Sado Island Lying Off the Coast of Niigata Is Japan’S Fifth Largest Island—Sado Island

Total Page:16

File Type:pdf, Size:1020Kb

Sado Island Lying Off the Coast of Niigata Is Japan’S Fifth Largest Island—Sado Island 佐渡島 Sado Island Lying off the coast of Niigata is Japan’s fifth largest island—Sado Island. Say the name to Japanese people and most will think of gold. It also played an important role in history as an island of exile; medieval rulers would banish people to the island. These people were often aristocrats and intellectuals and they brought their culture with them, with some interesting results. One such exile was Zeami, a share of cherry blossom beauty founder of the 600-year-old Noh spots and the ancient cherry trees at theatre tradition. It is surprising to Kaichoji Temple are Old Imperial learn that almost a third of all Noh Palace cherry trees planted by the stages in Japan are to be found on retired Emperor Juntoku who was a Sado Island. Unlike on the exiled to Sado after the Jokyu mainland where Noh was first uprising in 1221. Now of a heavily patronised by samurai and later venerable age, the trees still bloom the aristocracy, Noh became a pastime every year in late April (e) and have of the common people on Sado Island. well outlived the goldmines that Today there are some thirty Noh stages made Sado so famous. (competition between village The mines ceased operation in 1989 communities is said to have given rise to having been active for just under the high number) and in summer there four centuries. There is now a gold are many performances of Takigi Noh or mine museum (g) within the largest Noh by firelight (see photos c & d). b abandoned mine complex. In fact, Other performing arts are strong on the silver was also mined here. The island. A local traditional dance Sado Okesa is Sado Island mines were an well known in Japan. The island also has its own important source of income for the puppetry tradition. In the second half of the Tokugawa Shogunate during the twentieth century, the island became famous for Edo period. While the conditions Japanese taiko drumming and is home to the were tough, the industry did bring world-renowned prosperity to the island. Kodo Taiko c Today the mines provide a different Drumming Troupe. kind of treasure. Red clay from the These are living mines are used to create the local traditions as mu-myoi pottery. By Japanese attested by the standards this ceramic tradition is success of the young, having been started in 1819. annual summer Mu-myoi is known for its beautiful festival Earth d natural colours. Rich in iron oxides, Celebration. First the clay fires to become a very hard held in 1988, it continues ceramic and objects gain lustre with use. c and develops the performing arts tradition of Formerly an island of exiles and hard the island. to travel to, nowadays Sado is easily e reached from Niigata city, itself only Being a beautiful island no two hours from Tokyo by shinkansen. f doubt helps attract the From Niigata to the island, there are visitors. The island is several ferries including a high-speed comprised of two mountain link that takes an hour. Once on ranges and has some Sado Island, you might like to try a stunning coast lines. Mass much slower boat-trip and be displays such as the daylilies charmed by the tarai-bune (a), a at Onogame (b) delight traditional tub-like fishing boat. nature lovers. Sado has its Further information Sado Tourism Association—www.visitsado.com—extensive information about things to see and do in Sado. Accommodation, island transport, places to eat and hotsprings are all covered by this well illustrated site. g PHOTO CREDITS: c & g © JTA / © JNTO; all others © JNTO Japanpage REPORTS eight JapanAPRIL REPORTS 2015 Japan REPORTS Japan REPORTS Japan REPORTS Japan REPORTS .
Recommended publications
  • Great Thanksgiving Ceremony
    PROVISIONAL TRANSLATION (December 2018) Only significant errors of English in the translation have been corrected––the content will be checked against the original Japanese for accuracy at a later date. The History of the Great Thanksgiving Ceremony NITTA Hitoshi1 The Daijōsai, or “Great Thanksgiving Ceremony,” originated as a ritual of rice farming, which is the root of Japanese culture, and the Daijōsai is part of the imperial enthronement ritual, which is the core of the structure of the state. Because of that, it is found that while sustaining the essential features of the ritual, the Daijōsai has changed in terms of the way it has been conducted. The history of the Daijōsai can be explained by dividing it into six stages. First, the first stage signifies the period before the Daijōsai was established as a system. During this period, Niinamesai, which became the matrix of the Daijōsai, was practiced, and from the Yayoi period to the reign of Emperor Tenchi. The second stage is the time of establishment and development. In terms of periodization, it is from the end of the Asuka period to the middle of the Heian period, and from the 40th emperor Tenmu to the 60th emperor Daigo. The third stage is the period of transformation from the middle from the Heian period to the middle of the Muromachi period (around the time of Ōnin War). It is from the 61st emperor Suzaku to the 103rd emperor Go-Tsuchimikado. The fourth stage is the period of interrupt from the middle of the Muromachi period (the Warring States period).
