DOCSLIB.ORG

Mfg E Kotee Embodiment of H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mfg E Kotee Embodiment of H 1/5 MfG_E_kotee_embodiment_of_his_wish １．Kote-E reliefs in the Kina-Saffran-liqueur buildings (１) Allocation (２) Interpretation ２．An insightful view of the Japanese naturalist, Prof.Aramata. MfG_E_kotee_embodiment_of_his_wish Index 2 １．Kote-E reliefs in the Kina-Saffran-liqueur buildings There are several Kote-E reliefs (hereinafter called "Kote-E") buildings within Japan, and usually they are decorated with one or two Kote-Es in each building. Therefore it is said that the buildings with Kote-E s here are distinguished not only maintaining its beauty but also displaying a lot of Kote-Es in each buildng. For these reasons, I think it is important to consider a reason why such a lot of Kote-Es are created an what is a thought of president at that time. My hypothetical interpretation is that they are an embodiment of his wish that first, his family would continue forever and second, success in business would continue forever. Details are as follows: (１) Allocation of guardeans ( Considering orientations in Kote-E reliefs on the walls of the Kina-Saffran-liqueur buildings ) Meaning of the produced reliefs 1) Northern face of the building Animals of Chinese zodiac and relating plants in the reliefs contains a lot of meaning. For example, in the northern face of the second floor, ox and autumn leaves are drawn. It is said ox means convesion in which some one ends and new one starts. It is said that the same meaning exists in autumn leaves. The other relief, Mouse, is thought as a symbol of descendants prosperity. I think refocus of the business by the new construction and praying the family fortunes rise are including in these reliefs. 2) Eastern face of the building Animals drawn on the Eastern face of outer walls are thought to mean the guardians to north, south, east and west orientations. And they are also thought as fortunate animals eternally. I think protection the newly constructed office from fire and praying for MfG_E_kotee_embodiment_of_his_wish allocation 3 permanent prosperity of business are including in these reliefs. I had noticed a tigre in the northern face don't have stripes, trademark of usual tiger. It was the beginning of finding my new interpretation. (２) Interpretation I interpret that it must be "white tiger", guardians of the west orientation in Chinese ancient mythology., and it has shifted to north wall. They are the Azure Dragon of the East, the Vermilion Bird of the South, the White Tiger of the West, and the Black Turtle of the North. Each of them represents a direction and a season, and each has its own individual characteristics and origins. Symbolically and as part of spiritual and religious belief, they have been culturally important in China, Korea, Vietnam, and Japan. These mythological creatures are thought that the Azure Dragon of the East represents Wood, the Vermilion Bird of the South represents Fire, the White Tiger of the West represents Metal, and the Black Turtle of the North represents Water. In this system, the fifth principle Earth is represented by the Yellow Dragon of the Center, also symbols of emperors of the Chinese dynasties. I interpret two Chinese dragons drawn in the space under the eaves and sacred beasts drawn on decorated windows in the first and second floor-locations as follows. In the order corresponding to east, west, south and north, the Azure Dragon, the White Tiger, the Vermilion Bird and the Black Turtle should be allocated in the guardians in each orientation. The face of this decorating these animals is directed to the east. So animal of the east may be the most imporant, inevitable one. Therefore, let white tiger shift to the north wall, and instead of the white MfG_E_kotee_embodiment_of_his_wish allocation 4 tiger of the west, Kirin, legendary Chinese animal with a single horn, a deer like body, horse like hoofs, and an ox like tail, and is regarded as same rank with the Yellow Dragon, is allocated. In the space under the eaves, meaning high sky, Azure dragon is allocated. On decorated windows in the second floor, meaning sky, the two Vermilion Birds, and on decorated windows in the fiast floor, meaning earth, allocating Kirin running