The Edward Wrangham Collection of Japanese
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Удк 712.42:635.923 Сприйняття Рьоан-Дзі Восприятие Рёан
160 Культура України. Випуск 48. 2015 УДК 712.42:635.923 Ендрю Дж. Сведлоу, професор мистецтвознавства та історії мистецт ва, Університет Північного Колорадо, США СпРИЙНяТТя РЬоАН-дзі У храмі Рьоан-дзі в Кіото розташований найвідоміший у Японії сад каменів. Камені розміщені так, що з будь-якого кута побачити всю композицію неможливо. Щодо цього саду, як і будь-якого витвору мистецтва, можливі різні інтерпретації. Висвітлено зв’язок між естетичними теоріями за часів створення саду та сучасними поглядами на природу і мистецтво, розглянуто важливість місця медитації в естетичному досвіді. Проаналізовано суворість і про- стоту саду в Рьоан-дзі в історичному і релігійному контекстах. Ключові слова: храм, сад каменів, дизайн, медитація, асиметрія, традиції дзен-буддизму. Эндрю Дж. Сведлоу, профессор искусствоведения и истории искус- ства, Университет Северного Колорадо, США ВоСпРИяТИЕ РЁАН-дзИ В храме Рёан-дзи в Киото находится самый знаменитый в Япо- нии сад камней. Камни расположены так, что под любым углом увидеть всю композицию невозможно. Относительно этого сада, как и любого произведения искусства, возможны различные ин- терпретации. Освещена связь между эстетическими теориями времен создания сада и современными взглядами на природу и искусство, рассмотрено значение места медитации в эстетиче- ском опыте. Проведен анализ строгости и простоты сада в Рёан- дзи в историческом и религиозном контекстах. Ключевые слова: храм, сад камней, дизайн, медитация, асимме- трия, традиции дзэн-буддизма. Andrew J. Svedlow, Ph.D., Professor of Art History University of Northern Colorado. Greeley, Colorado, USA EMBraCING rYOaN-JI Ryoan-ji temple in Kyoto is the site of Japan's most famous rock gar- den. The stones are arranged so that the entire composition cannot be seen at once from any angle. -
Honor and Violence: Perspectives on the Akō Incident
Honor and Violence: Perspectives on the Akō Incident Megan McClory April 4, 2018 A senior thesis, submitted to the East Asian Studies Department of Brandeis University, in partial fulfillment of the Bachelor of Arts degree. Table of Contents Introduction………………………………………………………………………………………1 Law and Morality………………………………………………………………………………...4 Kenka Ryouseibai…………………………………………………………………………5 House Codes……………………………………………………………………………....8 Loyalty as Propaganda…………………………………...………………………………..9 Filial Piety………………………………………………………………………………13 Evolution into Legend……………………………………………………………………………15 Dissemination……………………………………………………………………………15 Audience…………………………………………………………………………………18 Akō as an Example………………………………………………………………………19 Modern Day……………………………………………………………………………...20 Sengaku-ji………………………………………………………………………………. 22 Chūshingura as a Genre………………………………………………………………… 25 Ukiyo-e………………………………………………………………………………...…25 Appeal and Extension to Non-Samurai………………………………..…………………………28 Gihei the Merchant………………………………………………………………………28 Injustice…..………………………………………………………………………………35 Amae …………………………………………………………………………………….38 Collective Honor…………………………………………………………………………41 Women in Chūshingura………………………………………………………………….44 Conclusion……………………………………………………………………………….47 List of Names and Characters Adapted from David Bell Chushingura and the Floating World: The Representation of Kanadehon Chushingura in Ukiyo-e Prints Enya Hangan A young provincial noble and Lord of the castle of Hoki under the shogun Ashikaga Takauji. Asano Takuminokami Naganori, Lord of Akō in the province of Harima. -
[Art List of Works] Echoes of a Masterpiece: the Lineage Of