    [Show full text]
  • Canada Archives Canada Published Heritage Direction Du Branch Patrimoine De I'edition
    Hiraizumi Kiyoshi (1895-1984): 'Spiritual History' in the Service of the Nation In Twentieth Century Japan By Kiyoshi Ueda A Thesis submitted in conformity with the requirements for the Degree of Doctor of Philosophy, Graduate Department of History, in the University of Toronto © Copyright by Kiyoshi Ueda, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-44743-7 Our file Notre reference ISBN: 978-0-494-44743-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • On Recording Waka Poems on Kaishi Sheets of Paper. the Example of the Shokukokinshū Kyōen Waka Collection
    DOI: 10.24411/2658-6789-2019-10009 On Recording Waka Poems on Kaishi Sheets of Paper. The Example of the Shokukokinshū kyōen waka Collection M.V. TOROPYGINA Abstract. The article analyzes the rules for recording poems on kaishi sheets of paper by poets during or for the poetic events. The main source of the study is the recording of a poetic collection Shokukokinshū kyōen waka (1266) composed of poems read during a banquet in honor of the completion of the work on the imperial anthology Shokukokinshū. The Gunshō Ruijū publication was used as a source for the investigation, as this publication preserves the principles of recording poems on kaishi sheets. The record of Shokukokinshū kyōen waka is analyzed in context of the karon texts of the time – provisions regarding the recording of poems on sheets of kaishi by Fujiwara no Kiyosuke, Juntoku-in, Fujiwara no Teika. Keywords: poetry, karon, Shokukokinshū kyōen waka, imperial anthology, Gunshō Ruijū, Fujiwara no Kiyosuke, Juntoku-in, Fujiwara no Teika. The poetic collection Shokukokinshū kyōen waka (続古今集竟宴和歌 “Japanese songs composed at the banquet in honor of the compilation of the Shokukokinshū”)1 celebrates the compilation of the Shokukokinshū (続古今集 “Continuation of the collection of old and new Japanese songs”) 1 For the study, several publications and manuscript of the monument were used. The main source is the publication in the Gunshō Ruijū. The edition in open acсess at the National Diet Library digital database [Shokukokinshū kyōen waka (c)]; also [Shokukokinshū kyōen waka 1989]. The undated manuscript is published by the Waseda University [Shokukokinshū kyōen waka (a)].
    [Show full text]
  • Political and Ritual Usages of Portraits of Japanese
    POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES by Yuki Morishima B.A., University of Washington, 1996 B.F.A., University of Washington, 1996 M.S., Boston University, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yuki Morishima It was defended on November 13, 2013 and approved by Katheryn Linduff, Professor, Art and Architecture Evelyn Rawski, Professor, History Kirk Savage, Professor, Art and Architecture Dissertation Advisor: Karen Gerhart, Professor, Art and Architecture ii Copyright © by Yuki Morishima 2013 iii POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES Yuki Morishima, PhD University of Pittsburgh, 2013 This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the socio- political context influenced the production of imperial portraits. Prior to Western influence, pre- modern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors.
    [Show full text]
  • Emperor Gotoba Forging a Sword from the Poetry Anthology Ogura Hyakunin Isshu, Circa 1840, Utagawa Kuniyoshi; Courtesy of Library of Congress
    Japan-Insights Exploring Expert Experiences Emperor Gotoba forging a sword from the poetry anthology Ogura Hyakunin Isshu, circa 1840, Utagawa Kuniyoshi; Courtesy of Library of Congress Emperor Gotoba A Swordsmith Emperor in Medieval Japan 2021 Paul Martin, Great Britain Japan-Insights © Japan-Insights Exploring Expert Experiences Emperor Gotoba A Swordsmith Emperor in Medieval Japan Motivation I had an interest in Japan since my childhood from practicing Japanese 2|37 martial arts. I began working at the British Museum in London in 1993. It was at this time that I saw real Japanese swords on display in the Japanese Gallery. I had always thought that they were special, but seeing them in person I was incredibly moved by their beauty. The information panels explained their deep cultural and spiritual significance to Japan. Rather than a revelation, this experience was like a confirmation of something I had felt for a long time. In 1998, after a series of serendipitous events, I attained a position in the Department of Japanese Antiquities. There, under the guidance of the head of department, Victor Harris, I was given responsibility for the day to day care of the Japanese arms and armor collections. My appointment also involved trips to Japan to courier the department’s objects back and forth. Whenever an opportunity arose, I would take some of my annual leave to extend these trips in Japan, where, with the help of my Japanese colleagues, I was able to study many fine Japanese swords in major col- lections and shrines, and to meet various craftsmen. When reading sword books, it is very rare to find one that does not mention the story of Emperor Gotoba and the Gobankaji.