wide planes and the Black Turtle in water surface, are allocated respectively. It can be interpreted as the most exquisite arrangement, dragons are allocated as a center. MfG_E_kotee_embodiment_of_his_wish (The Four Symbols = four mythological creatures) They are the Azure Dragon of the East, the White Tiger of the West, the Vermilion Bird of the South,and the Black Turtle of the North. Each one of them represents a direction and a season, and each has its own individual characteristics and origins. Symbolically and as part of spiritual and religious belief, they have been culturally important in China, Korea, Vietnam, and Japan. (The Four Sacred Beasts of China) The Sacred Beasts are comparable to the Greek Titans in that they are above the Gods of their domain. Unlike the titans, however, the beasts co-exist with the gods and are their ruling body. Many of the gods' decisions are made by the beasts and it is known that no Chinese god has ever turned against a sacred beast. MfG_E_kotee_embodiment_of_his_wish allocation 5/5 ２．An insightful view of the Japanese naturalist, Prof.Aramata. H.Aramata,"Aramata Art magazine",Shin-Syosha(2010) More than 20 years ago, Prof. Aramata, Professor of Tamagawa University, well-known naturalist) had insighted the meaning of TheFour Sacred Beasts of China and Chinese zodiac drawn on the warehouse walls of Kina-Saffron- Shu brewery Prof. Aramata recognized them as an embodiment of the founder's wish that first, the family would continue forever (descendants prosperity) and second, success in business would continue forever (business prosperity) . I think one of the important ideas the founder, Yoshizawa Nitarou, had is to fulfil all the buildings and the garden by symbols of inviting good lucks and talismans against evil. The typical symbols in the Kina-saffron-Shu Brewery are Chinese dragons and I-no-me. Both are considered as guardian deity or talismans against evil. You can find several Chinese dragons on the walls of buidings, Byou-bu, and Ramma in the buildings including the reception house. In particuilar, the Chinese dragons are guardien for Buddhism. You can find a lot of I-no-me pattern inside the receptio house, decorating all the corners of window-glass. I-no-me pattern is one of the oldest patterns in Japan, eyes-pattern of wild-pig. It is thought as behaving as talismans against evil. Aramata Hiroshi (1947- ) Japanese naturalist, Novelist. Visiting Professor, Tamagawa University Professor, Musashino Art University MfG_E_kotee_embodiment_of_his_wish insightful view of Aramata.
Load more

Recommended publications
  • The Web That Has No Weaver
    THE WEB THAT HAS NO WEAVER Understanding Chinese Medicine “The Web That Has No Weaver opens the great door of understanding to the profoundness of Chinese medicine.” —People’s Daily, Beijing, China “The Web That Has No Weaver with its manifold merits … is a successful introduction to Chinese medicine. We recommend it to our colleagues in China.” —Chinese Journal of Integrated Traditional and Chinese Medicine, Beijing, China “Ted Kaptchuk’s book [has] something for practically everyone . Kaptchuk, himself an extraordinary combination of elements, is a thinker whose writing is more accessible than that of Joseph Needham or Manfred Porkert with no less scholarship. There is more here to think about, chew over, ponder or reflect upon than you are liable to find elsewhere. This may sound like a rave review: it is.” —Journal of Traditional Acupuncture “The Web That Has No Weaver is an encyclopedia of how to tell from the Eastern perspective ‘what is wrong.’” —Larry Dossey, author of Space, Time, and Medicine “Valuable as a compendium of traditional Chinese medical doctrine.” —Joseph Needham, author of Science and Civilization in China “The only approximation for authenticity is The Barefoot Doctor’s Manual, and this will take readers much further.” —The Kirkus Reviews “Kaptchuk has become a lyricist for the art of healing. And the more he tells us about traditional Chinese medicine, the more clearly we see the link between philosophy, art, and the physician’s craft.” —Houston Chronicle “Ted Kaptchuk’s book was inspirational in the development of my acupuncture practice and gave me a deep understanding of traditional Chinese medicine.