Organizers: Tokyo National Museum, Kokka-sha, The Asahi Shimbun, List of Works TV Asahi Corporation, BS Asahi With the Sponsorship of: Takenaka Corporation, Toppan Printing Co., Ltd., Mitsubishi Corporation With the Cooperation of: Aioi Nissay Dowa Insurance Co., Ltd., NIPPON EXPRESS CO., LTD. Echoes of a Masterpiece: Note; ・Exhibition numbers correspond to the catalogue entry numbers. However, the order of the artworks in the exhibition may not necessarily be the same. The Lineage of Beauty ・The symbols before the titles means the following; ◉=National Treasure, ◎=Important Cultural Property. ・Some artworks* may also be rotated during the exhibition period. Exhibition lineup may change as in Japanese Art circumstances require. ・The rotation schedule is as follows; Friday, April 13 – Sunday, May 27, 2018 ①4/13( Fri.) 4/2 2( Sun.) ④5/8( Tue.) 5/13( Sun.) ②4/2 4( Tue.) 4/29( Sun.) ⑤5/15( Tue.) 5/2 0( Sun.) Heiseikan, Tokyo National Museum ③4/3 0( Mon.) 5/6( Sun.) ⑥5/2 2( Tue.) 5/2 7( Sun.) The rotation No. Title Artist, etc Period Collection schedule Chapter 1: The Lineage of Faith 1 ◎ Standing Buddha, Ascribed as Nara period, 8th century Toshodai-ji, Nara Yakushi Nyorai (Bhaisajyaguru) 2 ◎ Standing Bodhisattva, Ascribed as Shuho’o Bosatsu Nara period, 8th century Toshodai-ji, Nara 3 ◎ Standing Eleven-headed Kannon (Ekadasamukha) China, Tang dynasty, 8th century Jinpuku-ji, Yamaguchi 4 ◎ Standing Eleven-headed Kannon (Ekadasamukha) Nara period, 8th century Domyo-ji, Osaka 5 ◉ Standing Yakushi Nyorai (Bhaisajyaguru) Nara to Heian period, -
Zen As a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries
Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries by Meng Ying Fan A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by Meng Ying Fan 2020 Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries Meng Ying Fan Master of Arts Department of East Asia Studies University of Toronto 2020 Abstract This essay explores the impact of Chan/Zen on the art of landscape painting in China and Japan via literary/visual materials from the twelfth to sixteenth centuries. By rethinking the aesthetic significance of “Zen painting” beyond the art and literary genres, this essay investigates how the Chan/Zen culture transformed the aesthetic attitudes and technical manifestations of picturing the landscapes, which are related to the philosophical thinking in mind. Furthermore, this essay emphasizes the problems of the “pattern” in Muromachi landscape painting to criticize the arguments made by D.T. Suzuki and his colleagues in the field of Zen and Japanese art culture. Finally, this essay studies the cultural interaction of Zen painting between China and Japan, taking the traveling landscape images of Eight Views of Xiaoxiang by Muqi and Yujian from China to Japan as a case. By comparing the different opinions about the artists in the two regions, this essay decodes the universality and localizations of the images of Chan/Zen. ii Acknowledgements I would like to express my deepest gratefulness to Professor Johanna Liu, my supervisor and mentor, whose expertise in Chinese aesthetics and art theories has led me to pursue my MA in East Asian studies. -
Ifroim Zens I Jae Rocks of Sessw to Xrimniplii ©If Rae Sparrows Zen Poems of Siainkicli Xakawski S Tlae Japanese Sources of Lmcien Sfoyk S Early Poenis
IFroim Zens I Jae Rocks of SessW to Xrimniplii ©if rae Sparrows Zen Poems of SiainkicLi XakaWski s Tlae Japanese Sources of Lmcien Sfoyk s Early Poenis David Ewick louden Stryk's arrival for his first visiting lectureship in Japan, at Niigata University in the summer of 1956, coincided with the publication of a second successful collection of poems, The Trespasser. Poems in this collec tion, like those in the earlier Taproot (1953), were respectable and well- wrought, reliant upon accentual meters and predetermined forms, but striking enough in theme and diction to avoid easy placement in what Del- more Schwartz was to call by the end of the decade the "peaceful public park" of contemporary American poetry. Of poems from these collections reprinted in Stryk's Collected Poems' perhaps the best is "The Stack Among the Ruins" (p. 4). In the second stanza the "stack" of the title is described, a chimney of a building destroyed in war: No smoke lifts from the broken chimney's lip Where winds hurl down to jar the blistered fields: It stands alone, a maniac that yields No breath or word, but raddled by the dip And twist of day, rums inward to a grief That's like an arm shaped through an empty sleeve. The closing simile is more daring than most of the period, and anticipates in 314 F r o m " Z e n : T h e R o c k s o f S e s s h u " 3 1 5 several ways things to come, but in other matters, the stricdy iambic five- stress lines, regular end rhyme, and elevated theme, the stanza is faithful to mainstream mid-fifties poetics. -
