMA.PERIOD.(A.D..1573–1603)...................................................16 -
Zestaw Aplikacyjny „Baśń O Wdzięcznym Żurawiu”
ZESTAW APLIKACYJNY ¹BAŚŃ O WDZIĘCZNYM ŻURAWIUº Niżej wymienione utwory autorskie: 1. Wstęp 2. Baśń o wdzięcznym żurawiu 3. Egzotyczna Japonia 4. Pokaz tkania 5. Mini-søuchowisko 6. Krzyżówki, ćwiczenia, kolorowanki prezentowane w postaci filmów w formacie mp4, lub w jakimkolwiek formacie (.avi, .mkv, wav, mp3, pdf, etc) możliwym do odtworzenia na dowolnych urządzeniach (smartfon, komputer etc) - są wøasnością Simplyyourself.online Sp. z o.o. Jakiekolwiek kopiowanie i udostępnianie tych plików (w szczególności na platformie youtube, chomikuj, facebook, twitter etc), bez zgody Simplyyourself.online Sp. z o.o. jest prawnie zakazane Ten wyżej wymieniony zestaw utworów, zwany dalej Utworem, nie może być powielany ani rozpowszechniany w jakiejkolwiek formie i w jakikolwiek sposób na jakichkolwiek polach eksploatacji, wøącznie z kopiowaniem, fotokopiowaniem i digitalizacją, w tym także zamieszczaniem w Internecie, bez pisemnej zgody Wøaściciela. Jakiekolwiek użycie lub wykorzystanie Utworu w caøości lub w części bez zgody Wøaściciela stanowi naruszenie prawa. © All rights reserved by Simplyyourself.online Sp. z o.o. Copyright © 2020 Simplyyourself.online Sp. z o.o. Wszelkie prawa zastrzeżone. Wykonawcy Firma Simplyyourself.online Sp. z o.o. skøada PT Wykonawcom najserdeczniejsze podziękowania za wielki wkøad pracy w wykonanie Dzieøa. Czytają (gøosy lektorskie): Maøgorzata Goøota i Wiesøaw Kolbusz © by Wiesøaw Kolbusz. All rights reserved © by Maøgorzata Goøota. All rights reserved muzyka © by PAPAMARTINEZ. All rights reserved ilustracje – © by Marek Szal. All rights reserved – © by Mariusz Uchman. All rights reserved kolorowanki WSTĘP (INTRO) czyta Wiesøaw Kolbusz, muzyka PAPAMARTINEZ, - wierszyk prezentuje Maøgorzata Goøota dźwięki, freesound.org Plansza Marek Szal, zdjęcia: IN ORDER OF APPEARANCE 1. cranes - By Spaceaero2 - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=20765108 licencja https://creativecommons.org/licenses/by-sa/3.0/deed.en 2.