    [Show full text]
  • Conservation of Ancient Sites on the Silk Road
    PROCEEDINGS International Mogao Grottes Conference at Dunhuang on the Conservation of Conservation October of Grotto Sites 1993Mogao Grottes Ancient Sites at Dunhuang on the Silk Road October 1993 The Getty Conservation Institute Conservation of Ancient Sites on the Silk Road Proceedings of an International Conference on the Conservation of Grotto Sites Conference organized by the Getty Conservation Institute, the Dunhuang Academy, and the Chinese National Institute of Cultural Property Mogao Grottoes, Dunhuang The People’s Republic of China 3–8 October 1993 Edited by Neville Agnew THE GETTY CONSERVATION INSTITUTE LOS ANGELES Cover: Four bodhisattvas (late style), Cave 328, Mogao grottoes at Dunhuang. Courtesy of the Dunhuang Academy. Photograph by Lois Conner. Dinah Berland, Managing Editor Po-Ming Lin, Kwo-Ling Chyi, and Charles Ridley, Translators of Chinese Texts Anita Keys, Production Coordinator Jeffrey Cohen, Series Designer Hespenheide Design, Book Designer Arizona Lithographers, Printer Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 © 1997 The J. Paul Getty Trust All rights reserved The Getty Conservation Institute, an operating program of the J. Paul Getty Trust, works internation- ally to further the appreciation and preservation of the world’s cultural heritage for the enrichment and use of present and future generations. The listing of product names and suppliers in this book is provided for information purposes only and is not intended as an endorsement by the Getty Conservation Institute. Library of Congress Cataloging-in-Publication Data Conservation of ancient sites on the Silk Road : proceedings of an international conference on the conservation of grotto sites / edited by Neville Agnew p.
    [Show full text]
  • Zombies in Western Culture: a Twenty-First Century Crisis
    JOHN VERVAEKE, CHRISTOPHER MASTROPIETRO AND FILIP MISCEVIC Zombies in Western Culture A Twenty-First Century Crisis To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/602 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Zombies in Western Culture A Twenty-First Century Crisis John Vervaeke, Christopher Mastropietro, and Filip Miscevic https://www.openbookpublishers.com © 2017 John Vervaeke, Christopher Mastropietro and Filip Miscevic. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: John Vervaeke, Christopher Mastropietro and Filip Miscevic, Zombies in Western Culture: A Twenty-First Century Crisis. Cambridge, UK: Open Book Publishers, 2017, http://dx.doi. org/10.11647/OBP.0113 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/602#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.
    [Show full text]
  • SYMBOLS Te Holy Apostles & Evangelists Peter
    SYMBOLS Te Holy Apostles & Evangelists Peter Te most common symbol for St. Peter is that of two keys crossed and pointing up. Tey recall Peter’s confession and Jesus’ statement regarding the Office of the Keys in Matthew, chapter 16. A rooster is also sometimes used, recalling Peter’s denial of his Lord. Another popular symbol is that of an inverted cross. Peter is said to have been crucifed in Rome, requesting to be crucifed upside down because he did not consider himself worthy to die in the same position as that of his Lord. James the Greater Tree scallop shells are used for St. James, with two above and one below. Another shows a scallop shell with a vertical sword, signifying his death at the hands of Herod, as recorded in Acts 12:2. Tradition states that his remains were carried from Jerusalem to northern Spain were he was buried in the city of Santiago de Compostela, the capital of Galicia. As one of the most desired pilgrimages for Christians since medieval times together with Jerusalem and Rome, scallop shells are often associated with James as they are often found on the shores in Galicia. For this reason the scallop shell has been a symbol of pilgrimage. John When shown as an apostle, rather than one of the four evangelists, St. John’s symbol shows a chalice and a serpent coming out from it. Early historians and writers state that an attempt was made to poison him, but he was spared before being sent to Patmos. A vertical sword and snake are also used in some churches.
