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INTRODUCTION to JAPANESE ART HISTORY 2Credits (Spring) 日本
INTRODUCTION TO JAPANESE ART HISTORY 2credits (Spring) 日本美術史入門 2 単位(春学期) Lecturer SHIRAHARA, YUKIKO 講師 白原 由起子 Course Description: This course explores the history of Japanese art from the sixth to nineteenth centuries, taking up the topics how imagery and symbolism, materials and techniques, introduced from the continent, have been transformed and developed to be Japanese art. Each class will focus on one or a few artworks; their function, iconology, technique and historical meaning will be discussed. A few times of discussions and presentations will be held in the class. A field trip of viewing a Japanese art exhibition is included in the course work. Textbooks: No text book for the course. Course Plan: 1 Introduction: History and Culture of Japan in East Asia Early Buddhist art of Asuka period (6th-7th centuries) 2 Rinpa-School Painting and Decorative Art (16th-19th centuries) 3 Viewing Class: Irises and Red and White Plum Blossoms exhibition at the Nezu Museum, Minami-Aoyama 4 Emaki I: Narrative Picture Scroll of The Tale of Genji (12th century): An example of Monogatari Picture Scroll 5 Emaki II: Narrative Picture Scroll of Miraculous Deeds of the Priest Myōren who Founded a Temple at Mt. Shigi (12th century): An Example of Setsuwa Picture Scroll 6 Art of Nara period (8th century): Buddhist Sculpture, Painting and Decorative Art 7 Manadala: Esoteric Buddhist Art Introduced to Japan in the 9th century 8 Depart from the Deseased World, Desire to be Born in the Pure Land: Religious Mind and Aesthetic of the 11th -13th centuries 9 Image -
Being in the Noh: an Introduction to Japanese Noh Plays —
Being in the Noh: An Introduction to Japanese Noh Plays — http://edsitement.neh.gov/view_lesson_plan.asp?id=628 Conventions of the Noh Play A. The Five Types of Noh Plays: 1. The god play (Kami)—congratulatory piece praising the gods in a quiet, dignified tone. 2. The warrior play (Shura)—a slain warrior comes back as a ghost and relives his suffering 3. The woman play (Katsura)—an elegant, stylish woman is the protagonist 4. The mad woman (or madness) play/realistic play 5. The supernatural (or demon) play (Kiri)—a battle between a demon or other supernatural figure and a hero in which the demon is usually subdued. B. The Order of Performance 1. Okina-Sanbaso—a ritual piece 2. The god play (Noh) 3. A Kyogen play 4. The warrior play (Noh) 5. A Kyogen play 6. The woman play (Noh) 7. A Kyogen play 8. The mad play (Noh) 9. A Kyogen play 10. The demon play C. The Characters of a Noh Play 1. Shite (pronounced sh'tay)—the main character, the “doer” of the play Maejite—(pronounced may-j’tay) the shite appears in the first part of the play as an ordinary person Nochijite—(pronounced no-chee-j’tay) the shite disappears and then returns in the second part of the play in his true form as the ghost of famous person of long ago. 2. Tsure—(pronounced tsoo-ray) the companion of the shite 3. Waki—a secondary or “sideline” character, often a traveling priest, whose questioning of the main character is important in developing the story line 4. -
War Sum up Music
BAM 2013 Next Wave Festival #WarSumUp Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer War Sum Up Music. Manga. Machine. Hotel Pro Forma Vocals by Latvian Radio Choir BAM Howard Gilman Opera House Nov 1 & 2 at 7:30pm Approximate running time: one hour & 20 minutes; no intermission Directed by Kirsten Dehlholm BAM 2013 Next Wave Festival sponsor Music by The Irrepressibles, Santa Ratniece with Gilbert Nouno Concept by Willie Flindt and Kirsten Dehlholm Musical direction by Kaspars Putnins Costumes by Henrik Vibskov Leadership support for War Sum Up provided by The Barbaro Osher Pro Suecia Foundation Lighting design by Jesper Kongshaug Libretto from classic Noh theater edited by Willie Flindt Leadership support for opera at BAM Manga drawings by Hikaru Hayashi provided by: The Andrew W. Mellon Foundation Performed in Japanese with English titles The Peter Jay Sharp Foundation Stavros Niarchos Foundation Premiere: September 2, 2011, Latvian National Additional