    [Show full text]
  • Encyclopedia of Shinto Chronological Supplement
    Encyclopedia of Shinto Chronological Supplement 『神道事典』巻末年表、英語版 Institute for Japanese Culture and Classics Kokugakuin University 2016 Preface This book is a translation of the chronology that appended Shinto jiten, which was compiled and edited by the Institute for Japanese Culture and Classics, Kokugakuin University. That volume was first published in 1994, with a revised compact edition published in 1999. The main text of Shinto jiten is translated into English and publicly available in its entirety at the Kokugakuin University website as "The Encyclopedia of Shinto" (EOS). This English edition of the chronology is based on the one that appeared in the revised version of the Jiten. It is already available online, but it is also being published in book form in hopes of facilitating its use. The original Japanese-language chronology was produced by Inoue Nobutaka and Namiki Kazuko. The English translation was prepared by Carl Freire, with assistance from Kobori Keiko. Translation and publication of the chronology was carried out as part of the "Digital Museum Operation and Development for Educational Purposes" project of the Institute for Japanese Culture and Classics, Organization for the Advancement of Research and Development, Kokugakuin University. I hope it helps to advance the pursuit of Shinto research throughout the world. Inoue Nobutaka Project Director January 2016 ***** Translated from the Japanese original Shinto jiten, shukusatsuban. (General Editor: Inoue Nobutaka; Tokyo: Kōbundō, 1999) English Version Copyright (c) 2016 Institute for Japanese Culture and Classics, Kokugakuin University. All rights reserved. Published by the Institute for Japanese Culture and Classics, Kokugakuin University, 4-10-28 Higashi, Shibuya-ku, Tokyo, Japan.
    [Show full text]
  • The Conquest of Mappo Jien and Kitabatake Chikafusa
    Japanese Journal of Religious Studies 12/4 THE CONQUEST OF MAPPO JIEN AND KITABATAKE CHIKAFUSA Michele M A R R A In an earlier article on Semi-Recluses during the thirteenth and fourteenth centuries in Japan, I described the escapist approach to the problem of mappo and exemplified it by Kamo no Ciiomei 鴨長明(1153-1216) and other authors of the literature of seclusion ( 隠者の文学 i*/iga no bungaku) (Marra 1984). But escapism was not the only answer provided to the problem of mappo, the last, degenerate age of the Buddhist Doctrine. The escapist answer came from those who were at a distance from the center of aristocratic power, now in its declining stage. By contrast, those closely connected to the Imperial House did their best to delay as much as possible the process of the fall of the nobility. They tried to preserve the status quo or even, when they were able, to improve conditions. They struggled to find a way out of the pessimism surrounding their age, thus overcoming the fear caused by the consciousness of living at the end of the Buddhist Doctrine. This paper will deal with two representatives of this tendency, the historians Jien 慈円(1155-1225) and Kitabatake Chikafusa 北 畠親房(1293-1354),and will try to analyze their common attempt to find practical solutions to the degeneration of their age and their different approaches to the problem. The present analysis confirms the conclusions of my previous paper dealing with Kamo no Chomei and Urabe Kenko, i.e. the shifting of values towards a practical, worldly approach shown by people of the Muromachi period in judging history (Kenko and Chikafusa) away from the religious, magical stand of the Kamakura intelligentsia (Chomei and Jien).