The Appreciation of Zen Art
(Arts of Asia, September – October, 1986) "My play with brush and ink is not calligraphy nor painting; yet unknowing people mistakenly think: this is calligraphy, this is painting." Sengai Gibon (1750-1837) THE APPRECIATION OF ZEN ART John Stevens THE EARLIEST reference to Zen brushwork occurs in the Platform Sutra of the Sixth Patriarch, a text which relates the life and teaching of the illustrious Chinese master Hui- neng (638-713). Buddhist scenes, composed in accordance to canonical dictates, were to be painted on the walls of the monastery in which Huineng was laboring as a lay monk. At midnight the chief priest sneaked into the hall and brushed a Buddhist verse on the white wall. After viewing the calligraphy the next morning, the abbot dismissed the commissioned artist with these words: "I've decided not to have the walls painted after all. As the Diamond Sutra states 'All images everywhere are unreal and false."' Evidently fearing that his disciples would adhere too closely to the realistic pictures, the abbot thought a stark verse in black ink set against a white wall better suited to awaken the mind. Thereafter, art was used by Chinese and Japanese Buddhists to reveal the essence, rather than merely the form of things, through the use of bold lines, abbreviated brushwork, and dynamic imagery—a unique genre now known as Zen art. Although the seeds of Zen painting and calligraphy were sown in China, this art form attained full flower in Japan. Masterpieces of Chinese Ch'an (Zen) art by such monks as Ch'an-yueh, Liang K'ai, Yu Chien, Mu Ch'i, Chi-weng, Yin-t'o-lo and I-shan 1-ning were enthusiastically imported 1 to Japan during the twelfth and thirteenth centuries and a number of native artists, for example Kao Sonen and Mokuan Reiun, studied on the mainland. -
East Asian Art History Culture, Politics, History
East Asian Art History Culture, Politics, History Christina Wei-Szu Burke Mathison History of Art Department The Ohio State University Art – Context – Historical, Political, Cultural Terminology Traditional Painting in East Asia: China, Korea, Japan Comparison Taiwan, China, Japan, Korea during the 19th-20th centuries Concepts of Modernity – Traditional vs. “Modern” Taiwan During the Japanese Occupation (1895-1945) Chen Cheng-po (Tan Ting-pho) 陳澄波 (1895-1947) Taiwan Tokyo, Japan Shanghai, China Taiwan Stylistic Characteristics Composition - Color - Brushwork - Line and Form – Mood Subject Matter – Iconography - Context iconography, context iconography, context Homonym iconography, context Chinese Painting Traditions Five Dynasties, Northern Song, Southern Song, Yuan Periods Attributed to Dong Yuan. WINTRY GROVES AND LAYERED BANKS. Southern Tang dynasty, ca. 950. Hanging scroll, ink and color on silk. 59'6-5/8" × 3'9-7/8" (1.81 × 1.16 m). Attrib. Li Cheng (916-967), A Solitary Temple amid Clearing Mountain Peaks, Undated, Five Dynasties, Hanging Scroll, Ink and Slight Color on Silk, 111.8 x 56 cm, Nelson Gallery-Atkins Museum Ma Yuan (late 12th-early 13th century), On a Mountain Path in Spring, Undated, Southern Song Dynasty, Album Leaf, Ink and Slight Color on Silk, H: 27.4 cm, National Palace Museum at Taipei Ni Zan (1301-1374), The Rongxi Studio, 1372, Yuan Dynasty, Hanging scroll, Ink on Paper, 74.7 x 35.5 cm National Palace Museum at Taipei Korean Painting Traditions Goryeo, Joseon Periods Seated Willow-Branch Gwanse’eum Bosal (The Bodhisattva of Compassion). Goryeo dynasty, late 14th century. Hanging scroll, ink, colors, and gold pigment on silk. Height 62" (159.6 cm). -
Tofukuji Monastery (Sorin Temple During the Muramachi Period)
