Martial Arts, Yoga and Their Religions
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Old Japan Redux 3
Old Japan Redux 3 Edited by X. Jie YANG February 2017 The cover painting is a section from 弱竹物語, National Diet Library. Old Japan Redux 3 Edited by X. Jie YANG, February 2017 Content Poem and Stories The Origins of Japan ……………………………………………… April Grace Petrascu 2 Journal of an Unnamed Samurai ………………………………… Myles Kristalovich 5 Holdout at Yoshino ……………………………………………………… Zachary Adrian 8 Memoirs of Ieyasu ……………………………………………………………… Selena Yu 12 Sword Tales ………………………………………………………………… Adam Cohen 15 Comics Creation of Japan …………………………………………………………… Karla Montilla 19 Yoshitsune & Benkei ………………………………………………………… Alicia Phan 34 The Story of Ashikaga Couple, others …………………… Qianhua Chen, Rui Yan 44 This is a collection of poem, stories and manga comics from the final reports submitted to Japanese Civilization, fall 2016. Please enjoy the young creativity and imagination! P a g e | 2 The Origins of Japan The Mythical History April Grace Petrascu At the beginning Izanagi and Izanami descended The universe was chaos Upon these islands The heavens and earth And began to wander them Just existed side by side Separately, the first time Like a yolk inside an egg When they met again, When heaven rose up Izanami called to him: The kami began to form “How lovely to see Four pairs of beings A man such as yourself here!” After two of genesis The first-time speech was ever used. Creating the shape of earth The male god, upset Izanagi, male That the first use of the tongue Izanami, the female Was used carelessly, Kami divided He once again circled the land By their gender, the only In an attempt to cool down Kami pair to be split so Once they met again, Both of these two gods Izanagi called to her: Emerged from heaven wanting “How lovely to see To build their own thing A woman like yourself here!” Upon the surface of earth The first time their love was matched. -
The Shôkyû Version of the Kitano Tenjin Engi Emaki: a Brief Introduction to Its Content and Function
Eras Edition 11, November 2009 – http://www.arts.monash.edu.au/publications/eras The Shôkyû version of the Kitano Tenjin engi emaki: A brief introduction to its content and function Sara L. Sumpter (University of Pittsburgh) Abstract: This article examines the political and social atmosphere surrounding the production of the thirteenth-century hand scroll Kitano Tenjin engi emaki (Illustrated Legends of the Kitano Shrine), which depicts the life, death and posthumous revenge of the ninth-century courtier Sugawara no Michizane. The article combines an analysis of the content and religious iconography of the scroll, a study of early Japanese beliefs in angry spirits of the dead, and a narration of the actual life of Michizane in an attempt to produce a sketch of the rituals and superstitions of Heian and early Kamakura period Japanese society, and to suggest possible functions of the hand scroll that complement them. The hand scroll sets collectively known as the Kitano Tenjin engi emaki (Illustrated Legends of the Kitano Shrine) each tell the story of the life and death of the ninth- century courtier and poet, Sugawara no Michizane (845–903), and of the posthumous revenge undertaken by his vengeful spirit (onryô). According to the scrolls, Michizane was falsely accused of treason by rivals at the Heian court who were jealous of his astronomical rise to power. He was exiled to Dazaifu on the island of Kyushu in 901 and died there two years later in despair. His spirit persisted in seeking retribution against his enemies and in reclaiming his position and honours. He is said to have stalked his numerous rivals in the form of the thunder god (raijin) before ultimately revealing to a frightened court, through a series of intermediaries, the means of his pacification: deification and worship at the Kitano Shrine in Kyoto.1 Today the Kitano Tenjin engi emaki (hereafter referred to as the Tenjin scrolls) number more than thirty extant examples, ranging in date from the early thirteenth century to the nineteenth century. -
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. -
The Origins of Japanese Culture Uncovered Using DNA ―What Happens When We Cut Into the World of the Kojiki Myths Using the Latest Science
