University of Nevada, Reno American Shinto Community of Practice
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Outline Lecture Sixteen—Early Japanese Mythology and Shinto Ethics
Outline Lecture Sixteen—Early Japanese Mythology and Shinto Ethics General Chronology: Jomon: 11th to 3rd century B.C.E. Yayoi: 3rd B.C.E. to 3rd C.E. Tomb: 3rd to 6th C.E. Yamato: 6th to 7th C.E. I) Prehistoric Origins a) Early Japanese history shrouded in obscurity i) No writing system until 6th century C.E. at best ii) No remains of cities or other large scale settlements iii) Only small-scale archeological evidence b) Jomon (Roughly 11th to 3rd century B.C.E.) i) Name refers to the “rope-pattern” pottery ii) Hunter-gathering settlements c) Yayoi (3rd B.C.E. to 3rd C.E.) i) Named after marshy plains near modern day Tokyo (1) Foreign elements trickle in, then blend with indigenous elements ii) Increasing signs of specialization and social stratification d) Tomb or Kofun Period (3rd to 7th) i) Two strains in Japanese religious cosmology (1) Horizontal cosmology—“over the sea motif” (2) Vertical cosmology—earth and heaven ii) Emergence of a powerful mounted warrior class (1) Uji and Be e) Yamato State (6th to 8th C.E.) i) Loose confederation of the dominant aristocratic clans II) Constructions of Mythology and Religion a) Function of Mythologized history i) Political legitimacy required having a “history” ii) Kojiki (Record of Ancient Matters 712) and Nihongi (Chronicles of Japan 720) b) Yamato Clan’s Kami—Amaterasu i) Symbiosis between mythological and political authority ii) Myth of Yamato lineage (1) Symbolism of Izanagi and Izanami (2) Contest between Amaterasu and Susano-o (a) Transgressions of Susano-o (3) Mythical contest reflects -
Record of the Istanbul Process 16/18 for Combating Intolerance And
2019 JAPAN SUMMARY REPORT TABLE OF CONTENTS EVENT SUMMARY .................................................................................................................................... 3 PLENARY SESSIONS ................................................................................................................................. 7 LAUNCHING THE 2019 G20 INTERFAITH FORUM.......................................................................... 7 FORMAL FORUM INAUGURATION – WORKING FOR PEACE, PEOPLE, AND PLANET: CHALLENGES TO THE G20 ............................................................................................................... 14 WHY WE CAN HOPE: PEACE, PEOPLE, AND PLANET ................................................................. 14 ACTION AGENDAS: TESTING IDEAS WITH EXPERIENCE FROM FIELD REALITIES ........... 15 IDEAS TO ACTION .............................................................................................................................. 26 TOWARDS 2020 .................................................................................................................................... 35 CLOSING PLENARY ............................................................................................................................ 42 PEACE WORKING SESSIONS ................................................................................................................ 53 FROM VILE TO VIOLENCE: FREEDOM OF RELIGION & BELIEF & PEACEBUILDING ......... 53 THE DIPLOMACY OF RELIGIOUS PEACEBUILDING .................................................................. -
The Reliquaries of Hyrule: a Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time
Press Start The Reliquaries of Hyrule The Reliquaries of Hyrule: A Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time Jared Hansen University of Oregon Abstract This study is a semiotic and iconographic analysis of the sacred architecture in The Legend of Zelda: Ocarina of Time (Nintendo, 1998). Through an analysis of the visual elements of the game, the researcher found evidence of visual metaphors that coded three temples as sacred spaces. This coding of the temples is accomplished through the symbolism of progression that matches the design of shrines and cathedrals, drawing on iconography and other symbolism associated with Shinto, Buddhist, and Christian sacred architecture. Such