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Agriculture Was One of the Most Important Economic
SPATIAL DIVERSITY AND TEMPORAL CHANGE OF PLANT USE IN SAGAMI PROVINCE, CLASSICAL JAPAN: AN ARCHAEOLOGICAL APPROACH KATSUNORI TAKASE INTRODUCTION Agriculture was one of the most important economic bases of classical Japan and there were two main types of plant farming: paddy rice cultivation and dry field cultivation. There is no doubt that paddy rice cultivation was dominant in almost all of regions in classical Japan. At the same time, a lot of Japanese historians and historical geographers have disserted that farming in classical Japan was managed combining paddy rice cultivation and dry field cultivation. Classical Japanese state often recommended cultivating millets and beans beside paddy rice against a poor crop. Furthermore, in the 8th century, the state established the public relief stocking system (義倉制) for taking precautions of food shortage caused by bad weather, flood and earth quake and so on. In this system, foxtail millet was regulated to be stocked in warehouses. Therefore, agricultural policies of the state had obviously a close relationship not only with paddy rice cultivation, but also dry field farming. It is likely that combination balance ought to differ from region to region and it should reflect land use strategy of each settlement. However, there are just few written records on dry field farming in classical Japan especially before the 11th century. Even if there are fragmentary descriptions on farming, they show only kinds of grain and their crop totaled in each province or county. Therefore, it is very difficult to approach to micro-scale land use and plant use in classical Japan. Nevertheless, pictorial diagrams and wooden strips have begun to play an important role to reveal these problems. -
Samurai Life in Medieval Japan
http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period. -
Art Spotlight: Hokusai's Thirty-Six Views of Mount Fiji
Art Spotlight: Hokusai's Thirty-six Views of Mount Fiji This document has all 36 prints from Hokusai's Thirty-six Views of Mount Fiji. The following links will help you discuss these works with your children. • Art Spotlight: Hokusai's Thirty-six Views of Mount Fiji: The original blog post about these works with commentary, discussion questions, and learning activities • Woodblock Printing with Kids tutorial • Free Art Appreciation Printable Worksheet Bundle • How to Look at Art with Children • All art posts on the Art Curator for Kids The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ Conventions of Japanese Ukiyo-e Prints • peaceful, harmonious scenes • asymmetrical composition • limited color palette of about 4 colors plus black • unclear space or perspective • diagonal or curved lines that guide your eye through the composition • outlined shapes filled with solid, flat color The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ Questions to Ask • What is going on in this artwork? What do you see that makes you say that? • What emotions do you feel when looking at this artwork? What emotions do you think the artist was feeling? • Describe the lines and colors in this artwork. How do the colors and lines contribute to the emotion? • Describe the ways Hokusai included Mount Fuji in the artworks. • What can you tell about the Japanese way of life in the Edo Period by looking at these artworks? What types of things are the people doing? • What do these artworks have in common? How could you tell that these were created by Hokusai during this time period? The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ The Art Curator for Kids, Cindy Zerm Ingram, [email protected], http://artcuratorforkids.com/ Learning Activities 1. -
Encyclopedia of Japanese History
An Encyclopedia of Japanese History compiled by Chris Spackman Copyright Notice Copyright © 2002-2004 Chris Spackman and contributors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections, with no Front-Cover Texts, and with no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License.” Table of Contents Frontmatter........................................................... ......................................5 Abe Family (Mikawa) – Azukizaka, Battle of (1564)..................................11 Baba Family – Buzen Province............................................... ..................37 Chang Tso-lin – Currency............................................... ..........................45 Daido Masashige – Dutch Learning..........................................................75 Echigo Province – Etō Shinpei................................................................ ..78 Feminism – Fuwa Mitsuharu................................................... ..................83 Gamō Hideyuki – Gyoki................................................. ...........................88 Habu Yoshiharu – Hyūga Province............................................... ............99 Ibaraki Castle – Izu Province..................................................................118 Japan Communist Party – Jurakutei Castle............................................135 -
