Samurai Route in Kaga Domain, Kanazawa
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Images and Words. an Interdisciplinary Unit for Sixth-Grade Art and Language Arts Classes
DOCUMENT RESUME ED 391 771 SO 026 096 AUTHOR Lyons, Nancy Hai,:te; Ridley, Sarah TITLE Japan: Images and Words. An Interdisciplinary Unit for Sixth-Grade Art and Language Arts Classes. INSTITUTION Smithsonian Institution, Washington, DC. Arthur M. Sackler Gallery. PUB DATE 94 NOTE 66p.; Color slides and prints not included in this document. AVAILABLE FROM Education Department, Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC 20560 ($24 plus $4.50 shipping and handling; packet includes six color slides and six color prints). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; *Art; Art Activities; Art Appreciation; *Art Education; Foreign Countries; Grade 6; *Interdisciplinary Approach; Intermediate Grades; *Japanese Culture; *Language Arts; Painting (Visual Arts) ;Visual_ Arts IDENTIFIERS Japan; *Japanese Art ABSTRACT This packet, written for teachers of sixth-grade art and language arts courses, is designed to inspire creative expression in words and images through an appreciation for Japanese art. The selection of paintings presented are from the Freer Gallery of Art, Smithsonian Institution. The interdisCiplinary approach, combines art and language arts. Lessons may be presented independently or together as a unit. Six images of art are provided as prints, slides, and in black and white photographic reproductions. Handouts for student use and a teacher's lesson guide also are included. Lessons begin with an anticipatory set designed to help students begin thinking about issues that will be discussed. A motivational activity, a development section, clusure, and follow-up activities are given for each lesson. Background information is provided at the end of each lesson. -
No.766 (November Issue)
NBTHK SWORD JOURNAL ISSUE NUMBER 766 November, 2020 Meito Kansho: Examination of Important Swords Juyo Bijutsuhin, Important Cultural Property Type: Tachi Mei: Unji Length: 2 shaku 4 sun 4 bu 7 rin (74.15 cm) Sori: 9 bu 6 rin (2.9 cm) Motohaba: 9 bu 2 rin (2.8 cm) Sakihaba: 5 bu 9 rin (1.8 cm) Motokasane: 2 bu (0.6 cm) Sakikasane: 1 bu 2 rin (0.35 cm) Kissaki length: 8 bu 9 rin (2.7 cm) Nakago length: 6 sun 7 bu 3 rin (20.4 cm) Nakago sori: 7 rin (0.2 cm) Commentary This is a shinogi-zukuri tachi with an ihorimune. The width is standard, and the widths at the moto and saki are slightly different. There is a standard thickness, a large sori, and a chu-kissaki. The jigane has itame hada mixed with mokume and nagare hada, and the hada is barely visible. There are fine ji-nie, chikei, and jifu utsuri. The hamon is a wide suguha mixed with ko-gunome, ko-choji, and square features. There are frequent ashi and yo, and some places have saka-ashi. There is a tight nioiguchi with abundant ko-nie, and some kinsuji and sunagashi. The boshi on the omote is straight and there is a large round tip. The ura has a round tip, and there is a return. The nakago is suriage, and the nakago jiri is almost kiri, and the newer yasurime are sujichigai, and we cannot determine what style the old yasurime were. There are three mekugi-ana, On the omote, under the third mekugi-ana (the original mekugi-ana) there is a two kanji signature. -
Department of Art and Art History the University of Utah GRAFFITI, ART
GRAFFITI, ART, AND IDENTITY: EXPLORING GAJIN FUJITA’S HOOD RATS by Patricia Kathleen Guiley A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Arts in Art History Department of Art and Art History The University of Utah May 2015 Copyright © Patricia Kathleen Guiley 2015 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Patricia Kathleen Guiley has been approved by the following supervisory committee members: Winston Kyan , Chair 10/13/2014 Date Approved Paul Monty Paret , Member 10/13/2014 Date Approved Wesley Sasaki-Uemura , Member 10/13/2014 Date Approved and by Brian Snapp , Chair/Dean of the Department/College/School of Art History and by David B. Kieda, Dean of The Graduate School. ABSTRACT While contemporary historians have explored the advent of graffiti as well as its link to the social and financial world, little attention has been given to overarching lenses that attempt to encompass the new global contemporary form of graffiti. In a recent catalogue of street art, Carlo McCormick argues that many of the fundamental motives and aesthetics of graffiti have transformed, requiring new lenses of analysis when comprehending the work. One of the main outcomes in the art-world system of the global contemporary is the dissolving of geographical distances that once divided art worlds from each other. As a result of evolving cultural paradigms, new parameters are required when analyzing contemporary art. It is here, in the global contemporary climate, that Gajin Fujita’s Hood Rats shows how representations of American identity have transformed. -