support for opera at BAM provided Opera, Riga by The Francena T. Harrison Foundation Trust Major support for music at BAM provided by The Virginia B. Toulmin Foundation Photo: Gunars Janaitis War Sum Up Latvian Radio Choir Soprano Ieva Ezeriete, Inga Martinsone, Iveta Romanca¯ne Alto Li¯ga Paegle, Dace Strautmane, Inga Žilinska Tenor Aigars Reinis, Ka¯rlis Ru¯tenta¯ls, Egils Ja¯kobsons Bass Gundars Dzil¸ums, Ja¯nis Kokins, Ja¯nis Strazdin¸š “Gamemaster” Ieva Ezeriete “Soldier” Aigars Reinis “Warrior” Gundars Dzilums “Spy” Liga Paegle Set design Kirsten Dehlholm, Willie Flindt, Jesper Kongshaug Video technique Kasper Stouenborg Video design Sine Kristiansen Manga drawings Hikaru Hayashi Black and white photos Zoriah Miller, Dallas Sells, Timothy Fadek, Kirtan Patel, Mário Porral, Richard Bunce Director’s assistant Jon R. -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Experience Ikebana, Sashimono, Kimono, Shishimai, and Noh and More Exciting Traditional Japanese Culture!
September 5, 2018 Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) Arts Council Tokyo Traditional Culture Program Arts Council Tokyo offers many activities to learn more about Japan Experience Ikebana, Sashimono, Kimono, Shishimai, and Noh and more exciting traditional Japanese culture! Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) implements various programs aimed for people who are not familiar with traditional Japanese culture and arts, like foreign people and children, to freely enjoy authentic traditional culture and performing arts, with the theme of “Approaching Tokyo Tradition.” The Council will hold a Japanese flower arrangement (Ikebana), Edo Sashimono, and Kimono dressing experience for foreign visitors on Oct. 20 and 21, in conjunction with the Tokyo Grand Tea Ceremony taking place at the Hama-rikyu Gardens. The second edition of the Shishimai and Acrobatics Experiences will also be held in October at Haneda Airport International Passenger Terminal. In addition, “Noh ‘SUMIDAGAWA’ -Sound of prayer cradled in sorrow-“will be held in February 2019. Stay tuned for the many exciting programs planned in the coming months. Arts Council Tokyo (Tokyo Metropolitan Supported by and in Tokyo Metropolitan Organized by Foundation for History and Culture) cooperation with Government The latest information for programs in the future will be updated on the following official website (in Japanese and English) web www.tokyo-tradition.jp facebook TokyoTradition twitter TYO_tradition Contact -
Bonsai Pdf 5/31/06 11:18 AM Page 1
Bonsai pdf 5/31/06 11:18 AM Page 1 THE BONSAI COLLECTION The Chicago Botanic Garden’s bonsai collection is regarded by bonsai experts as one of the best public collections in the world. It includes 185 bonsai in twenty styles and more than 40 kinds of plants, including evergreen, deciduous, tropical, flowering and fruiting trees. Since the entire collection cannot be displayed at once, select species are rotated through a display area in the Education Center’s East Courtyard from May through October. Each one takes the stage when it is most beautiful. To see photographs of bonsai from the collection, visit www.chicagobotanic.org/bonsai. Assembling the Collection Predominantly composed of donated specimens, the collection includes gifts from BONSAI local enthusiasts and Midwest Bonsai Society members. In 2000, Susumu Nakamura, a COLLECTION Japanese bonsai master and longstanding friend of the Chicago Botanic Garden, donated 19 of his finest bonsai to the collection. This A remarkable collection gift enabled the collection to advance to of majestic trees world-class status. in miniature Caring for the Collection When not on display, the bonsai in the Chicago Botanic Garden’s collection are housed in a secured greenhouse that has both outdoor and indoor facilities. There the bonsai are watered, fertilized, wired, trimmed and repotted by staff and volunteers. Several times a year, bonsai master Susumu Nakamura travels from his home in Japan to provide guidance for the care and training of this important collection. What Is a Bonsai? Japanese and Chinese languages use the same characters to represent bonsai (pronounced “bone-sigh”). -