The Origins of Japanese Culture Uncovered Using DNA ―What happens when we cut into the world of the Kojiki myths using the latest science Miura Sukeyuki – Professor, Rissho University & Shinoda Kenichi – Director, Department of Anthropology, Japanese National Museum of Nature and Science MIURA Sukeyuki: The Kojiki (Records of Ancient Matters) has one distinguishing feature in the fact it includes a mixture of both Southern and Northern style myths. This is proof that Japanese culture was originally not only one culture, but rather came into existence while being influenced by its various surroundings; but when it comes to trying to seek out the origins of that culture, as we would expect, there are limits to how far we can get using only an arts and humanities-based approach. That’s where your (Professor Shinoda’s) area of expertise— molecular anthropology—comes in and corroborates things scientifically for us. Miura Sukeyuki , Professor, Rissho By analyzing the DNA remaining in ancient human skeletal remains, University your research closing in on the origins of the Japanese people is beginning to unravel when the Jomon and Yayoi peoples and so on came to the Japanese archipelago, where they came from, and the course of their movements, isn’t it? In recent times we’ve come to look forward to the possibility that, by watching the latest developments in scientific research, we may be able to newly uncover the origins of Japanese culture. SHINODA Kenichi: Speaking of the Kojiki , during my time as a student my mentor examined the bones of O-no-Yasumaro, who is regarded as being the person who compiled and edited it. -
The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible. -
Lake Suwa Mystery and Inspired the World-Renowned Avant-Garde Artist Taro Okamoto
142 Ueda, Saku Manji no sekibutsuSekibutsu Dokuzawa Kōsen (2km) (lit. Buddhist stone statue of Manji) A stone statue of Kiotoshizaka Slope (2.4km) Amitabha Buddha made in the Manji era (1658-1661). Discover Shimosuwa Yashima Wetland (18km) Minute The artist is said to be the same as the torii gate of Suigetsu Park Walking Map ( ) = transit time Harumiya. It's distinct facial feature is still largely a Enjoy the view of Lake Suwa mystery and inspired the world-renowned avant-garde artist Taro Okamoto. Jiun-ji Temple Dokuzawa Kōsen Ukishima-sha shrine A temple protected was known as Stone Monument of Taro Okamoto by the warlord Visit Suwa Grand Shrines (lit. shrine on the floating island) Tenkei no Matsu “Shingen’s secret Shingen Takeda. 99min The shrine on a sandbar that never sink, (lit. Tenkei's pine tree) hot spring”, where Sankaku Batchō one of the seven mysteries of Shimosuwa. A Pine tree planted by injured soldiers A standard course full of the town's historic sights. Sankaku Batchō is the the 16th century Zen bathed to heal Hot Springs monk Tenkei. their wounds. SHIMOSUWA triangle formed by Akimiya, Harumiya and Ōtōrō with the side length 872.72m. The baths of Shimosuwa’s quaint ryokan and Akimiya (15 min) → Fushimiya-tei (10 min) → Harumiya / Manji no Sekibutsu its many enjoyable public bathhouses are Enjoy the atmosphere walking around the ancient seat of the shrines of Suwa Taisha! (9 min) → Gebabashi / Ōtōrō (15min) → Sagara-zuka (25 min) → Akimiya (20min) Ochadokoro sourced from local natural hot springs! Hanamusubi Suwa-taishaSuwa Taisha Stone Stairway Welcoming merchants, travellers and visitors to the shrines of Suwa Taisha, Shimosuwa lourished in the Edo period Café Mind Soothing Harumiya 126 steps as the only post town with hot spring in Nakasendo, a highway which connects Edo (Tokyo) and Kyoto. -
Nagano SUWA Visitors Guide Tourism Section of the Economic Department of Suwa City 1-22-30 Takashima, Suwa City, Nagano Pref