Samurai Life in Medieval Japan
http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period. -
SAMURAI and ASHIGARU –Espansione Lords & Servants
SAMURAI AND ASHIGARU –Espansione Lords & Servants Il Giappone feudale era uno stato comandato dall'imperatore ma amministrato dallo SHOGUN , la più alta carica militare che veniva eletto dall'imperatore. Lo SHOGUN era per cui il rappresentante politico e amministrativo dell'impero che era diviso in piccoli feudi guidati dai signori locali detti DAIMYO signori locali che amministravano in maniera del tutto indipendente l'economia e la legislazione interna. Dare una data esatta per quanto riguarda il periodo SENGOKU è piuttosto difficile, gli stessi studiosi sono in contrasto tra loro, io ho deciso di utilizzare la teoria che coincide con gli ultimi anni del dominio della dinastia Ashikaga (1467-1603) come SHOGUN. Il "periodo degli stati combattenti" , questo è il significato di Sengoku in italiano, è un epoca che vede la grande crisi del potere centrale causata da lotte intestine al clan Ashikaga a cui era demandato il ruolo di Shogun che permette l'affermazione di Daimyo sempre più potenti. Possiamo identificare l'inizio del periodo Sengoku con l'inizio della guerra di Onin , una guerra civile che vede lo Shogun assistere inerme a lotte intestine tra clan di Daimyo, lotte che porteranno alla quasi totale distruzione di Kioto la capitale dell'impero. L'immobilità dello Shogun nella capitale diede il via a una serie infinita di guerre tra Daimyo , guerre che fino a quel momento erano state frenate da un potere che lo shogun ora dimostrava non avere. In questo periodo si avrà l'affermazione di casate meno rappresentative ma più aggressive spesso fondate da samurai non nobili che con esperienza e tenacia battono gli stati comandati da Daimyo di origine nobile ma meno avvezzi alla guerra e prima protetti dallo Shogun ora ormai inerme. -
Kanazawa Citizen’S Art Center Contemporary Art, Kanazawa
❖21st Century Museum of ❖The Kanazawa Citizen’s Art Center Contemporary Art, Kanazawa The Kanazawa Citizen’s Art Center is used as a The museum exhibits experimental place for art activities for residents centering contemporary artworks that visitors can touch on the special features of the red brick or sit on. It includes zones where visitors can warehouses that used to be spinning mills. enter for free. Both adults and children can experience an exciting time in the museum. Address: 1-1 Daiwa-machi Contact: Tel. 265-8300 Address: 1-2-1 Hirosaka Open: 24 hours a day and 365 days a year Contact: Tel. 220-2800 乙丸町 北安江町 浅 野 Open: 10 am to 6 pm (closes at 8 pm on Fridays and Saturdays) 北 陸 Admission fee: The fee varies with the special exhibition. 鉄 鳴和 川 道 Closed: Mondays and Dec. 29 to Jan. 3. Visitors can enter the 浅 野 JR北陸本線 free zone from 9 am to 10 pm everyday including Mondays. 川 駅 線 西5 駅西本町1 浅野本町 0m 道 159 路 広岡1 応化橋 Yamanoue Utatsuyama 二口町 Moriyama-kita Hikoso Ohashi Kanazawa Station Bridge ● Ishikawa Ongakudo Higashi-betsuin Temple ● Hikoso-machi Nakabashi Hon-machi 2 Higashi Chaya-gai District Kanazawa Yasue Higashiyama ● Kanazawa Rokumai Gold-Leaf Museum ● Utatsuyama Craft Workshop Musashi Asanogawa Ohashi Meitetsu ● Bakuro-machi A City of Rich, ● Bridge M’za Omi-cho Market Hashiba-cho Umenohashi Sanja Bridge Vibrant Culture 大豆田橋 Kamitsutsumi-cho The Kanazawa Tenjinbashi Citizen’s Art Center Ote-machi Bridge 大豆田大橋 ● 卯 Minami-cho 辰 入江 ト Kanazawa Castle Park ン Oyama Shrine ネ ● ル Saigawa River Motoguruma Kenrokuen-shita Naga-machi Buke -
Grandmaster Book of Ninja Training
The Grandmaster's Book of Ninja Training Dr Masaaki Hatsumi Translated by Chris, W. P. Reynolds Library of Congress Cataloging-in-Publication Data Hatsumi, Masaaki, 1931- The grandmaster's book of ninja training / Masaaki Hatsumi. p. cm. Includes index. ISBN 0-8092-4629-5 (paper) 1. Hand-to-hand fighting, Oriental. 2. Ninjutsu. 