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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 Decline of Buddhism in India
The Decline of Buddhism in India It is almost impossible to provide a continuous account of the near disappearance of Buddhism from the plains of India. This is primarily so because of the dearth of archaeological material and the stunning silence of the indigenous literature on this subject. Interestingly, the subject itself has remained one of the most neglected topics in the history of India. In this book apart from the history of the decline of Buddhism in India, various issues relating to this decline have been critically examined. Following this methodology, an attempt has been made at a region-wise survey of the decline in Sind, Kashmir, northwestern India, central India, the Deccan, western India, Bengal, Orissa, and Assam, followed by a detailed analysis of the different hypotheses that propose to explain this decline. This is followed by author’s proposed model of decline of Buddhism in India. K.T.S. Sarao is currently Professor and Head of the Department of Buddhist Studies at the University of Delhi. He holds doctoral degrees from the universities of Delhi and Cambridge and an honorary doctorate from the P.S.R. Buddhist University, Phnom Penh. The Decline of Buddhism in India A Fresh Perspective K.T.S. Sarao Munshiram Manoharlal Publishers Pvt. Ltd. ISBN 978-81-215-1241-1 First published 2012 © 2012, Sarao, K.T.S. All rights reserved including those of translation into other languages. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publisher. -
Through the Case of Izumo Taishakyo Mission of Hawaii
The Japanese and Okinawan American Communities and Shintoism in Hawaii: Through the Case of Izumo Taishakyo Mission of Hawaii A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʽI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AMERICAN STUDIES MAY 2012 By Sawako Kinjo Thesis Committee: Dennis M. Ogawa, Chairperson Katsunori Yamazato Akemi Kikumura Yano Keywords: Japanese American Community, Shintoism in Hawaii, Izumo Taishayo Mission of Hawaii To My Parents, Sonoe and Yoshihiro Kinjo, and My Family in Okinawa and in Hawaii Acknowledgement First and foremost, I would like to express my deep and sincere gratitude to my committee chair, Professor Dennis M. Ogawa, whose guidance, patience, motivation, enthusiasm, and immense knowledge have provided a good basis for the present thesis. I also attribute the completion of my master’s thesis to his encouragement and understanding and without his thoughtful support, this thesis would not have been accomplished or written. I also wish to express my warm and cordial thanks to my committee members, Professor Katsunori Yamazato, an affiliate faculty from the University of the Ryukyus, and Dr. Akemi Kikumura Yano, an affiliate faculty and President and Chief Executive Officer (CEO) of the Japanese American National Museum, for their encouragement, helpful reference, and insightful comments and questions. My sincere thanks also goes to the interviewees, Richard T. Miyao, Robert Nakasone, Vince A. Morikawa, Daniel Chinen, Joseph Peters, and Jikai Yamazato, for kindly offering me opportunities to interview with them. It is a pleasure to thank those who made this thesis possible. -
Meguro Walking Map
Meguro Walking Map Meguro Walking Map Primary print number No. 31-30 Published February 2, 2020 December 6, 2019 Published by Meguro City Edited by Health Promotion Section, Health Promotion Department; Sports Promotion Section, Culture and Sports Department, Meguro City 2-19-15 Kamimeguro, Meguro City, Tokyo Phone 03-3715-1111 Cooperation provided by Meguro Walking Association Produced by Chuo Geomatics Co., Ltd. Meguro City Total Area Course Map Contents Walking Course 7 Meguro Walking Courses Meguro Walking Course Higashi-Kitazawa Sta. Total Area Course Map C2 Walking 7 Meguro Walking Courses P2 Course 1: Meguro-dori Ave. Ikenoue Sta. Ke Walk dazzling Meguro-dori Ave. P3 io Inok Map ashira Line Komaba-todaimae Sta. Course 2: Komaba/Aobadai area Shinsen Sta. Walk the ties between Meguro and Fuji P7 0 100 500 1,000m Awas hima-dori St. 3 Course 3: Kakinokizaka/Higashigaoka area Kyuyamate-dori Ave. Walk the 1964 Tokyo Olympics P11 2 Komaba/Aobadai area Walk the ties between Meguro and Fuji Shibuya City Tamagawa-dori Ave. Course 4: Himon-ya/Meguro-honcho area Ikejiri-ohashi Sta. Meguro/Shimomeguro area Walk among the history and greenery of Himon-ya P15 5 Walk among Edo period townscape Daikan-yama Sta. Course 5: Meguro/Shimomeguro area Tokyu Den-en-toshi Line Walk among Edo period townscape P19 Ebisu Sta. kyo Me e To tro Hibiya Lin Course 6: Yakumo/Midorigaoka area Naka-meguro Sta. J R Walk a green road born from a culvert P23 Y Yutenji/Chuo-cho area a m 7 Yamate-dori Ave. a Walk Yutenji and the vestiges of the old horse track n o Course 7: Yutenji/Chuo-cho area t e L Meguro City Office i Walk Yutenji and the vestiges of the old horse track n P27 e / S 2 a i k Minato e y Kakinokizaka/Higashigaoka area o in City Small efforts, L Yutenji Sta. -