    [Show full text]
  • Ex-Emperor Go-Toba's Secret Teachings
    "Ex-Emperor Go-Toba’s Secret Teachings": Go-Toba no in Gokuden Robert H. Brower Harvard JournalofAsiatic Studies, Vol. 32. (1972), pp. 5-70. Stable URL: http:/links.jstor.org/sici ?sici=0073-0548%28 1972%2932%3C5G3A%22GSTGN&3E2.0.CO%3B2-E Harvard Journal ofAsiatic Studies is currently published by Harvard-Yenching Institute. Your use of the ISTORarchive indicates your acceptance of ISTOR’s Terms and Conditions of Use,available at http://www.jstor.org/about/terms.html. ISTOR’s Terms and Conditions of Use provides,in part, that unless you have obtained prior permission, you may not downloadanentire issue of a journal or multiple copies of articles, and you may use content in the ISTORarchive only for your personal, non-commercialuse. Please contact the publisher regarding any furtheruse of this work. Publishercontact information may be obtained at http://wwwjstor.org/journals/hyi.html. Each copy of any part of a JSTORtransmission must contain the same copyright notice that appears on the screen or printed page of such transmission. ISTORis an independentnot-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding ISTOR,please contact [email protected]. http://www.jstor.org/ Wed May17 12:26:51 2006 “EX-EMPEROR GO-TOBA’S SECRET TEACHINGS”: GO-TOBA NO IN GOKUDEN Translated, with an introduction and notes by ROBERT H. BROWER Tue University or MICHIGAN I. [INTRODUCTION [' the poetic achievements ofthe late twelfth and early thirteenth centuries in Japan are identified largely with the esthetic ideals and literary accomplishments of the Mikohidari @-FZe house— Fujiwara Shunzei BEJRPERK (1114-1204) and his son Teika HR (1162-1241) and their adherents—theageis no less surely dominated by thetalents, tastes, and vivid personality of the imperial patron par excellence, Ex-Emperor Go-Toba BE (1180-1299; r.
    [Show full text]
  • The Poet and the Politician
    The Poet and the Politician Teika and the Compilation of the Shinchokusenshit Ivo SMITS NUMBER Of scholars cherish the belief that the medieval Japanese poet Fujiwara no Teika g/R2X (1162-1241) soughtto keepart andpolitics separated. This notion has its source in whatis probably the best known statement in Chinese written by Teika, a passage in his diary that reads, “The crimson bannersraised for subjugation of the rebels are none of my concern.”! The undated passageis attached to an entry for the 9th month ofthe 4th year of Jish6 747% (1180), at the outset of the Genpei War, which wasto change forever the political landscape of Japan. The red banners refer to the Taira troops ready to fight the Minamoto. This well-known line is not, however, what it seems. First of all, it is not by Teika, but the famous Chinese poet Bo Juyi BH/&% (772-846).? Secondly, THE AUTHORis a research fellow with the Royal Netherlands Academy of Arts and Sciences (KNAW)at the Center for Japanese and Korean Studies of Leiden University. He wishes to thank Associate Professor Kanechiku Nobuyuki #¢32{81T of Waseda University, Dr. Peter Kornicki of the University of Cambridge, Professor H. Mack Horton of the University of California, Berkeley, and Professor W. J. Boot of Leiden University, as well as the two anonymousreadersforthis jour- nal, for their incisive comments. Research for this paper was supported by a Nissan Fellowship from the Netherlands Organization for Scientific Research (NWO). | Koki seijia wagakoto ni arazu #LREFRIER#. Meigetsu ki, vol. 1, p. 6. In the following, when no source is mentioned, the details are taken from Meigetsu ki 44 A at (Record of a Clear Moon), the diary Teika kept throughout mostofhis life.
    [Show full text]
  • (1155-1225) and the Construction of Buddhist Orthodoxy
    The Restoration of Peace Through the Pacification of Vengeful Spirits: Jien (1155-1225) and the Construction of Buddhist Orthodoxy The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Swanson, Eric Haruki. 2019. The Restoration of Peace Through the Pacification of Vengeful Spirits: Jien (1155-1225) and the Construction of Buddhist Orthodoxy. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029681 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Restoration of Peace Through the Pacification of Vengeful Spirits: Jien (1155-1225) and the Construction of Buddhist Orthodoxy A dissertation presented by Eric Haruki Swanson to The Department of East Asian Languages and Civilizations In partial fulfillment of the requirements For the degree of Doctor of Philosophy In the subject of East Asian Religion Harvard University Cambridge, Massachusetts April 2019 © 2019 Eric Haruki Swanson All rights reserved. Dissertation Advisor: Ryuichi Abé Eric Haruki Swanson The Restoration of Peace Through the Pacification of Vengeful Spirits: Jien (1155-1225) and the Construction of Buddhist Orthodoxy Abstract Previous research on Tendai monk Jien (1155-1225) has often presented him as an exemplary literary figure of pre-modern Japan, and he is known most for authoring A Fool’s Exegesis on Historical Events (Gukansh! ) and hence a prolific composer of Japanese poetry (waka ).