3. Hatsumi, Masaaki, 1931- I. Title. U167.5.H3H358 1987 613.7'1—dc19 87-35221 CIP TRANSLATION NOTE Although some of the Japanese of these interviews was capably translated at the time it was given by Doron Navon, the entire text has been retranslated from the original. Unnecessary repetitions, inaudible phrases, etc., have been edited out. Dr. Hatsumi's manner of speak- ing is by no means always straightforward, and little attempt has been made to reproduce it, since it was felt that this would be too confusing and barely read- able. However, efforts have been made (including consultation with Hatsumi Sensei himself) to clarify the many points that required it. Only a few of his very frequently used interjected phrases (expressions Published by Contemporary Books A division of NTC/Contemporary Publishing Group, Inc. like "you see," "right?," etc.) have been retained, just 4255 West Touhy Avenue, Lincolnwood (Chicago), Illinois 60712-1975 U.S.A. for the sake of naturalness; and for the same reason, Copyright © 1988 by Masaaki Hatsumi some of the broken sentences and changes of direc- All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, tion characteristic of informal speech have been re- photocopying, recording, or otherwise, without the prior written permission of tained, as long as the meaning is clear. -
Ishikawa Sample Itineraries
ITINERARIES 2 days & 1 night Essential Kanazawa Kanazawa is a must for lovers of Japanese culture, history and architecture. Much of ancient samurai houses and geisha districts have been beautifully preserved because the area has escaped major natural disasters and war damage. TRIP HIGHLIGHTS ‒ A visit to Kenrokuen Garden, Japan’s most iconic landscape gardens. ‒ Head to the Nagamachi Samurai District for an insight Kanazawa into samurai life. ‒ Stroll through the picturesque, well-preserved Higashi- Chaya geisha district. ITINERARY Day Activities Stay Kanazawa Day 1 Visit Oyama Jinja Shrine, Kanazawa Noh Musuem, D.T. Suzuki Museum and Kanazawa 21st Century Museum of Contemporary Art, Kanazawa. Kanazawa Day 2 Visit Namagachi Samurai District, Omicho Market, Kenrokuen Garden, Kanazawa Castle Park, Higashi Chaya District. View on Google Map Day 1 11:00 Arrive at Kanazawa Station and drop off luggage at hotel. 15 minutes 1 14:00 Oyama Jinja Shrine [尾山神社] A Shinto shrine dedicated to Maeda Toshiie, the founder of the Kaga domain (present-day Ishikawa and around), and his wife. The shrine’s three-storied shinmon gate was designed to blend Japanese and Chinese architectural styles with Wester touches such as stained glass. 10 minutes 2 14:30 Kanazawa Noh Museum[金沢能楽美術館] Noh (a major from of classic Japanese musical drama) has been promoted among people in Ishikawa since Edo period. Immerse yourself in the world of Noh by trying on masks and costumes and playing musical instruments. 10 minutes 3 15:10 D.T. Suzuki Museum [鈴木大拙館] This museum is dedicated to the life and ideas of Daisetz Suzuki, a prominent Buddhist philosopher who was born in Kanazawa and popularized Zen in the West. -
Japanese Sword Buying Guide
THE SAMURAI SWORD GUIDE Learn what to look for when planning to buy www.samurai-sword-shop.com JAPANESE SWORD BUYING GUIDE With the inception of the powerful and highly modernized internet, searching for and buying hard‐to‐find gadgets, gizmos and watchamacallits have never been easier than it was 10 years ago. And this includes finding a good katana. If one wants to buy a katana way back in the good ‘ol days, he had to go out and look for a brick and mortar store where some actual katana swords were being sold. But sometimes, after having traveled quite a distance, the store owner would tell you that they don’t have any katana in stock! What a big disappointment! All of these have changed though with the birth of the World Wide Web. Now you can find ten or more different katanas with just a few clicks and in just a fraction of time. You can quickly compare katanas that range from as low as 100 euro up to a few thousand euro while a real nihonto would probably cost around 10.000 , 20.000 and up to +100.000 euro and more. Well, don’t be shocked! Even a simple antique tsuba can actually cost much more than a regular sword! Nevertheless, the emergence of modern technology cannot quite replace the actual buying process that we have been earlier exposed to – one that allows us to examine closely and even touch and smell the product before we decide if it’s worthy of our penny. Copyright © 2010 www.samurai-sword-shop.com 1 It’s really hard to tell if the katana on your computer screen is worth the price and if it’s really what you are looking for. -
Types of Japanese Folktales