    [Show full text]
  • Transformation of Capital City in Tang and Song China, Ca. 700-1100
    From Closed Capital to Open Metropolis: Transformation of Capital City in Tang and Song China, ca. 700-1100 Hang Lin [email protected] Abstract. Chang’an of the Tang dynasty (630-907) and Kaifeng of the Song dynasty (960- 1127) represents two major stages in the development of the capital city in premodern China. In contrast to Chang’an, a semi-autonomous walled “urban village” separated by wide expanse of transitory space, Kaifeng was a dense city criss-crossed by ad hoc commercial streets filled with a variety of urban activities during days and nights. Indeed, during this period, a number of significant changes took place, which helped to erode the Tang urban structure and to give birth to a new, one in which the closed walled city transformed into an open market city. Based primarily on textual and material evidence, this paper outlines the characteristics of the layout and structure of the two cities and examines various aspects of the daily life in both cities. This comparative analysis sheds light on the unique pattern of transformation of cities in medieval China. Keywords: Chinese capital city, city transformation, Chang’an, Kaifeng, Tang dynasty, Song dynasty. Introduction Historians of premodern Chinese urbanism have long assumed that the origins of the Chinese imperial city plan stem from a passage in the Kaogong ji (Record of Artificers) section of the classical text Zhouli (Rituals of Zhou), which describes the city of the King of Zhou (Fig. 1): ‘When the artificer build the capital, [the city should be] a square of nine li on each side, with three gates on each side.
    [Show full text]
  • Bian Que's Viewpoint on Medicine and the Preventative Treatment of Diseases
    Northeast Asia Traditional Chinese Medicine Communication and Development Base of traditional medicine in Northeast Asia, conduct academic seminars and collaborative innovation, and form annual report on development of traditional medicine in Northeast Asia. 2. Special Belt & Road scholarships for Northeast Asia: are ready to provide yearly funding support such as full & partial scholarships and grants for overseas TCM talents with medical background. 3. Exhibitions on traditional medicine in Northeast Asia: to held exhibitions on traditional medicine of northeast Asian countries, health-care foods, welfare In November 2016, the Northeast Asia Traditional equipments and service trade negotiations, and promote Chinese Medicine Communication and Development multilateral p roject cooperation. Base was established in Changchun University of Chinese Medicine being approved by the State 4. The forum on Traditional Medicine in Northeast Administration of Traditional Chinese Medicine of Asia (Planning): to invite principals of traditional China. This foundation will serve as an important medicine departments from northeast Asian or platform for the spread of TCM in northeast China. relevant countries to make keynote speeches, and distinguished specialists and experts to participate in Distinct Regional Advantages Historically, this conference discussion. area is the core of the Northern Silk Road that extends to Russia, Japan, Mongolia, Republic of Korea and 5. One journal and one bulletin: to issue restrictedly Democratic People’s Republic of Korean. The city of Northeast Asia Traditional Chinese Medicine (quarterly) Changchun aims to be a regional center in Northeast and Bulletin on Traditional Chinese Medicine Asia. The China-Northeast Asia Expo in Changchun Information in Northeast Asia (monthly). serves as an important window to open to the north.
    [Show full text]
  • Lunar Mansions in the Early Han (C
    Cosmologies of Change The Inscapes of the Classic of Change Stephen Karcher Ph.D. 1 2 Sections Cosmologies of Change Yellow Dragon Palace Azure Dragon Palace Vermillion Bird Palace Black Turtle Palace The Matrix of Change 3 Cosmologies of Change The tradition or Way of the Classic of Change is like a great stream of symbols flowing back and forth through the present moment to connect the wisdom of ancient times with whatever the future may be. It is a language that everything speaks; through it everything is always talking to everything else. Things are always vanishing and coming into being, a continual process of creation that becomes knowable or readable at the intersection points embodied in the symbols of this language. These symbols or images of Change open a sacred cosmos that has acted as a place of close encounter with the spirit world for countless generations. Without this sort of contact our world shrinks and fades away, leaving us in a deaf and dumb wasteland, forever outside of things. 31:32 Conjoining and Persevering displays the process through which spirit enters and influences the human world, offering omens that, when given an enduring form, help the heart endure on the voyage of life. This cosmos has the shape of the Numinous Turtle, swimming in the endless seas of the Way or Dao. Heaven is above, Earth and the Ghost River are below, the Sun Tree lies to the East, the Moon Tree is in the far West. The space between, spread to the Four Directions, is the world we live in, full of shrines and temples where we talk with the ghosts and spirits, hidden winds, elemental powers and dream animals.