Cover: Suwa Takashima Castle, View of Suwa Lake from Tateishi Park 2019. 9. 600 Nagano SUWA Visitors Guide Tourism Section of the Economic Department of Suwa City 1-22-30 Takashima, Suwa City, Nagano Pref. TEL +81-266-52-4141 FAX +81-266-58-1844 http://www.city.suwa.lg.jp/ Suwa Tourist Association 1-1-18 Suwa, Suwa City, Nagano Pref. (inside JR Kamisuwa station) TEL +81-266-52-2111 FAX +81-266-53-4126 https://www.suwakanko.jp/en/ Suwa Tourist Information 1-1-18 Suwa, Suwa City, Nagano Pref. (inside JR Kamisuwa station) SUWA TEL +81-266-58-0120 FAX +81-266-53-4126 Suwa Lake Hot-spring Hotel Association 1-1662 Kamigawa, Suwa City, Nagano Pref. TEL +81-266-52-7155 FAX +81-266-58-9613 http://www.suwako-onsen.com/en/ ■Transportation 《Highway express buses》 Chuo Highway Express Bus Reservation Center …………… TEL +81-266-75-0017 Keio Telephone Reservation Center ……………………… TEL +81-3-5376-2222 Osaka Reservation Center ………………………………… TEL +81-6-6866-3147 《Taxies》 Suwa Kotsu …………………………………………………… TEL +81-266-52-1190 Daiichi Kotsu …………………………………………………… TEL +81-266-52-5151 ALPICO Taxi, Suwa …………………………………………… TEL +81-266-54-0181 《Fixed-route buses》 ALPICO Kotsu, Suwa Branch Office, Chino Service Office … TEL +81-266-72-7141 Karinchan bus (City round bus) ……………………… TEL +81-266-72-7141(ALPICO Kotsu, Suwa Branch Office) Swan bus (Lake Suwa round bus) ……………………… TEL +81-266-72-7141(ALPICO Kotsu, Suwa Branch Office) Suwa Lake Fireworks Festival Transportation Guide Map Kamisuwa Onsen open-air hot spring Quince Flower JAPAN Nagano Suwa Pref. City Dusk approaching Suwa Lake Kirigamine Heights in early summer The place where you can play with the waves, play with the wind, and relax in a hot spring. -
Japanese Folk Tale
The Yanagita Kunio Guide to the Japanese Folk Tale Copublished with Asian Folklore Studies YANAGITA KUNIO (1875 -1962) The Yanagita Kunio Guide to the Japanese Folk Tale Translated and Edited by FANNY HAGIN MAYER INDIANA UNIVERSITY PRESS Bloomington This volume is a translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai. Tokyo: Nihon Hoso Shuppan Kyokai, 1948. This book has been produced from camera-ready copy provided by ASIAN FOLKLORE STUDIES, Nanzan University, Nagoya, japan. © All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Nihon mukashibanashi meii. English. The Yanagita Kunio guide to the japanese folk tale. "Translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai." T.p. verso. "This book has been produced from camera-ready copy provided by Asian Folklore Studies, Nanzan University, Nagoya,japan."-T.p. verso. Bibliography: p. Includes index. 1. Tales-japan-History and criticism. I. Yanagita, Kunio, 1875-1962. II. Mayer, Fanny Hagin, 1899- III. Nihon Hoso Kyokai. IV. Title. GR340.N52213 1986 398.2'0952 85-45291 ISBN 0-253-36812-X 2 3 4 5 90 89 88 87 86 Contents Preface vii Translator's Notes xiv Acknowledgements xvii About Folk Tales by Yanagita Kunio xix PART ONE Folk Tales in Complete Form Chapter 1. -
Panthéon Japonais
Liste des divinités et des héros des légendes et de la mythologie japonaises Divinité Kami (m) Kami (f) Esprit Bouddhisme Monstre Animal Humain Acala Déité bouddhique du mikkyo, maître immuable associé au feu et à la colère; il est l'un des cinq rois du savoir. Agyo-zo Dans le bouddhisme japonais, Agyo-zo et Ungyo-zo se tiennent à la porte des édifices pour les protéger. Aizen myo-o Déité du bouddhisme japonais qui purifie les hommes des désirs terrestres et les libère de l'illusion. Il est représenté en rouge vif (passion), avec trois yeux, six bras et un air irritée, Il tient à la main un arc et des flèches ou un crochet. Ajisukitakahikone ou Aji-Shiki ou Kamo no Omikami Kami de l'agriculture, de la foudre et des serpents. Il créa la montagne Moyama dans la province de Mino en piétinant une maison de deuil parce qu'on l'avait pris pour le défunt. Akashagarbha Un des treize bouddhas de l’école tantrique japonaise Shingon Ama no Fuchigoma Cheval mythique de Susanoo qui est décrit dans le Nihon-Shoki . Ama no Kagaseo Autre nom de Amatsu Mikaboshi le kami du mal Ame no Tajikarao Kami des exercices physiques et de la force brutale qui dégagea l'entrée de la grotte où Amatersu s'était réfugiée. Amakuni Forgeron légendaire qui forgea le tachi, l'épée courbe ancêtre de Takana. Ama no Zako Monstrueuse kami née des vomissures de Susanoo Amaterasu Kami du soleil et reine des Hautes Plaines Célestes Amatsu mikaboshi Kami du mal Ame no Oshido Mimi Fils d'Amaterasu qui refusa d'aller gouverner la terre qu'il trouvait trop pleine de cMhaos. -
History Behind the Art of Karate