Types of Japanese Folktales By K e ig o Se k i CONTENTS Preface ............................................................................ 2 Bibliography ................................... ................................ 8 I. Origin of Animals. No. 1-30 .....................................15 II. A nim al Tales. No. 31-74............................................... 24 III. Man and A n im a l............................................................ 45 A. Escape from Ogre. No. 75-88 ....................... 43 B. Stupid Animals. No. 87-118 ........................... 4& C. Grateful Animals. No. 119-132 ..................... 63 IV. Supernatural Wifes and Husbands ............................. 69 A. Supernatural Husbands. No. 133-140 .............. 69 B. Supernatural Wifes. No. 141-150 .................. 74 V. Supernatural Birth. No. 151-165 ............................. 80 VI. Man and Waterspirit. No. 166-170 ......................... 87 VII. Magic Objects. No. 171-182 ......................................... 90 V III. Tales of Fate. No. 183-188 ............................... :.… 95 IX. Human Marriage. No. 189-200 ................................. 100 X. Acquisition of Riches. No. 201-209 ........................ 105 X I. Conflicts ............................................................................I l l A. Parent and Child. No. 210-223 ..................... I l l B. Brothers (or Sisters). No. 224-233 ..............11? C. Neighbors. No. 234-253 .....................................123 X II. The Clever Man. No. 254-262 -
The Etiquette & Customs for Sword Appreciation & Viewing
The Etiquette & Customs For Sword Appreciation & Viewing Clive Sinclaire Bexley, Kent June 2012 If you practice any of the sword related martial arts, such as Kendo or Iai‐do, then from the very first day, before you even pick up the wooden practice sword, you will be made aware of reigi. This has been defined as covering such areas as “courtesy, decorum, etiquette, civility, propriety and discipline”. Such things are reflected in how one conducts oneself in the dojo, how one relates to both higher and lower grades and is the thing that prevents these martial ways from becoming uncivilised and brutal. A fundamental precept of reigi in this context is respect for the sword, even in its imitated form of a bokuto or wooden substitute which is customarily wiped with a clean cloth, before and after use. They are placed on the dojo floor with respect and care, avoiding noise or clatter and they should never be placed on the hakama (traditional clothing) as this is considered a blatant breach of etiquette. There are correct ways of bowing when entering or leaving the dojo and carrying a sword. These practices are sometimes a surprise to the novice who might view the activities as purely sport, but they are of great importance from both a cultural and safety point of view. Formal Rei at Iai‐do shia. Reigi was a natural and accepted thing in old Japan and one’s behaviour when handling swords was of great importance as the consequences of inappropriate actions might have serious consequences. Today in Japan, there are occasions when swords are viewed by large numbers of people at the same time, such as at a To‐ken Taikai or sword convention. -
I May Not Use the Japanese Terms for Everything in This Document, Or Spell Them the Way You Think They May Be Spelled
Please note: I may not use the Japanese terms for everything in this document, or spell them the way you think they may be spelled. Deal. Different sources happen. Sources will appear at the end of this document. Oh, and I hereby give permission for AEG and any forum moderators acting as representatives thereof to post this (unmodified and in its entirety, except as directed by me) as a reference document anywhere they need to do so, if they feel so inclined. SECTION ONE: INTRODUCTION AND ARMOR Armor exists in a constant state of flux, always attempting to protect the wearer against an ever-more lethal variety of battlefield threats. There are many reasons NOT to wear armor. It’s expensive. It’s high-maintenance. It is hot and smelly (sometimes to the point of causing heatstroke). It restricts your mobility. It dulls your senses and slows your reflexes. It’s never perfect, 100% protection. Therefore, it is reasonable to assume that if armor did not perform some valid battlefield function, people would not have worn it. People aren’t stupid. We may be more educated today, but people have a long history of seeing a problem, and then devoting all of their time and technological progress to that point in history finding a way to SOLVE that problem. Again, it stands to reason that, especially in a culture like that of Japan, where weaponry and armor simply did not evolve after reaching a certain level of technological development, there must be a rough balance between weaponry and protection. If armor was useless against battlefield weaponry, it would not have been worn.