    [Show full text]
  • Ancient Chinese Constellations Junjun Xu Beijing University of Aeronautics and Astronautics Room 424, Apartment 20, No
    The Role of Astronomy in Society and Culture Proceedings IAU Symposium No. 260, 2009 c International Astronomical Union 2011 D. Valls-Gabaud & A. Boksenberg, eds. doi:10.1017/S174392131100319X Ancient Chinese constellations Junjun Xu Beijing University of Aeronautics and Astronautics Room 424, Apartment 20, No. 37 Xueyuan Street, Beijing, China email: [email protected] Abstract. China, a country with a long history and a specific culture, has also a long and specific astronomy. Ancient Chinese astronomers observed the stars, named and distributed them into constellations in a very specific way, which is quite different from the current one. Around the Zodiac, stars are divided into four big regions corresponding with the four orientations, and each is related to a totem, either the Azure Dragon, the Vermilion Bird, the White Tiger or the Murky Warrior. We present a general pattern of the ancient Chinese constellations, including the four totems, their stars and their names. Keywords. China, constellations, mansions 1. Introduction Three enclosures, four symbols and twenty-eight mansions characterise the ancient Chinese constellations. This division of the starry sky began to appear in China before the Zhou and Qin dynasties. The three enclosures refer to three areas around the North celestial pole: the Purple Forbidden enclosure, the Supreme Palace enclosure and the Heavenly Market enclosure. The four symbols are distributed near the ecliptic Zodiac and the lunar orbit and are represented by four totems: the Azure Dragon of the East, the Vermillion Bird of the South, the White Tiger of the West and the Black Tortoise of the North. Every symbol was divided into seven sections which were know as mansions.
    [Show full text]
  • CHAPTER 1665 This Sound Penetration Is Extremely Strong. All
    CHAPTER 1665 This sound penetration is extremely strong. All over every corner of Li’s ancestral home. Everyone was shocked by this huge sound, and they all came outside the house of Li Jiazu. “hiss!” Seeing the scene before him, everyone gasped. Because outside the Li family’s ancestral home, there are densely packed soldiers… Can’t see the head at a glance. Looking at the flying flags, everyone recognized that this was the one hundred thousand Iron Brigade. Next to him are Ray’s Shura Army and Fan Shengnan’s Great Wall Army. Azure Dragon, Qilin, White Tiger… Heavenly Tribulation and Eighteen Horses; Dragoon Ghost army Heavenly Army, Earth Army, Xuanzi Army, Yellow Army; … Familiar faces. A hot-blooded man. Once they followed the God of War battlefield to kill the enemy. But the times have changed, after the era of warriors. These modern armies have all been abandoned, and few people can remember them anymore. They almost disappeared from public view. These are all undefeated teams! But now the national crisis is at stake. They stood up again. Even in the face of powerful warriors, they resolutely wanted to fight. Everyone has the same idea-to shed blood and sacrifice for Erudia! Shocked! Everyone in Jiangbei was shocked by the army in front of them! “Three hundred thousand troops, please go out of the mountain to protect Erudia and repel foreign enemies!” The 300,000 army knelt down to the ground and shouted together. Today’s main forces are all warriors, especially those who take the lead are the powerhouses of the supreme fourth and fifth heavens.
