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Bahamut - [email protected] Based on the “Touhou Project” series of games by Team Shanghai Alice / ZUN. http://www16.big.or.jp/~zun/ The Touhou Project and its related properties are ©Team Shanghai Alice / ZUN. The Team Shanghai Alice logo is ©Team Shanghai Alice / ZUN. Illustrations © their respective owners. Used without permission. Tale of Phantasmal Land text & gameplay ©2011 Bahamut. This document is provided “as is”. Your possession of this document, either in an altered or unaltered state signifies that you agree to absolve, excuse, or otherwise not hold responsible Team Shanghai Alice / ZUN and/or Bahamut, and/or any other individuals or entities whose works appear herein for any and/or all liabilities, damages, etc. associated with the possession of this document. This document is not associated with, or endorsed by Team Shanghai Alice / ZUN. This is a not-for-profit personal interest work, and is not intended, nor should it be construed, as a challenge to Team Shanghai Alice / ZUN’s ownership of its Touhou Project copyrights and other related properties. License to distribute this work is freely given provided that it remains in an unaltered state and is not used for any commercial purposes whatsoever. All Rights Reserved. Introduction Choosing a Race (Cont.’d) What Is This Game All About? . 1 Magician . .20 Too Long; Didn’t Read Version . 1 Moon Rabbit . .20 Here’s the Situation . 1 Oni . .21 But Wait! There’s More! . 1 Tengu . .21 Crow Tengu . .22 About This Game . 2 White Wolf Tengu . .22 About the Touhou Project . 2 Vampire . .23 About Role-Playing Games . -
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. -
Shinobi Notebook #3
Shinobi Notebook #3 http://passaic-bujinkan-buyu.setech-co.com Ninja Training The Togakure Ryu Ninpo, established approximately eight hundred years ago, is now in its 34th generation. The Ryu (style) exists today under the Bujinkan Association dedicated to teaching effective methods of self protection and promoting the self development and awareness of its members. Due to the stabilized nature of contemporary Japanese government and judicial systems, the Togakure ninja ryu no longer involves itself directly in combat or espionage work. Previous to the unification of Japan during the 16th century; however, it was necessary for Togakure ninja to operate out of south central Iga Province. At the height of the historical ninja period, the clan’s ninja operatives were trained in eighteen fundamental areas of expertise, beginning with this “physic purity” and progressing through a vast range of physical and mental skills. The eighteen levels of training were as follows: 1. Seishin Teki Kyoyo: Spiritual Refinement. 2. Taijutsu: Unarmed combat. Skills of daken-taijutsu or striking, kicking and blocking; jutaijutsu or grappling, choking and escaping the holds of others, and taihenjutsu or silent movement, rolling, leaping and tumbling assisted the Togakure ninja in life threatening, defensive situations. 3. Ninja Ken: Ninja Sword. Two distinct sword skills were required, “Fast draw” techniques centered around drawing the sword and cutting as a simultaneous defensive or attacking action. “Fencing” skills used the drawn sword in technique clashes with armed attackers. 4. Bo-Jutsu: Stick and staff fighting. 5. Shuriken-Jutsu: Throwing blades. Throwing blades were carried in concealed pockets and used as harassing weapons. -
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). -
Shigisan Engi Shigisan Engi Overview
Shigisan engi Shigisan engi Overview I. The Shigisan engi or Legends of the Temple on Mount Shigi consists of three handscrolls. Scroll 1 is commonly called “The Flying Granary,” Scroll 2 “The Exorcism of the Engi Emperor,” and Scroll 3 “The Story of the Nun.” These scrolls are a pictorial presentation of three legends handed down among the common people. These legends appear under the title “Shinano no kuni no hijiri no koto” (The Sage of Shinano Province) in both the Uji sh¯ui monogatari (Tales from Uji) and the Umezawa version of the Kohon setsuwash¯u (Collection of Ancient Legends). Since these two versions of the legends are quite similar, one is assumed to be based on the other. The Kohon setsuwash¯u ver- sion is written largely in kana, the phonetic script, with few Chinese characters and is very close to the text of the Shigisan engi handscrolls. Thus, it seems likely that there is a deep connection between the Shigisan engi and the Kohon setsuwash¯u; one was probably the basis for the other. “The Flying Granary,” Scroll 1 of the Shigisan engi, lacks the textual portion, which has probably been lost. As that suggests, the Shigisan engi have not come down to us in their original form. The Shigisan Ch¯ogosonshiji Temple owns the Shigisan engi, and the lid of the box in which the scrolls were stored lists two other documents, the Taishigun no maki (Army of Prince Sh¯otoku-taishi) and notes to that scroll, in addition to the titles of the three scrolls. -
