Handbook of Japanese Mythology
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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 -
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. -
University of Nevada, Reno American Shinto Community of Practice
University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice. -
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. -
Chapter One Introduction
CHAPTER ONE INTRODUCTION 1.1.Background of Study Japan has so many traditions of folklore that had inherited for generation whether in story form or in tradition form. With some creativity and existing technology that they had, some Japanese filmmaker has succeeded by making some Japanese folklore into more interesting form and well known by people whether inside Japan or outside Japan. According to Kitayama “Folklore is a stories shared by folk people from the past and these stories are similar to myths, except that they are related more to human matters than to supernatural beings” (Kitayama 2005: 85) By this quotation the writer argue that folklore is cultural product which is produced by people in the past and it is contained of myth and usually, the society will connect the folklore to supernatural even more to human matters. As emphasized by Lindahl, Although many people regard a “folktale” as a fictional form, I use the term here to apply to any traditional tale, whether its tellers consider it true, or false, or both. Thus, the scope of the tale extends far beyond fiction to encompass belief tales, personal experience stories, and accounts of major historical events (Lindahl, 2004: 200). Based on the quotation above, the writer argues that folklore acknowledges the practice of labeling narratives based on the element of belief, he also realizes the inherent story within each and the tendency of storytellers to use a little fiction and a little nonfiction in crafting their stories. Lindahl uses this terminology to put the focus on the storytellers themselves and help the reader to recognize the relationship between tale and teller. -
Amaterasu-Ōmikami (天照大御神), in His Quest to Slay the Eight-Headed Serpent Demon Yamata-No-Orochi (八岐大蛇) in Izumo Province (出雲国)
Northeast Asian Shamanism 神道, 신도, 御嶽信仰, 神教, & ᡝᡝᡝᡝ ‘Lady’ Minami “Danni” Kurosaki (黒崎美波、お巫女様) ⛩ My Personal History & Involvement The Kurosaki Clan (黒崎の一族) ● Our earliest ancestor was directly involved with assisting the warrior god Susanō-no-Mikoto (須佐之 男命), the disgraced brother of sun goddess Amaterasu-Ōmikami (天照大御神), in his quest to slay the eight-headed serpent demon Yamata-no-Orochi (八岐大蛇) in Izumo Province (出雲国) ● Since then, the Kurosaki clan has been one of a few influential families in the history of Shintoism throughout Ancient and Feudal Japan ● We are a part of the Ten Sacred Treasures (十種の神宝) of Japanese history; our treasure that was offered to Susanō is the Dragon-repelling Shawl (大蛇ノ比礼) Inheritance of Kannushi/Miko-ship ● Because of our family’s status in traditional Japan after that event, heirship and training is passed down through the branches of the family on who will be the next Danshi kannushi (男子神主, Male Priest), Joshi kannushi (女子神主, Female Priestess), Miko (巫女, Female Shaman/Shrine Maiden) or Danfu (男巫, Male Shaman/Shrine Valet) in that generational line ● Not all kannushi and miko come from a long family line - anyone can be a part of the Shintō clergy granted they apply and go through proper training! ● I belong to a branch of the family, and as the oldest child in my generational line, I am next to succeed the title of (matriarch/patriarch) for my immediate family ● The current matriarch of our entire the clan is Miu Kurosaki, and the current matriarch of my direct immediate family is Hikaru Kurosaki (Luz -
Communion with the Goddess Series
Fellowship of Isis Homepage Archive http://www.fellowshipofisis.com Communion with the Goddess Idols, Images and Symbols of the Goddesses: China and Japan By: Lawrence Durdin-Robertson Lawrence Durdin-Robertson 1979 First published: 1979 2nd Impression: 1991 (Note: Formatting has been retained from the original. For personal use only and not to be reprinted or sold online or in any other format. Copyright is held by the heirs of Lawrence-Durdin Robertson and all rights are reserved.) ____________________________________________________________________________________ COMMUNION WITH THE GODDESS THE MANUAL OF THE FELLOWSHIP OF ISIS IDOLS, IMAGES AND SYMBOLS OF THE GODDESSES: CHINA AND JAPAN by Rev. Lawrence Durdin-Robertson, M.A. (Dublin), Baron Strathloch Priest of Isis Cesara