HISTORY BEHIND OUR ARTS by Akihiro Omi "It is doubtful whether the Japanese people and the country as a whole can really be understood or appreciated by anyone without a degree of knowledge of their martial culture." (Donn F. Draeger, Classical Bujutsu. New York: Weatherhill, Inc., 1973) INTRODUCTION Both Kendo (the Way of the Sword) and Karate-do (the Way of Empty-hands) are deeply rooted in a rich tradition of Japanese warrior culture. To understand the tradition and the philosophies that our sports and arts represent, we must first visit the origin of budo, Japanese martial arts, and trace the path on which it was formed. 1. The Birth of Japan The land around the current Japanese islands was formed about 70 million years ago. According to archaeologists, humans lived on the land as early as 2.5 million years ago. During the last ice age (50,000 to 10,000 years ago), a massive movement of the earth separated the land from the Eurasian Continent, and the Japanese islands were formed. This geographical isolation from the continent provided the Japanese with protection and the opportunity to develop their own unique culture. From 10,000 B.C through 300 B.C., the prehistoric peoples of Japan followed a hunting and gathering way of life. Collective farming began around 300 B.C., triggering the development of irrigation systems and iron-edged tools which increased harvests, in turn stimulating a massive population explosion. As social hierarchies and political structures developed, competition and warfare between villages intensified. Bronze and iron weapons were initially obtained from the continent, but soon the Japanese were making their own weapons such as swords, pikes, and spears. -
Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender
Myths of Hakko Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan Item Type text; Electronic Dissertation Authors Teshima, Taeko Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 21:55:25 Link to Item http://hdl.handle.net/10150/194943 MYTHS OF HAKKŌ ICHIU: NATIONALISM, LIMINALITY, AND GENDER IN OFFICIAL CEREMONIES OF MODERN JAPAN by Taeko Teshima ______________________ Copyright © Taeko Teshima 2006 A Dissertation Submitted to the Faculty of the GRADUATE PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For a Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Taeko Teshima entitled Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _________________________________________________Date: 6/06/06 Barbara A. Babcock _________________________________________________Date: 6/06/06 Philip Gabriel _________________________________________________Date: 6/06/06 Susan Hardy Aiken Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. -
Fall Open 2019 Written by Itamar Naveh-Benjamin, Jason Golfinos, Aseem Keyal, Jonathen Settle, Kenji Shimizu, Klaus Llwynog, Jack Mehr, Samir Khan, and Nick Collins
Fall Open 2019 Written by Itamar Naveh-Benjamin, Jason Golfinos, Aseem Keyal, Jonathen Settle, Kenji Shimizu, Klaus Llwynog, Jack Mehr, Samir Khan, and Nick Collins Tossups 1. In a play set in this city, a woman uses a machine gun hidden within a “haunted” concertina to mow down a pair of shirtless Belgians covered in blood. It’s not London, but a one-legged Congolese pygmy locked in a mahogany box ghost-writes the stories of a fraudulent author living in this city in Martin McDonagh’s 2018 play A Very Very Very Dark Matter. In another play set in this city, a man compares decision-making to skiing, in that you can swerve right, swerve left, or think about it and die. To avoid speaking in a house (*) bugged with listening devices, a pair of characters in this city embark on a stroll. This city is compared to an atom and its resident Margarethe (“MAR-guh-ret-tuh”) to a nucleus in a play that explores why the German inventor of the uncertainty principle visited it in the midst of World War II. For 10 points, identify this title city of a Michael Frayn play centered on a meeting between Werner Heisenberg and native son Niels Bohr. ANSWER: Copenhagen, Denmark <INB, Drama> 2. Studies by John O. Voll track the creation of scholarly “linking groups” formed through this action. A stock Sufi miracle involves saints doing this action unfeasibly quickly with the magical ability ṭayy al-ʾarḍ (“TYE al-ARD”). A surah named for this action opens by warning that on the Day of Judgment, “every nursing woman will forget what she nurses and every pregnant woman will deliver her load.” The very odd word “labbayk” is repeated in a prayer for this action called the talbīyyah (“tal-BEE-yah”).