Advanced Master Gardener Landscape Gardening For
ADVANCED MASTER GARDENER LANDSCAPE GARDENING FOR GARDENERS 2002 The Quest Continues 11 ADVANCED MASTER GARDENER 2002 LARRY A. SAGERS PROFFESOR UTAH STATE UNIVERSITY 21 ADVANCED MASTER GARDENER 2002 GRETCHEN CAMPBELL • MASTER GARDENER COORDINATOR AT THANKSGIVING POINT INSTITUE 31 ADVANCED MASTER GARDENER 2002 41 ADVANCED MASTER GARDENER 2002 HISTORY OF EARLY GARDENING • Life according to the Bible began in a garden. • Wherever that garden was located that was planted eastward in Eden, there were many plants that Adam and Eve were to tend. • The Garden provided”every tree that is pleasant to the sight and good for food” 51 ADVANCED MASTER GARDENER 2002 HISTORY OF EARLY GARDENING • Other cultures have similar stories. • Stories come from Native Americans African tribes, Polynesians and Aborigines and many other groups of gardens as a place of life 61 ADVANCED MASTER GARDENER 2002 HISTORY OF EARLY GARDENING • Teachings and legends influence art, religion, education and gardens. • The how and why of the different geographical and cultural influences on Landscape Gardening is the theme of the 2002 Advanced Master Gardening course at Thanksgiving Point Institute. 71 ADVANCED MASTER GARDENER 2002 HISTORY OF EARLY GARDENING • Earliest known indications of Agriculture only go back about 10,000 years • Bouquets of flowers have been found in tombs some 60,000 years old • These may have had aesthetic or ritual roles 81 ADVANCED MASTER GARDENER 2002 HISTORY OF EARLY GARDENING • Evidence of gardens in the fertile crescent between the Tigris and Euphrates -
Japanese Spatial Culture, Nature and Architecture
PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories. -
Western Influence on Japanese Art Song (Kakyoku) in the Meiji Era Japan
WESTERN INFLUENCE ON JAPANESE ART SONG (KAKYOKU) IN THE MEIJI ERA JAPAN JOANNE COLE Master of Music Performance (by Research) Faculty of the Victorian College of the Arts and Music The University of Melbourne December 2013 Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance (by Research) Produced on Archival Quality Paper Abstract The focus of this dissertation is the investigation of the earliest Western influences on Kōjō no Tsuki (Moon over the Castle) the composition of Japanese composer Rentaro Taki. Kōjō no Tsuki is an example of an early Japanese Art Song known as Kakyoku composed during Meiji Era Japan (1868 - 1912). The dissertation is divided into four chapters with an introduction. Chapter One explores the historical background of the Meiji Era Japan, highlighting the major impact of the signing of the treaty between the United States of America and Japan in 1853. This treaty effectively opened Japan to the West, not only for trade, but for exchange of social, political and cultural ideas. The resulting evolution that occurred in Japan from feudal society to one of early twentieth century is illustrated by reference to articles and writings of the Meiji Era. The second chapter examines the Japanese Art Song form Kakyoku using the example of Rentarō Taki’s song, Kōjō no Tsuki. This chapter presents an argument to illustrate, from an anthropological viewpoint, why this new form of Japanese Art Song could have its own identity based on Western ideas and not be categorised as a Japanese Folk Song known as Minʹyō or Shin Minyō. -
An Ethnographic Study of Parents' Attitudes Toward Language
University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2018 Crafting Japanese-ness: An Ethnographic Study of Parents’ Attitudes toward Language Maintenance in a Japanese Community in the United States Lorvelis Amelia Madueño University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Anthropology Commons Recommended Citation Madueño, Lorvelis Amelia, "Crafting Japanese-ness: An Ethnographic Study of Parents’ Attitudes toward Language Maintenance in a Japanese Community in the United States" (2018). Senior Honors Theses. 111. https://scholarworks.uno.edu/honors_theses/111 This Honors Thesis-Unrestricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Honors Thesis-Unrestricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Crafting Japanese-ness: An Ethnographic Study of Parents’ Attitudes toward Language Maintenance in a Japanese Community in the United States An Honors Thesis Presented to the Department of Anthropology of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts, with University High Honors and Honors in Anthropology by Lorvelis Amelia Madueño May 2018 Acknowledgements I would like to gratefully thank everyone at the Japanese Weekend School of New Orleans for their support and collaboration throughout this thesis. -