Hokusai and Kuniyoshi
98 Utagawa Kunimasa The Actor Iwai Kumesaburō as the Kamuro Tayori Kansei 8 (1796) 99 Katsukawa Shun’ei The Actor Segawa Kikunojō III as Osome Kansei 8 (1796) 100 Utagawa Toyokuni Women Washing, Rinsing, and Fulling Cloth by a Stream Late Kansei era (1789-1801) Around Kyōwa 3-Bunka 1 101 Kitagawa Utamaro Gathering Persimmons (c.1803-04) The New Year’s Day, The Girl’s Festival on the Third Day of the Third Lunar Month, The Boy’s Festival 102-106 Kitagawa Utamaro on the Fifth Day of the Fifth Lunar Month, The Star Festival on the Seventh Day of the Seventh Lunar Around Kyōwa era (c.1801-04) Month, The Chrysanthemum Festival on the Ninth Day of the Ninth Lunar Month Around end of Kansei era 107 Kitagawa Utamaro Two Women and a Child by a Painted Screen, from the series Pairs of Sevenths in the Floating World (c.1789-1801) 108 Kitagawa Utamaro Women Imitating the Procession of a Korean Embassy Around Kansei 9-10 (c.1797-98) Chapter4: The Arrival of the Landscape Print: Hokusai and Kuniyoshi 109 Katsushika Hokusai The Actor Iwai Hanshirō IV as the Courtesan Agemaki Kansei 3 (1791) 110 Katsushika Hokusai Summer, from the series The Elegant Moon in the Four Seasons Around late Tenmei era (1785-89) 111 Katsushika Hokusai Three Poles, from the series Elegant Parodies of Comic Plays Around Kansei 2 (c.1790) 112 Katsushika Hokusai Chinese Children Playing by a Pine Tree Around Kansei 2 (c.1790) 113 Katsushika Hokusai Fuji in Clear Weather (Red Fuji), from the series Thirty-six Views of t.Fuji Around Tenpō 2-4 ( c.1831-33) 114 Katsushika Hokusai Rain Beneath the Peak (Fuji over Lightning), from the series Thirty-six Views of Mt.Fuji Around Tenpō 2-4 ( c.1831-33) 115 Katsushika Hokusai Fujimigahara in Owari Province, from the series Thirty-six Views of Mt.Fuji Around Tenpō 2-4 ( c.1831-33) 116 Katsushika Hokusai Umezawa Marsh in Sagami Province, from the series Thirty-six Views of Mt. -
True Path of the Ninja: the Definitive Translation of the Shoninki (Pdf)
Please note that the publisher and author(s) of this instructional book are NOT RESPONSIBLE in any manner whatsoever for any injury that may result from practicing the techniques and/or following the instructions given within. Martial arts training can be dangerous—both to you and to others—if not practiced safely. If you’re in doubt as to how to proceed or whether your practice is safe, consult with a trained martial arts teacher before beginning. Since the physical activities described herein may be too strenuous in nature for some readers, it is also essential that a physician be consulted prior to training. Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd. www.tuttlepublishing.com Copyright © 2011 Antony Cummins and Yoshie Minami All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher. Library of Congress Cataloging-in-Publication Data Natori, Masazumi, 17th cent. [Shoninki. English.] The true path of the ninja : translation of the Shoninki, a 17th century ninja training manual / by Natori Masatake; translated by Antony Cummins and Yoshie Minami; foreword by Otake Risuki; preface by Atsumi Nakashima. -- 1st ed. p. cm. Includes bibliographical references. ISBN 978-1-4629-0089-3 1. Ninjutsu--Early works to 1800. 2. Espionage--Japan--Early works to 1800. 3. Martial arts--Japan--Early works to 1800. I. Title. UB271.J3N37613 2010b 355.5'48--dc22 2010024827 ISBN 978-1-4629-0089-3 Distributed by North America, Latin America & Europe Tuttle Publishing 364 Innovation Drive North Clarendon, VT 05759-9436 U.S.A. -
The Life of Nichiren Daishonin
The Life of Nichiren Daishonin ichiren Daishonin (1222–82) dedicated his life to propagating Nthe Mystic Law—Nam-myoho-renge-kyo—motivated by an unwavering commitment and compassion to eradicate suffering and enable all people to reveal their innate Buddhahood. Hardship and persecution dogged him throughout his life as he sought to address and put an end to the evils obstructing people’s happiness. Early Years Nichiren Daishonin1 was born on February 16, 1222, in the coastal hamlet of Kataumi in Tojo Village of Nagasa District in Awa Province (part of present-day Kamogawa City in Chiba Prefecture). He was the son of commoners, his family earning its livelihood from fishing. At the age of twelve, he began his schooling at a nearby temple called Seicho-ji. During this period, he made a vow to become the wisest person in Japan (see “The Tripitaka Master Shan-wu-wei,” The Writings of Nichiren Daishonin, vol. 1, p. 175). He sought to gain the wisdom of the Buddhist teachings for overcoming the funda- mental sufferings of life and death, and thereby lead his parents and all people to genuine happiness. At the age of sixteen, in pursuit of a deeper understanding of the Buddhist teachings, he formally entered the priesthood at Seicho-ji, receiving instruction from Dozen-bo, a senior priest there. It was Nichiren Daishonin 51 shortly thereafter, the Daishonin writes, that he attained “a jewel of wisdom as bright as the morning star” (“The Tripitaka Master Shan- wu-wei,” WND-1, 176), which can be interpreted to mean wisdom regarding the Mystic Law that is the essence of Buddhism. -