    [Show full text]
  • Inscribing Grief and Salvation: Embodiment and Medieval Reuse and Recycling in Buddhist Palimpsests
    PUBLISHED BY THE MUSEUM RIETBERG ZURICH Reprint from VOL. LXXIX, No. 1 2019 EDITORS AMY McNAIR, Editor-in-Chief, University of Kansas FRONIA W. SIMPSON, Copy Editor, Bennington, VT, USA EDITORIAL BOARD MILO C. BEACH, Former Director Freer and Sackler Gallery, Washington, DC EBERHARD FISCHER, Museum Rietberg Zurich B. N. G OSWA M Y, Panjab University, Chandigarh GREGORY LEVINE, University of California, Berkeley JESSICA RAWSON, Merton College, Oxford ADELE SCHLOMBS, Museum für Ostasiatische Kunst, Cologne RODERICK WHITFIELD, University of London JOANNA WILLIAMS, University of California, Berkeley PUBLISHERS EBERHARD FISCHER, Museum Rietberg Zurich JORRIT BRITSCHGI, Museum Rietberg Zurich PRODUCTION Layout and Production CLAUDIA ROSSI, Winterthur, Switzerland Lithographs THOMAS HUMM, Humm DTP, Matzingen, Switzerland Printing WERK ZWEI Print + Medien Konstanz GmbH, Konstanz, Germany © ARTIBUS ASIAE and the authors, 2019 ISSN 0004-3648 HALLE O’NEAL INSCRIBING GRIEF AND SALVATION: EMBODIMENT AND MEDIEVAL REUSE AND RECYCLING IN BUDDHIST PALIMPSESTS eath opens a chasm between loved ones that compels action to stave off the rawness of grief. By Doccupying mind and body with memorial practices and objects, mourners come to grips with the fundamental rupture that ushers in a new, frayed reality after loss. In channeling sorrow, the departed can be remembered, honored, and at least temporarily saved from oblivion. Death is the great unifier, and religions confront it in distinctive ways. Medieval Japanese Buddhism offered a host of rituals de- signed around death, and this article explores manuscripts resulting from a particularly poignant prac- tice known as the copying of letter sutras (shōsokukyō).1 These manuscripts are the material consequence of a specific subset of transcription in which family and friends wrote Buddhist scriptures on paper containing handwriting from a deceased loved one.
    [Show full text]
  • A Pair of Parables
    chapter 1 Interlude: A Pair of Parables “In the reign of a certain emperor, it matters not when,” His Majesty arose from his slumbers in the Pure Cool Pavilion (Seiryōden) and stepped out onto the verandah running under the eaves at the east side of the building.1 As the im- perial gaze swept north along the verandah his eyes rested first on the Pond- of-Brilliance Screens (Konmei-chi no sōji, Fig. 1). The south face of the screen allowed the emperor to gaze across the seas and back a millennium or more, to look upon the Pond of Brilliance built at the command of the Chinese emperor Wudi of the Han dynasty (r. 140–86 BCE) on the outskirts of his capital city of Chang’an. Looking beyond the Pond-of-Brilliance Screens, he took in the Wild-Sea Screen (Ara-umi no sōji, Fig. 2), at the north end of the verandah, a painted screen that blocked the north end of the corridor from intrusive eyes. The Wild-Sea Screen presented to the emperor’s eyes yet another strange, but long-familiar vista of fantastic creatures on a rocky, storm-tossed shore.2 1 “In the reign …” (izure no o’on-toki ni ka) is, of course, the opening phrase of the Tale of Genji. 2 Some authorities read 障子 here as shōji; I follow Sei Shōnagon (late 10th c.), who writes it phonetically as sōji さうし. (Ikeda [1963, 43–44]) For placement of the Wild-Sea Screen, the Pond-of-Brilliance Screen in the Pure Cool Pavilion, and the bamboo plantings in the court- yard, Ōtsu (2001, 317); for the palace compound, ibid., p.
    [Show full text]