Kokawadera Engi Kokawadera Engi Overview
Kokawadera engi Kokawadera engi Overview the Kokawadera engi emaki. We can assume its content from I. the kanbun account, the Kokawadera engi. The Kokawadera engi emaki (Illustrated Scroll of the II. Legends of the Kokawadera Temple) is a set of colored pic- tures on paper compiled into one scroll and consists of four The synopsis of the Engi is as follows. The Kokawadera text sections and five pictures. The beginning of the scroll Temple was founded in the first year of H¯oki. According to was burned in a fire, and the first pages of the remaining part the tradition of the elders, there was a hunter in this area, are badly scorched as well. Neither the authors nor the time named Otomo¯ no Kujiko. Devoting himself to hunting, Kujiko of production is known but it is considered to be a work of lived in the mountains and shot at game every night from a the early Kamakura period. The style of painting resembles platform he built in a valley. One night he saw a shining light, that of the Shigisan engi emaki. about the size of a large sedge hat. Frightened, Kujiko The Kokawadera Temple is an old temple in Wakayama stepped down from the platform and went near the light, but Prefecture, that, according to legend, a local hunter, Otomo¯ the light was gone. Yet when he went back to the platform, no Kujiko, built it in the first year of H¯oki (770). It is well the light began to shine again. This continued to happen for known as the fourth site of the Saikoku thirty-three temple three or four nights, so he cleaned the area, built a hut with pilgrimage circuit. -
Beginning Japanese for Professionals: Book 3
BEGINNING JAPANESE FOR PROFESSIONALS: BOOK 3 Emiko Konomi Beginning Japanese for Professionals: Book 3 Emiko Konomi Portland State University 2018 © 2018 Emiko Konomi This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes. Accessibility Statement PDXScholar supports the creation, use, and remixing of open educational resources (OER). Portland State University (PSU) Library acknowledges that many open educational resources are not created with accessibility in mind, which creates barriers to teaching and learning. PDXScholar is actively committed to increasing the accessibility and usability of the works we produce and/or host. We welcome feedback about accessibility issues our users encounter so that we can work to mitigate them. Please email us with your questions and comments at [email protected]. “Accessibility Statement” is a derivative of Accessibility Statement by BCcampus, and is licensed under CC BY 4.0. Accessibility of Beginning Japanese 3 A prior version of this document contained multiple accessibility issues. Beginning Japanese for Professionals: Book 3 now meets the criteria outlined below, which is a set of criteria adapted from BCCampus’ Checklist for Accessibility, licensed under CC BY 4.0. -
The Costume of Yamabushi "To Put on the Clothing of Yamabushi, Is to Put on the Personality of the Fudo Buddha" Something Always Practiced by the Shugenjas
Doctrines Costumes and Tools symbolisme | www.shugendo.fr Page 4 of 12 7. Not to break good manners and to accept insults from the Elders. 8. On level ground, not to have futile conversations (concerning Dharma or women) 9. Not to touch on the frivolous subjects, not to amuse with laughing at useless words or grievances. 10. When in bed, to fall asleep while using the nenju and reciting mantra) 11. Respect and obey the Veterans, Directors and Masters of Discipline, and read sutras aloud (the yamabushi in mountain have as a practice to speak with full lungs and the texts must be understandable) 12. Respect the regulations of the Directors and the Veterans. 13. Not to allow useless discussions. If the discussion exceeds the limits for which it is intended, one cannot allow it. 14. On level ground not to fall asleep while largely yawning (In all Japan the yawn is very badly perceived; a popular belief even says that the heart could flee the body by the yawn). 15. Those which put without care their sandals of straw (Yatsume-waraji, sandals with 8 eyelets) or which leave them in disorder will be punished with exceptional drudgeries. (It is necessary to have to go with sandals to include/understand the importance which they can have for a shugenja, even if during modern time, the "chika tabi" in white fabric replaced the sandals of straw at many shugenja. Kûban inside Kannen cave on Nevertheless certain Masters as Dai Ajari Miyagi Tainen continue to carry them for their comfort and Tomogashima island during 21 days the adherence which they offer on the wet stones. -
Dragon Magazine #179