PR Hokusai 4C 23 June 08.Qxp
EdmondEdmond dede GoncourtGoncourt HokusaiHokusai Text: after Edmond de Goncourt © Parkstone Press International, New York, USA © Confidential Concepts, worldwide, USA Layout: Baseline Co Ltd. 33 Ter - 33 Bis Mac Dinh Chi St., Star Building; 6th floor District 1, Ho Chi Minh City Vietnam All rights of adaptation and reproduction reserved for all countries. Except as stated otherwise, the copyright of works reproduced belongs to the photographers who created them. Despite our best efforts, we have been unable to establish the right of authorship in certain cases. Any objections or claims should be brought to the attention of the publisher. ISBN: 978-1-78042-996-0 After Edmond de Goncourt Hokusai Contents Foreword 6-7 I. Life of Hokusai 8-39 II. Surimonos, Yellow Books, and Illustrated Novels 40-125 III. Manga and Sketchbooks 126-207 IV. Poetry Albums, Plates, Panels, and Other Works 208-251 Bibliography 252 Glossary 253 List of Illustrations 254-255 6 Foreword okusai’s talent travelled across land ninety volumes; he collaborated on about brilliant courtesans, their silks and and sea to Europe long ago. But his thirty volumes: yellow books and popular embroidery, and the large belt knots spread Hwork, so original, so diverse, and books at first; eastern and western across their chests and stomachs. He so prolific, still remains misunderstood. It is promenades, glimpses of famous places, frightened observers with apparitions from true that, even in the artist’s homeland, practical manuals for decorators and artisans, his most awful and stirring fantastic though he has always been immensely a life of Sakyamuni, a conquest of Korea, imagination. -
Female Shamans in Eastern Japan During the Edo Period
Gerald Groemer University of Yamanashi Female Shamans in Eastern Japan during the Edo Period Abstract Female shamans (miko) who transmitted the voices of the dead or departed have been active in Japan from ancient times to the present day. Particularly those in the far northeast and on the southernmost islands have been subject to much fieldwork and study. Yet most such research lacks a historical dimension. This paper seeks to offer some historical contextualization and analysis of female shamans in the Kantō region during the Edo Period (1600–1868). The study focuses on the control of miko by the institution headed by Tamura Hachidayū, miko occupations, anti-miko discourse, and the end of miko organizations during the early Meiji period. It suggests that miko institutions underwent considerable historical transformation over time and that miko practices were far more heterogeneous than is usually assumed. Keywords: shamans—miko—azusa miko—Tamura Hachidayū—Sanja Gongen— Shinto Asian Folklore Studies, Volume 66, 2007: 27–53 hanks largely to the efforts of many anthropologists and folklorists, including of course Peter Knecht, the longtime editor of this journal, the ghostly outlines of contemporary Japanese shamanism have begun Tto be transmitted to a non-Japanese readership. A rough picture had already emerged from publications of the 1960s and 70s (Hori 1968, 181–215; Blacker 1975; Hori 1975) and in succeeding years more narrowly focused studies have filled in many gaps. Ruch (1990), for example, has presented a short description of medieval shamans, while Bouchy (1992), Miller (1993), Kawamura (1994), Sasamori (1995), Fritsch (1996, 232–47), and Knecht (1997) have provided detailed accounts of the customs and arts of shamans in the Japanese northeast. -
Totally Fuji