    [Show full text]
  • The Symbol of the Dragon and the Tiger in Chinese and Japanese Art
    THE RULERS OF SKY AND EARTH THE SYMBOL OF THE DRAGON AND THE TIGER IN CHINESE AND JAPANESE ART Grade Level This lesson is written for grades 9-12; it can be used in a World History or an Art class. Purpose To look at how symbols of power, the dragon and the tiger, are portrayed in the art of China and Japan; students will then compare and contrast this with the Western conception and portrayal of the dragon. Concepts In the Western world, dragons are portrayed as evil, fire-breathing creatures that must be subdued and killed by heroes. The Western dragon is seen as essentially negative, a symbol of evil and a sign of the devil. In Asia, the dragon is a positive force, a symbol of peace and harmony. Chinese and Japanese dragons are considered to be benevolent and auspicious. They breathe water rather than fire and have the power to bring rain, an important attribute in an agricultural society. The Chinese dragon is a supernatural, mythical creature that inhabits the sky and the waters and is connected with clouds, rains, and fertility on one hand and the emperor and his venerated ancestors on the other. For the last 4,000 years, the dragon has intertwined itself into all phases of China's social and political life as well as every form of art and literature. The dragon is the most important symbol of power, and the symbol of the emperor; no other animal has occupied such an important place in the thought and art of the Chinese people.
    [Show full text]
  • The Symbol of the Dragon and Ways to Shape Cultural Identities in Institute Working Vietnam and Japan Paper Series
    2015 - HARVARD-YENCHING THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE CULTURAL IDENTITIES IN INSTITUTE WORKING VIETNAM AND JAPAN PAPER SERIES Nguyen Ngoc Tho | University of Social Sciences and Humanities, Vietnam National University – Ho Chi Minh City THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE 1 CULTURAL IDENTITIES IN VIETNAM AND JAPAN Nguyen Ngoc Tho University of Social Sciences and Humanities Vietnam National University – Ho Chi Minh City Abstract Vietnam, a member of the ASEAN community, and Japan have been sharing Han- Chinese cultural ideology (Confucianism, Mahayana Buddhism etc.) and pre-modern history; therefore, a great number of common values could be found among the diverse differences. As a paddy-rice agricultural state of Southeast Asia, Vietnam has localized Confucianism and absorbed it into Southeast Asian culture. Therefore, Vietnamese Confucianism has been decentralized and horizontalized after being introduced and accepted. Beside the local uniqueness of Shintoism, Japan has shared Confucianism, the Indian-originated Mahayana Buddhism and other East Asian philosophies; therefore, both Confucian and Buddhist philosophies should be wisely laid as a common channel for cultural exchange between Japan and Vietnam. This semiotic research aims to investigate and generalize the symbol of dragons in Vietnam and Japan, looking at their Confucian and Buddhist absorption and separate impacts in each culture, from which the common and different values through the symbolic significances of the dragons are obviously generalized. The comparative study of Vietnamese and Japanese dragons can be enlarged as a study of East Asian dragons and the Southeast Asian legendary naga snake/dragon in a broader sense. The current and future political, economic and cultural exchanges between Japan and Vietnam could be sped up by applying a starting point at these commonalities.
    [Show full text]
  • Daily Life for the Common People of China, 1850 to 1950
    Daily Life for the Common People of China, 1850 to 1950 Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access China Studies published for the institute for chinese studies, university of oxford Edited by Micah Muscolino (University of Oxford) volume 39 The titles published in this series are listed at brill.com/chs Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access Daily Life for the Common People of China, 1850 to 1950 Understanding Chaoben Culture By Ronald Suleski leiden | boston Ronald Suleski - 978-90-04-36103-4 Downloaded from Brill.com04/05/2019 09:12:12AM via free access This is an open access title distributed under the terms of the prevailing cc-by-nc License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www.knowledgeunlatched.org. Cover Image: Chaoben Covers. Photo by author. Library of Congress Cataloging-in-Publication Data Names: Suleski, Ronald Stanley, author. Title: Daily life for the common people of China, 1850 to 1950 : understanding Chaoben culture / By Ronald Suleski.
    [Show full text]