indications of sacred spaces highlight the ways in which these virtual environments are designed to symbolize the progression of the player from secular to sacred, much like the player’s progression from zero to hero. By using the architecture and symbolism of the three aforementioned belief systems, Ocarina of Time signifies these temples as reliquaries—that is, sacred places that house reverential items as part of the apotheosis of the player. Keywords Art history; The Legend of Zelda; sacred space; symbolism; temple. Press Start 2021 | Volume 7 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Hansen The Reliquaries of Hyrule Introduction The video game experiences that I remember and treasure most are the feelings I have within the virtual environments. -
Description of Fences
Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Description of Fences フェンスの説明 / Description des obstacles Fence 1 – The Great Wave off Kanagawa. Hokusai. Author: (Katsushika Hokusai) Original Title: (Kanagawa-oki nami ura) Year: 1829 – 1832 Base/stand: Colour-engraved upon a wooden block. Japanese ukiyo-e master. The Great Wave is the most recognized piece by Japanese painter Katsushika Hokusai, who specializes in ukiyo-e. Published between 1830 and 1833 during the Edo period, it forms part of the collection “Thirty-six views of Mount Fuji”, even though Mount Fuji is the smallest element. The wave references the relentless force of nature, the sea, and the importance this event has in Japan’s economy and its cultural development, given the country is formed by 4 islands. EQUO JUMPTEAM----------FNL-0002RR--_03B 1 Report Created SAT 7 AUG 2021 16 :45 Page 1/7 Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Fence 4 – Mascot of the Tokyo 2020 Olympics Japanese illustrator Ryo Taniguchi. Manga and gamer references are seen, in representation of the Japanese contemporary visual culture and with a character design inspired by the Tokyo 2020 Olympic Games’ Logo. The pair of futuristic characters combine tradition and innovation. The name of the Olympics mascot, Miraitowa, fuses the Japanese words for future and eternity. Someity, the Paralympics mascot, is derived from Somei-yoshino, a type of cherry blossom, cherry blossom variety "Someiyoshino" and is a play on words with the English phrase “So mighty”. -
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). -
Die Riten Des Yoshida Shinto
KAPITEL 5 Die Riten des Yoshida Shinto Das Ritualwesen war das am eifersüchtigsten gehütete Geheimnis des Yoshida Shinto, sein wichtigstes Kapital. Nur Auserwählte durften an Yoshida Riten teilhaben oder gar so weit eingeweiht werden, daß sie selbst in der Lage waren, einen Ritus abzuhalten. Diese zentrale Be- deutung hatten die Riten sicher auch schon für Kanetomos Vorfah- ren. Es ist anzunehmen, daß die Urabe, abgesehen von ihren offizi- ellen priesterlichen Aufgaben, wie sie z.B. in den Engi-shiki festgelegt sind, bereits als ietsukasa bei diversen adeligen Familien private Riten vollzogen, die sie natürlich so weit als möglich geheim halten muß- ten, um ihre priesterliche Monopolstellung halten und erblich weiter- geben zu können. Ein Austausch von geheimen, Glück, Wohlstand oder Schutz vor Krankheiten versprechenden Zeremonien gegen ge- sellschaftliche Anerkennung und materielle Privilegien zwischen den Urabe und der höheren Hofaristokratie fand sicher schon in der späten Heian-Zeit statt, wurde allerdings in der Kamakura Zeit, als das offizielle Hofzeremoniell immer stärker reduziert wurde, für den Bestand der Familie umso notwendiger. Dieser Austausch verlief offenbar über lange Zeit in sehr genau festgelegten Bahnen: Eine Handvoll mächtiger Familien, alle aus dem Stammhaus Fujiwara, dürften die einzigen gewesen sein, die in den Genuß von privaten Urabe-Riten gelangen konnten. Bis weit in die Muromachi-Zeit hin- ein existierte die Spitze der Hofgesellschaft als einziger Orientie- rungspunkt der Priesterfamilie. Mit dem Ōnin-Krieg wurde aber auch diese Grundlage in Frage gestellt, da die Mentoren der Familie selbst zu Bedürftigen wurden. Selbst der große Ichijō Kaneyoshi mußte in dieser Zeit sein Über- leben durch Anbieten seines Wissens und seiner Schriften an mächti- ge Kriegsherren wie z.B. -