Shaping Darkness in Hyakki Yagyō Emaki
Asian Studies III (XIX), 1 (2015), pp.9–27 Shaping Darkness in hyakki yagyō emaki Raluca NICOLAE* Abstract In Japanese culture, the yōkai, the numinous creatures inhabiting the other world and, sometimes, the boundary between our world and the other, are obvious manifestations of the feeling of fear, “translated” into text and image. Among the numerous emaki in which the yōkai appear, there is a specific type, called hyakki yagyō (the night parade of one hundred demons), where all sorts and sizes of monsters flock together to enjoy themselves at night, but, in the end, are scattered away by the first beams of light or by the mysterious darani no hi, the fire produced by a powerful magical invocation, used in the Buddhist sect Shingon. The nexus of this emakimono is their great number, hyakki, (one hundred demons being a generic term which encompasses a large variety of yōkai and oni) as well as the night––the very time when darkness becomes flesh and blood and starts marching on the streets. Keywords: yōkai, night, parade, painted scrolls, fear Izvleček Yōkai (prikazni, demoni) so v japonski kulturi nadnaravna bitja, ki naseljuje drug svet in včasih tudi mejo med našim in drugim svetom ter so očitno manifestacija občutka strahu “prevedena” v besedila in podobe. Med številnimi slikami na zvitkih (emaki), kjer se prikazni pojavljajo, obstaja poseben tip, ki se imenuje hyakki yagyō (nočna parade stotih demonov), kjer se zberejo pošasti različne vrste in velikosti, da bi uživali v noči, vendar jih na koncu preženejo prvi žarki svetlobe ali skrivnosten darani no hi, ogenj, ki se pojavi z močnim magičnim zaklinjanje in se uporablja pri budistični sekti Shingon. -
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. -
Macdonald 4310.Pdf
Macdonald, Alastair Ewan (2016) Reimagining the vernacular story : textual roles, didacticism, and entertainment in Erpai. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/23804 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. Reimagining the Vernacular Story: Textual Roles, Didacticism, and Entertainment in Erpai Alastair Ewan Macdonald 548934 Thesis submitted for the degree of PhD 2016 Department of China and Inner Asia SOAS, University of London 1 Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
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. -
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. -
Amaterasu - Wikipedia, the Free Encyclopedia
אמאטרסו أماتيراسو آماتراسو Amaterasu - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Amaterasu Amaterasu From Wikipedia, the free encyclopedia Amaterasu (天照 ), Amaterasu- ōmikami (天照大 神/天照大御神 ) or Ōhirume-no-muchi-no-kami (大日孁貴神 ) is a part of the Japanese myth cycle and also a major deity of the Shinto religion. She is the goddess of the sun, but also of the universe. The name Amaterasu derived from Amateru meaning "shining in heaven." The meaning of her whole name, Amaterasu- ōmikami, is "the great august kami (god) who shines in the heaven". [N 1] Based on the mythological stories in Kojiki and Nihon Shoki , The Sun goddess emerging out of a cave, bringing sunlight the Emperors of Japan are considered to be direct back to the universe descendants of Amaterasu. Look up amaterasu in Wiktionary, the free Contents dictionary. 1 History 2 Worship 3 In popular culture 4 See also 5 Notes 6 References History The oldest tales of Amaterasu come from the ca. 680 AD Kojiki and ca. 720 AD Nihon Shoki , the oldest records of Japanese history. In Japanese mythology, Amaterasu, the goddess of the sun, is the sister of Susanoo, the god of storms and the sea, and of Tsukuyomi, the god of the moon. It was written that Amaterasu had painted the landscape with her siblings to create ancient Japan. All three were born from Izanagi, when he was purifying himself after entering Yomi, the underworld, after failing to save Izanami. Amaterasu was born when Izanagi washed out his left eye, Tsukuyomi was born from the washing of the right eye, and Susanoo from the washing of the nose.