attributed to Sesshu Toyo Tofukuji Monastery (Sorin temple during the Muramachi period) During the Muromachi period, tatchu proliferated to such an THE SUTRA OF extent that the building of new compounds was prohibited from PERFECT AWAKENING time to time by the government. Records indicate that there once were one hundred and twenty tatchu in the Tofukuji and one hundred and sixtyfive in the Myoshinji. These compounds tended to become independent of the parent monastery, with their own FORTY-THIRD LECTURE land and resources, and many became the headquarters for Saturday, May 20th, 1939 doctrinal offshoots based on the special emphasis or teachings of the founder. "It is as though one smelted gold from the ore. Because of its detail and accuracy, this painting is one of the The gold was not produced by the process of smelting. prime sources of information on the disposition and architecture of It was originally contained in the ore. Zen monasteries during the Muromachi period. It is traditionally The quality was merely perfected by the process attributed to Sesshu (1420-1506), who may have been associated And it will not return to the ore again briefly with the Tofukuji... When the quality of pure gold has once been attained. Samsara and Nirvana, men in the world and the Buddhas, Are one and all like the flowers in the sky. getting crowded. One's thoughts and afflictions are also like phantoms. no coyotes.. Why should one be reproved for one's false thoughts? If one has completed one's attainment of this very mind One may seek Perfect Awakening!" A limited number of complete sets of Zen Notes SOKEI-AN SAYS: (from Vol. -
11101.0 Money 1102.0 Goods, Services and Equipment 53
11101.0 MONEY 1102.0 GOODS, SERVICES AND EQUIPMENT Nippon's economy is based on the rice crop. All finances are counted in terms of the "Koku," a measure of rice sufficient to feed While adventuring through Nippon, the characters will find one man for one year (at a subsistence level). This is about 5 bushels themselves in need of various goods, equipment and services from in Western measurement. time to time. The availability of such things will depend on the location. The exact availability and price may be decided arbitrarily Currency is in copper or bronze, silver, and gold. Gold is rarely by the Gamesmaster, or he may use the suggested base prices given seen outside of the coffers of Daimyo, and even they usually conduct here and determine availability and price modification using the their business in silver. Values of this coinage have shifted over the chart below. centuries, and there is no fixed way to set up a "historical" currency in the game. The following system is used to impose a uniform value To use the chart, cross-index the type of location in which the on currency in the campaign: characters find themselves with the class of goods desired. The A copper coin is the basic unit of money. We will refer to coppers, chart will yield two numbers. The first is the percentage chance of or copper pieces, in talking about them. A copper represents the cost finding the desired goods. The second is the percentage of the base of a bowl of rice and a cup of cha (tea), which is viewed as the bare price that is being asked for the goods. -
Oriental Adventures Weapon Compendium
Oriental Weapon Compendium JRR/Rev.A Type: Piercing (P), Slashing (S), Bludgeoning (B) Sourcebooks: Rokugan Campaign Setting (RCS), Complete Exotic Arms Guide (CEA), Oriental Adventures (OA), Way of the Ninja (WotN) Monk weapon: monks fight with their unarmed combat base attack bonus, number of attacks per round and modifiers Ninja weapon: ninjas are proficient in its use Cost Damage Critical Range Weight Type Short Description Monk Ninja Sourcebooks (M) (ft.) (lb.) RCS CEA OA WotN Simple Weapons - Melee Light Aiguchi 2 gp 1d4 19-20/x2 - 1 P Knife with no guard, easy to conceal x Jitte 10 sp 1d4 x2 - 2 B Short blunt knife with single prong (+2 to disarm) x x x x Kama 6 sp 1d6 x2 - 2 S Curve blade with short handle x x x Nunchaku 6 sp 1d6 x3 - 2 B Two short sticks bound by chain x x x