PRESS RELEASE 2016.11.09 Totally Fuji Secondary Exhibition: Charles Emerson “Fuji” 2016 November 22 (Tue.) - 2017 January 29 (Sun.) Part 1: November 22 (Tue.) - December 25 (Sun.) Part 2: December 27 (Tue.) - January 29 (Sun.) The museum will be closed for the new year holiday from Dec. 28 (Wed.) to Jan. 4 (Wed.) Organizer: Shizuoka City Tokaido Hiroshige Museum of Art Designated Manager: NPO Hexaproject Cooperation: Antlers Gallery Support from The Daiwa Anglo-Japanese Foundation, The Great Britain Sasakawa Foundation Outline The beautiful and grand Mount Fuji has always been a symbol of worship as the mountain of god. Mount Fuji has fascinated many with its high altitude and symmetry of the foot of the mountain, and it has been expressed in many paintings and sculptures. This exhibition features the Ukiyoe-Hanga series including the Thirty-six Views of Mount Fuji (Horizontal) and the Thirty-six Views of Mount Fuji (Vertical) depicted by Eshi of the Edo period, Utagawa Hiroshige, and puts focus on the people of the Edo period. We have also exhibited a magical Mount Fuji captured using multiple exposure by British photographer, Charles Emerson. Hours 9:00 AM ‒ 5:00 PM (last admission 30 minutes before closing time) Closed Mondays (if it falls on a holiday, then the following Tuesday) Adults: 510 (410) yen / University / High School Students: 300 (240) yen / Junior high students and younger:120 (100) yen * ( ) indicates prices for groups of 20 or more * Persons with proof of disability and one accompanying person are admitted free of charge * Shizuoka City residents, junior high students and younger, as well as Shizuoka City residents over 70 are admitted free of charge. -
Causes of Daimyo Survn Al in Sixteenth
THE LAST MAN STANDING: CAUSES OF DAIMYO SURVNAL IN SIXTEENTH CENTURY JAPAN A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAW AI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN mSTORY MAY 2008 By John E. Bender Thesis Committee: William Wayne Farris, Chairperson Mark McNally Edward Davis ii We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in History. THESIS COMMITTEE VIIJ)Vl ~ ~rperson iii ABSTRACT The Warring States period is often characterized as random and chaotic - an incomprehensible series of battles from which a victor finally emerged. While there was a degree of unpredictability in Warring States conflict, this thesis argues that the period followed a fundamentally comprehensible course. Emphasizing the chaos of battle obscures underlying factors which set the course of Warring States conflict, politics, and economics. By systematically examining geographic, political, economic, and military factors it can be shown that the Warring States period proceeded more logically than has been assumed. This research identifies patterns in Warring States Japan and seeks to answer the question, "why did some daimyo survive while others did not" I argue that survival during the Warring States period was more heavily influenced by geographic and political factors than by military and economic factors. Though touted as powerful warlords who controlled their own destiny, in reality, factors largely beyond the daimyo's control were most responsible for his survival or e1imination. iv TABLE OF CONTENTS Abstract ..................................................................................................i List of Tables ......................................................................................... -
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Gerald Groemer University of Yamanashi Sacred Dance at Sensōji The Development of a Tradition Sensōji, one of the best-loved temples of Edo-Tokyo, was once the site of var- ied and colorful performances of sacred music and dance. In the past, kagura accompanied a New Year’s ritual archery exhibit, while “lion dances” and a genre known as binzasara were seen at the time of the third-month Sanja festival. During the sixth month, binzasara and masked kagura were staged again, and during the nineteenth century a ninth-month “pheasant dance” was added to the annual program. This paper examines the emergence of such arts, some of which continue to be performed today. A close look at historical sources and modern practices reveals, however, that the genres, performance practices, contexts, and dates of performance underwent much transformation over the centuries. What is today billed as “tradition” turns out to reproduce only a fraction of what was once a far richer, heterogeneous, and changing program of dance and music. keywords: Sensōji—Sanja Gongen—Tamura Hachidayū—binzasara— kagura—Edo-period religion Asian Ethnology Volume 69, Number 2 • 2010, 265–292 © Nanzan Institute for Religion and Culture nyone visiting Sensōji 浅草寺 on the third weekend of May is likely to witness A portions of the Sanja festival. This grand, rambunctious celebration, taking place at what must still be the most popular temple/shrine complex in Tokyo, honors Sensōji’s three founding deities, enshrined at the Sanja Gongen 三社権現 (today Asakusa Jinja), the tutelary shrine of Sensōji. On the Friday preceding the main festival, sightseers, pilgrims, and ethnologists who spy into the main hall of the shrine may catch a glimpse of a performance of “lion dances” (shishi-mai 獅 子舞, dances of two mythical lion-like beasts) and elegant binzasara (び ん ざ ゝら , 編 木, 鬢編木, 拍板) dances; half an hour later the binzasara dances receive an encore performance on an open kagura stage to the right of the shrine.