Honji Suijaku Faith
Japanese Journal of Religious Studies 16/2-3 Honji Suijaku Faith Susan Tyler The term shinbutsu shugo 神仏習合 is used when speaking of the early rapprochement of S h in to and Buddhism, while honji suijaku 本地垂逆 is most often used to refer to a theory according to which the kami were treated as incarnations of the Buddhist deities. This relationship 01 kami and buddhas is the major characteristic and apparent content of Buddhist/Shinto syncretism and the term konjt suijaku can be used to refer to fully developed syncretism. The impression given by most books about either Shinto or Bud dhism is that they were separate religions with borders that over lapped thanks to the theory of honji suijaku. On the other hand, innocent reading of texts such as Heike monogatari and observation of religious practice and religious places today suggest instead that mingled Shinto and Buddhism has been, and in some instances still is, an important system of belief and practice. Further investigation confirms this perception. Institutional mingling was pervasive enough to occasion widespread destruction when the religions were declared separate; and personal devotion was a complicated and effective par taking of both Shinto and Buddhism. The idea that Shinto can be studied separately from Buddhism, with still separate attention given to honji suijaku, is due not to a study of history, but to an overemphasis on doctrine to define reli gion and to the motives for the strict separation of Shinto and Buddhism, both in fact and in scholarship, from early Meiji until the end of the Second World War.* In reaction, it has recently 1 This is not due just to the attitude of scholars. -
HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon
SPIRITS AND IDENTITY IN NINETEENTH-CENTURY NORTHEASTERN JAPAN: HIRATA KOKUGAKU AND THE TSUGARU DISCIPLES by Gideon Fujiwara A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gideon Fujiwara, 2013 ABSTRACT While previous research on kokugaku , or nativism, has explained how intellectuals imagined the singular community of Japan, this study sheds light on how posthumous disciples of Hirata Atsutane based in Tsugaru juxtaposed two “countries”—their native Tsugaru and Imperial Japan—as they transitioned from early modern to modern society in the nineteenth century. This new perspective recognizes the multiplicity of community in “Japan,” which encompasses the domain, multiple levels of statehood, and “nation,” as uncovered in recent scholarship. My analysis accentuates the shared concerns of Atsutane and the Tsugaru nativists toward spirits and the spiritual realm, ethnographic studies of commoners, identification with the north, and religious thought and worship. I chronicle the formation of this scholarly community through their correspondence with the head academy in Edo (later Tokyo), and identify their autonomous character. Hirao Rosen conducted ethnography of Tsugaru and the “world” through visiting the northern island of Ezo in 1855, and observing Americans, Europeans, and Qing Chinese stationed there. I show how Rosen engaged in self-orientation and utilized Hirata nativist theory to locate Tsugaru within the spiritual landscape of Imperial Japan. Through poetry and prose, leader Tsuruya Ariyo identified Mount Iwaki as a sacred pillar of Tsugaru, and insisted one could experience “enjoyment” from this life and beyond death in the realm of spirits. -
Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-2015 Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon Eric Teixeira Mendes Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Asian History Commons, Buddhist Studies Commons, and the History of Religions of Eastern Origins Commons Recommended Citation Mendes, Eric Teixeira, "Ancient Magic and Modern Accessories: Developments in the Omamori Phenomenon" (2015). Master's Theses. 