Sai 10 sp 1d4 x2 - 2 B Short blunt knife with two prongs (+4 to disarm) x x x x Shobo 6 sp * * - 1/2 B Short iron cylinder with ring used as knuckles (+2 unarmed damage) x x Tanto 3 gp 1d4 19-20/x2 - 1 P Basic knife xxx One-handed Jo - 1d6 x3 - 2 B Small version of quarterstaff xx Nage-yari 3 gp 1d6 x2 20 3 P Short spear or javelin xx Tonfa 10 sp 1d6 x2 - 2 B Short square wooden pole with handle x x x Two-handed Bo - 1d6/1d6 x2 - 4 B Simple quarterstaff xxx Kumade 5 gp 1d6 x3 - 5 P Rake, long handle with barbed end (reach, +2 to climb) x Yari 5 gp 1d8 x3 - 5 P Simple spear (reach, can be readied) x x Martial Weapons - Melee Light Flute knife 6 sp 1d4 x2 10 1 P Short staff or flute with thin dagger inside (+1 dam. -
Learning to Read Japanese Paintings by Carla Stansifer University of Colorado Boulder
University of Colorado at Boulder Program for Teaching East Asia Center for Asian Studies 595 UCB Boulder, Colorado 80309-0595 Phone: 303-735-5122 Fax: 303-735-5126 Learning to Read Japanese Paintings by Carla Stansifer University of Colorado Boulder For the National Consortium for Teaching about Asia (NCTA) at the Program for Teaching East Asia, University of Colorado Boulder Glossary of Terms sumi-e: black ink + picture (Jpn); monochromatic painting kakemono: hanging + thing (Jpn); vertical scroll usually mounted on silk 7 basic elements of art: line, shape, form, space, texture, value, and color manga: involuntary/unrestrained + illustration (Jpn); graphic novels subject matter: whoever or whatever is depicted in a painting visual path: the imaginary line a viewer’s eye travels perspective: point of view, as perceived by the audience original intention: whatever or whoever primarily motivated the artist (e.g., religious, political, decorative, utilitarian or combination) Zen: a sect of Buddhism favored by the warrior class in 13th century hanko: official stamp, or seal Bibliography Resources for more information on Sesshu Toyo and Japanese painting. Books: Addiss, Stephen and Audrey Yoshiko Seo. How to Look at Japanese Art. New York: Abrams, 1996. Mason, Penelope. History of Japanese Art. New York: Pearson, 2004. Stanley-Baker, Joan. Japanese Art. Revised & Expanded Edition. London: Thames and Hudson, 2000. Stevens, John and Alice Rae Yelen. Zenga: Brushstrokes of Englightenment. New Orleans: New Orleans Museum of Art, 1991. Tanaka, -
Japan Its History Arts and Literature Volume 6
LIBRARY UNIVERSITY OF CALIFORNIA SAN DIEGO Oriental S>erie0 AMBASSADORS' EDITION Limited to Seven hundred fifty numbered and registered copies ,/ /7 of which this is No. / ,.r DiSTOin ^RTS, \M> LIT Mil \ it C VPTAIN F. BR1 J. B. MILLET COMPANY BOSTON AM> TOKYO JAPAN ITS HISTORY, ARTS, AM) LITERATURE CAPTAIN F. BRINKLEY J. B. MILLET COMPANY BOSTON AND TOKYO COPYRIGHT, 1902, AND 1910 By J. B. MILLET CO. ENTERED AT STATIONERS I1VLL, LONDON, ENGLAND THE PLIMPTON PRESS [W D O] NORWOOD M VS.s U S A CONTENTS CHAPTER I Page FESTIVALS I CHAPTER II OBSERVANCES AND PASTIMES . 32 CHAPTER III OBSERVANCES AND PASTIMES (Continued] 78 CHAPTER IV THE HISTORY OF COMMERCE IN JAPAN 125 CHAPTER V THE HISTORY OF COMMERCE IN JAPAN (Continued} . 165 CHAPTER VI THE HISTORY OF COMMERCE IN JAPAN (Continued] . 194 APPENDIX 231 INDEX 269 ILLUSTRATIONS Page Danjuro Frontispiece Boys Playing Kotoro 32 A No Dancer in Costume 64 A Japanese Interior 128 Wayside Resting Place 192 Nimon lyemitsu Temple at Nikko 224 VI JAPAN ITS HISTORY ARTS AND LITERATURE Chapter I FESTIVALS " is a of festivals acts of " country ; worship the people call them, and they have their a JAPANcertainly foundation in religious observance, but so far as general revelry, feasting, and rejoicing are concerned, they present all the features of a fete, or even of a carnival. Annually or biennially the tutelary deities of a particular parish are taken out for an airing, and the whole of the parishioners participate in the picnic. That is the most accurate definition that can be briefly given of the omatsuri, to which Western writers have already devoted so many " pages of description.