SPECIAL ATTRACTIONS Issue #179 Magic is Power Vol. XVI, No. 10 9 A treasure trove of magical items youve never seen before. March 1992 Picture This! Nigel Findley 10 Magical paintings that can save your lifeor take it away. Publisher James M. Ward Magic by Candlelight Gregg Chamberlain 16After you light one of these magical candles, be sure you stand way Editor back. Roger E. Moore Something Completely Different Bruce Humphrey 21 Liven up your treasure hoards with valuables that surprise as well as Fiction editor please. Barbara G. Young Seven Enlightening Lanterns Stephen Giles Associate editor 26 If you explore the dungeons of the Forgotten Realms, be sure to have Dale A. Donovan one of these devices in hand. Editorial assistant Wolfgang H. Baur Art director Larry W. Smith OTHER FEATURES Production staff Gaye OKeefe Angelika Lokotz Moonlight fiction by Heather Lynn Sarik Tracey Zamagne Mary Chudada 32 Pure, distilled moonlight, silvery and brightjust the target for two smart thieves. Subscriptions The Voyage of the Princess Ark Bruce A. Heard Janet L. Winters 41 A journey to a kingdom that has gone entirely to the dogs. U.S. advertising The MARVEL® Phile Dale A. Donovan and Steven E. Schend Roseann Schnering 47 Did you ever meet a super villain you wanted to laugh at rather than punch? U.K. correspondent The Role of Computers Hartley, Patricia, and Kirk Lesser and U.K. advertising Bronwen Livermore 57 A look through Eye of the Beholder II and a visit with some Merry Men. Wonders of the Land of Fate Jeff Grubb 66 The AD&D® AL-QADIM setting has flying carpets, efreeti bottles, and much, much more! Role-playing Reviews Lester W. -
Fashion,Costume,And Culture
FCC_TP_V2_930 3/5/04 3:55 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V2_930 3/5/04 3:55 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 2: Early Cultures Across2 the Globe SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
Il Samurai. Da Guerriero a Icona
Il fiume di parole e d’immagini sul Giappone che si riversò a icona Da guerriero Il samurai. in Occidente dopo il 1860 lo configurò per sempre come l’idillica terra del Monte Fuji, coi laghi sereni punteggiati di vele, le geisha in pose seminude e gli indomabili samurai dalle misteriose armature. Il fascino che i guerrieri giapponesi e la loro filosofia di vita esercitarono sulla cultura del Novecento fu pari soltanto al desiderio di conoscere meglio la loro storia e i loro costumi, per svelare i segreti di una casta che prima Il samurai. di sconfiggere il nemico in battaglia aveva deciso, senza rinunciare ai piaceri della vita, di educare il corpo e la mente Da guerriero a icona a sconfiggere i propri limiti e le proprie paure, per raggiungere l’impalpabile essenza delle cose. a cura di Moira Luraschi 10 10 Antropunti Collana diretta da Francesco Paolo Campione Christian Kaufmann Antropunti € 32,00 Collana diretta da Francesco Paolo Campione Il samurai. Christian Kaufmann Da guerriero a icona La Collezione Morigi e altre recenti acquisizioni del MUSEC a cura di Antropunti Moira Luraschi 10 Sommario Note di trascrizione Prefazione 6 e altre avvertenze per la lettura Roberto Badaracco La trascrizione delle parole giapponesi Per la lettura delle parole trascritte ci si ba- segue il Sistema Hepburn modificato, fa- serà sulla fonologia italiana per le vocali, su Saggi I samurai. Guerrieri, politici, intellettuali 11 cendo eccezione per quei pochi casi in cui quella inglese per le consonanti. Si tenga Moira Luraschi un nome è entrato nell’uso corrente in una dunque presente che: ch è la c semiocclu- forma diversa (es. -
Nippon: Land of the Rising Sun Arms & Armour on Arms And
NIPPON: LAND OF THE RISING SUN ARMS & ARMOUR Written and Illustrated by Andrew R Fawcett for www.criticalhit.co.uk ON ARMS AND ARMOUR Armour worn in Nippon is completely different to that worn in the Old World. It is, on the whole, lighter and is heavily leather-based. Armour is restricted to the armouries of a clan and its usage depends upon the rank of the clansman; commoners do not wear armour other than, maybe, leather. Any rank of bushi (warrior) can wear armour although the high-ranking members of the clan will inevitably wear the more elaborate pieces. Furthermore, not every warrior in a clan is armed and armoured to the teeth, as some clans are richer or poorer than others and may not even have the necessary expertise in the making of some armour and weapons. The warriors of a clan are equipped according to what the clan has available or what they are left by their fathers; the latter case is the most common. Generally speaking, armour and weapons are usually owned by the family and handed down from father to son (such weapons and armour have pride of place in a bushi's house where an entire room is given over to them). Trade also does happen: a warrior may buy items from the clan's artisans but he should be wary of purchasing things which are inappropriate to his rank, i.e. a low-ranking bushi is not permitted to use a longbow. A warrior might trade with another warrior if he can afford it or he might even kill him for what he wears or carries.