Publications Huntington Castle, Clonegal, Enniscorthy, Eire. Printed by DOFAS, 58 Haddington Road, Dublin 4. Anno Deae Cesarae, Hiberniae Dominae, MMMMCCCXXXVIII ` CONTENTS SECTION: PAGE: I. China 1 II. Japan and Korea 22 ` SECTION I - CHINA THE APSARASES. (Watson) in “The Genius of China: An Exhibition of archaeological finds of the People’s Republic of China, London, 1974” : “243. Stele of white marble representing the Buddha Sakya-muni seated under sala tree…excavated 1959 at Lin-chang, Hopei... Heavenly goddesses, apsarases, hold a garland of flowers over the Blessed One…” Eight apsarases are shown, each in the form of a flying nymph with a pair of wings and her wing-like legs bent behind her. Each is naked except for a dhoti and holds with both hands a length of the garland which stretches like an arch over Buddha Sakyamuni’s head. AUNT PIETY. (Gdss. Ind.) “The form of Aunt Piety is said to be normally that of a vixen.. -
Japanese Myths and Rituals
97 Association of the Sun and the Rice in Japanese Myths and Rituals Atsuhiko Yoshida Key words:myth, ritual, Shinto, Amaterasu, Izanagi, Mikuratananokami, Susanowo, Ukemochi, Tsukiyomi, Okuninushi, Hononinigi, Amenouzume, Toyouke, Tent6, Daij6sai, Ise, A Izumo, Takachiho, Tsushim3. Summary:The Sun-goddess Amaterasu, being the supreme deity of Shintδ, is closely associated also with the rice crop throughout the mythology as well as in her cult celebrated at the Inner and Outer Shrines of Ise. She even obviously shows some of the characteristic traits common to the rice deities of the East Asian rice cultivators. A similar tendency to connect a solar deity with the rice is found also in folk beliefs and lores all around Japan;one of the conspicuous examples being the Tent6 festival of the island of Tstlshima, in which a straw bag containing grains of a special kind of holy red rice is most solemnly reverenced as an incarnation of a solar deity. The most prominent figure of Japanese mythology is the resplendent Sun-goddess Amatera- su(Glorious-Shiner-of-Heaven). She is claimed to be the divine ancestress of the Imperial Family and to rule universe sovereignly and magnanimously from her realm, the Plain of High Heaven(Takamagahara), where eight millions of celestial deities submit themselves willingly to her command. According to one version of the myth, she is one of the three last born and noblest children of her divine father, Izanagi. This god was sent down in primor・ dial times from Heaven with his sister, the goddess Izanami, who became -
Transactions of the Asiatic Society of Japan, 1
I/ TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN, 1 -- VOL. XXXVI : PART3. -- CONTENTS: I THE FOX AND BADGER IN JAPANESE FOLKLORE, 1 YOKOIIAMA,SHANCIIAI, IIONGKONC, SHINCAMRE : KELLY & WAISII,1.'~) 'I'UKYO: 2. P. MAKUYACo., L'I). i Lon;uo~:KEGAN I'AUI, TKUEUNEK& CU. L'u. I 1.r11zlc: 01-ro IIn~n~ssuwrrz. i 7 1908. - - - .-. PRINTEDAT Tar YuKura YHINTINUCU., LT~..No. nl. YAUAYIIITA-CHO.YOKOHAMA, JAPAN. THE FOX AND BADGER IN JAPANESE FOLKLORE, Dr. M. W.de VISSER. THE FOX AND THE BADGER IN JAPANESE FOLKLORE. 6 From olden titnes down to tKe present day the fox has played the most important part in Japanese animal-lore. This clever brute is considered to be more skillful than any other ai~imalin taking human shape and haunting and possessing men. Moreover, the fox is the messenger of Inari, the Rice goddess, which, as we shall see below, is only a later expression of the fact that Inari, the Spirit of the Rice, was believed to have a vulpine shape. It is clear that this belief gave the fox a double character in the eyes of the Japanese people: that of a beneficent god, representing the Rice, the greatest blessing of the country, and, on the other hnnd, that of a wicked demon, haunting and possessing men. Not so important and complicated is the badger, of whose three kinds, the arnl~ki(@-I, mr~/i'~za(a) and 7tznrtzr (m,the first is the principal in folklore and is very orten combined with the fox in the term Lori (a@), or " foxes and badgers."' I. -
SHINTO Professor Russell Kirkland Department of Religion University of Georgia