626. https://scholarworks.wmich.edu/masters_theses/626 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. ANCIENT MAGIC AND MODERN ACCESSORIES: DEVELOPMENTS IN THE OMAMORI PHENOMENON by Eric Teixeira Mendes A thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts Comparative Religion Western Michigan University August 2015 Thesis Committee: Stephen Covell, Ph.D., Chair LouAnn Wurst, Ph.D. Brian C. Wilson, Ph.D. ANCIENT MAGIC AND MODERN ACCESSORIES: DEVELOPMENTS IN THE OMAMORI PHENOMENON Eric Teixeira Mendes, M.A. Western Michigan University, 2015 This thesis offers an examination of modern Japanese amulets, called omamori, distributed by Buddhist temples and Shinto shrines throughout Japan. As amulets, these objects are meant to be carried by a person at all times in which they wish to receive the benefits that an omamori is said to offer. In modern times, in addition to being a religious object, these amulets have become accessories for cell-phones, bags, purses, and automobiles. -
LEGEND Credits Contents
samurai of LEGEND Credits Contents Original Author Introduction 2 Lawrence Whitaker Japan and the Heian Era 4 Developer Darren Pierce Life in Japan 24 Characters 37 Editor Matthew Sprange Equipment of the Samurai 66 Layout Religion and Faith 76 Will Chapman Magic of Japan 90 Interior Illustrations Ways of the Warriors 103 Jesse Mohn, Leonardo Borazio, Nick Egberts, Marco Morte, Nathan Furman Creatures of Japan 113 and Phil Renne Sample file Ki for the Sensei 140 Special Thanks Nicky Wong Glossary 145 Copyright Information Samurai of Legend ©2012 Mongoose Publishing. All rights reserved. Reproduction of non-Open Game Content of this work by any means without the written permission of the publisher is expressly forbidden. Legend is presented under the Open Game Licence. See page 152 for the text of this licence. All text paragraphs and tables containing game mechanics and statistics derivative of Open Game Content and the System Reference Document are considered to be Open Game Content. All other significant characters, names, places, items, art and text herein are copyrighted by Mongoose Publishing. All rights reserved. Printed in USA introduction Ancient Japan has held a long fascination for the west. The formality of the society, steeped in notions of honour and debt almost unheard of in the west; the traditions of the samurai and their code of bushido; the enigmatic ninja and the duality of the Shinto and Buddhist religious philosophies – each contributes to a unique society that is ideal for adventure on many different levels. What Period is the Setting? The most famous feudal period is that of Sengoku (‘warring states’). -
The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees. -
Walking Japan
Walking Japan 11 Days Walking Japan This enchanting journey through Japan combines stunning hiking with timeless tradition. Beginning in the old imperial city of Kyoto and ending in modern Tokyo, our itinerary follows the Nakasendo, a network of ancient trade routes once used to travel from Kyoto to the provincial towns of the Kiso Valley. By way of temples, shrines, and hamlets, you'll take in ethereal landscapes of lush gardens, misty forests and possibly the bloom of cherry blossoms. Along the way, enjoy generous Japanese hospitality in a shukubo (temple lodging) and family-run inns, and the contrasts between old and new in this magical land. Details Testimonials Arrive: Kyoto, Japan "A finely tuned and brilliantly led trip that gives the traveler a great take on Depart: Tokyo, Japan Japanese culture." John W. Duration: 11 Days Group Size: 5-12 Guests "Our three-generation family had a wonderful experience hiking village to Minimum Age: 12 Years Old village on the Nakasendo Trail with MT Sobek." Activity Level: Level 3 Mary and David O. REASON #01 REASON #02 REASON #03 MT Sobek's immersive Walking Our itinerary has been crafted Walking Japan is an MT Sobek Japan itinerary offers you the for personal achievement, classic that we've run for over chance to explore idyllic landscapes allowing you to carry nothing 10 years. It is the perfect way on foot with expert local guides. but a daypack as we transport to get to the heart of Japan. your belongings to each inn. ACTIVITIES LODGING CLIMATE Moderately paced hikes up Enjoy stays in traditional ryokans Spring and fall temperatures to 4-9 miles a day on paved (inns) — many with onsen (hot range from 50°F to the and dirt trails, plus cultural springs) — and comfortable high 70°'s F.