How to Look at Japanese Art I
HOWTO LOOKAT lAPANESE ART STEPHEN ADDISS with Audrey Yos hi ko Seo lu mgBf 1 mi 1 Aim [ t ^ ' . .. J ' " " n* HOW TO LOOK AT JAPANESE ART I Stephen Addi'ss H with a chapter on gardens by H Audrey Yoshiko Seo Harry N. Abrams, Inc., Publishers ALLSTON BRANCH LIBRARY , To Joseph Seuhert Moore Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935- How to look at Japanese art / Stephen Addiss with a chapter on Carnes gardens by Audrey Yoshiko Seo. Lee p. cm. “Ceramics, sculpture and traditional Buddhist art, secular and Zen painting, calligraphy, woodblock prints, gardens.” Includes bibliographical references. ISBN 0-8109-2640-7 (pbk.) 1. Art, Japanese. I. Seo, Audrey Yoshiko. II. Title N7350.A375 1996 709' .52— dc20 95-21879 Front cover: Suzuki Harunobu (1725-1770), Girl Viewing Plum Blossoms at Night (see hgure 50) Back cover, from left to right, above: Ko-kutani Platter, 17th cen- tury (see hgure 7); Otagaki Rengetsu (1791-1875), Sencha Teapot (see hgure 46); Fudo Myoo, c. 839 (see hgure 18). Below: Ryo-gin- tei (Dragon Song Garden), Kyoto, 1964 (see hgure 63). Back- ground: Page of calligraphy from the Ishiyama-gire early 12th century (see hgure 38) On the title page: Ando Hiroshige (1797-1858), Yokkaichi (see hgure 55) Text copyright © 1996 Stephen Addiss Gardens text copyright © 1996 Audrey Yoshiko Seo Illustrations copyright © 1996 Harry N. Abrams, Inc. Published in 1996 by Harry N. Abrams, Incorporated, New York All rights reserv'ed. No part of the contents of this book may be reproduced without the written permission of the publisher Printed and bound in Japan CONTENTS Acknowledgments 6 Introduction 7 Outline of Japanese Historical Periods 12 Pronunciation Guide 13 1. -
Japanese Studies Review, Vol. XX (2016), Pp
ISSN: 1500-0713 ______________________________________________________________ Article Title: Performing Prayer, Saving Genji, and Idolizing Murasaki Shikibu: Genji Kuyō in Nō and Jōruri Author(s): Satoko Naito Source: Japanese Studies Review, Vol. XX (2016), pp. 3-28 Stable URL: https://asian.fiu.edu/projects-and-grants/japan-studies- review/journal-archive/volume-xx-2016/naito-satoko- gkuyojoruri_jsr.pdf ______________________________________________________________ PERFORMING PRAYER, SAVING GENJI, AND IDOLIZING MURASAKI SHIKIBU: GENJI KUYŌ IN NŌ AND JŌRURI1 Satoko Naito University of Maryland, College Park Introduction The Murasaki Shikibu daraku ron [lit. “Story of Murasaki Shikibu’s Fall] tells that after her death Murasaki Shikibu (d. ca. 1014) was cast to hell.2 The earliest reference is found in Genji ipponkyō [Sutra for Genji] (ca. 1166), which recounts a Buddhist kuyō (dedicatory rite) performed on her behalf, with the reasoning that the Heian author had been condemned to eternal suffering in hell for writing Genji monogatari [The Tale of Genji] (ca. 1008). Though Genji ipponkyō makes no explicit claim to the efficacy of the kuyō, its performance is presumably successful and saves the Genji author. In such a case the earliest extant utterance of the Murasaki-in-hell story is coupled with her subsequent salvation, and the Genji author, though damned, is also to be saved.3 It may be more accurate, then, to say that the Murasaki Shikibu daraku ron is about Murasaki Shikibu’s deliverance, rather than her fall (daraku). Through the medieval period and beyond, various sources recounted the execution of kuyō rites conducted for The Tale of Genji’s author, often initiated and sponsored by women.4 Such stories of Genji kuyō 1 Author’s Note: I thank those who commented on earlier versions of this paper, in particular D.