SHINTO Professor Russell Kirkland Department of Religion University of Georgia Shint_ - "the way of the kami (spirits)": to some degree a religious tradition, to some degree just the traditions and sentiments of the Japanese people. First named in the 6th century, when Buddhism first arrived from Korea and China. Never organized. No fundamental teachings or required practices. Subjected to government control in Meiji period (1868); de-established by U.S. fiat after World War II. Important elements: 1. intimacy with the land (partly aesthetic naturalism, partly nationalism) 2. spirits (kami): not highly anthropomorphic; they embody purity, not authority 3. "shrines" (jinja): sites for communion with kami; many have torii (symbolic sacred gates) 4. rituals, for purity and harmony 5. myths, recorded mainly in the 8th-century "mytho-histories" (the Nihongi and the Kojiki) 6. sporadic links with the imperial government (cf. Kitabatake Chikafusa's Jinn_ sh_t_ki) Kami: 1. "The word kami signifies the deities of heaven and earth that appear in the ancient records, and also the spirits of the shrines where they are worshipped. In ancient usage, anything that was outside the ordinary, possessed superior power, or was awe-inspiring was called kami. Eminence here does not refer merely to the superiority of nobility, goodness, or meritorious deeds: evil and mysterious things, if they are extraordinary and dreadful, are also called kami." — Motoori Norinaga (1730-1801) 2. "...kami is fundamentally a term that distinguishes between a world of superior beings and things which are thought of as filled with mysterious power, and a world of common experiences that lie within the control of ordinary human technique." — D. -
Japanese Pantheon
JAPANESE PANTHEON The Japanese gods and goddesses are called "kami". Kami means "highly placed being". The Japanese give the rank of kami to natural items such as mountains, rivers, ancient trees, and certain stones, as well as to animals and great human beings. Kami have human-type bodies and human qualities and defects. Like humans, kami are driven by feelings such as love, hatred, and jealousy. However, even though kami have these human qualities, they are very powerful and have control over nature. There are heavenly and earthly kami: the heavenly kami are somehow superior to their earthly counterparts. However, those who live in heaven do not know what is happening on earth and in the nether world. In order to know about the conditions in these places, they have to send messengers. Some of the most important kami are listed below: AJI-SUKI-TAKA-HI-KONE was one of several thunder gods. He was born noisy and grew up even noisier, and so they had to carry him up and down a ladder to quiet him. That is why you can hear him coming and going. AMA-NO-UZUME was the fertility goddess. AMATERASU was the sun goddess, ruler of the heavens. AMATSU MIKABOSHI was the god of evil. BENZAITEN was the goddess of love, and one of the gods of happiness. Benzaiten rides a dragon while playing a stringed instrument. BISHAMON was the god of both happiness and war. Bishamon protects men from disease and demons. Bishamon was often portrayed wearing a wheel of fire like a halo, which some see as the Wheel of Fate. -
Salvation of the Snake, the Snake of Salvation : Buddhist-Shinto Conflict and Resolution
Salvation of the Snake, The Snake of Salvation : Buddhist-Shinto Conflict and Resolution W. Michael K e lse y INTRODUCTION Buddhism and ohinto have had a remarkably harmonious coex istence over the past fourteen centuries. This is most probably due to two factors: on the one hand, Shinto lacked a formal struc ture from which to organize resistance, and on the other, Buddhism had always assimilated the traditions native to the countries it entered. Even so, it is not realistic to maintain that the first period of contact between these two religions was completely free of strife. Indeed, one senses a sometimes violent conflict lurking beneath the surface of certain Japanese Buddhist stories. This conflict which accompanied Buddhism’s entry to the gates of the Japanese spirit also provided the basis for the Buddhist- Shinto syncretization that was to prove so remarkable in later years; what was first a minus was later to become a plus. This essay will examine Buddhist-Shinto relationships as seen in a single cluster of stories, namely, those having to do with snakes. In brief, my thesis is that we can find in these stories first conflict between Buddhism and Shinto, and then, as the relationships be tween the two settle down, a creative Buddhist use of those ancient Shinto aeities that appeared as reptiles. The malevolent reptilian deity existed in Japan before the in troduction of Buddhism, and it is initially regarded by the Bud dhists, as well as by other Japanese, as being an evil creature. As Buddhism took a deeper hold on the Japanese consciousness, how ever, the image of the violent snake—which never completely died out—came to be supplemented by that of a snake of salvation.