Nihontō Compendium

Total Page:16

File Type:pdf, Size:1020Kb

Nihontō Compendium Markus Sesko NIHONTŌ COMPENDIUM © 2015 Markus Sesko – 1 – Contents Characters used in sword signatures 3 The nengō Eras 39 The Chinese Sexagenary cycle and the corresponding years 45 The old Lunar Months 51 Other terms that can be found in datings 55 The Provinces along the Main Roads 57 Map of the old provinces of Japan 59 Sayagaki, hakogaki, and origami signatures 60 List of wazamono 70 List of honorary title bearing swordsmiths 75 – 2 – CHARACTERS USED IN SWORD SIGNATURES The following is a list of many characters you will find on a Japanese sword. The list does not contain every Japanese (on-yomi, 音読み) or Sino-Japanese (kun-yomi, 訓読み) reading of a character as its main focus is, as indicated, on sword context. Sorting takes place by the number of strokes and four different grades of cursive writing are presented. Voiced readings are pointed out in brackets. Uncommon readings that were chosen by a smith for a certain character are quoted in italics. 1 Stroke 一 一 一 一 Ichi, (voiced) Itt, Iss, Ipp, Kazu 乙 乙 乙 乙 Oto 2 Strokes 人 人 人 人 Hito 入 入 入 入 Iri, Nyū 卜 卜 卜 卜 Boku 力 力 力 力 Chika 十 十 十 十 Jū, Michi, Mitsu 刀 刀 刀 刀 Tō 又 又 又 又 Mata 八 八 八 八 Hachi – 3 – 3 Strokes 三 三 三 三 Mitsu, San 工 工 工 工 Kō 口 口 口 口 Aki 久 久 久 久 Hisa, Kyū, Ku 山 山 山 山 Yama, Taka 氏 氏 氏 氏 Uji 円 円 円 円 Maru, En, Kazu (unsimplified 圓 13 str.) 也 也 也 也 Nari 之 之 之 之 Yuki, Kore 大 大 大 大 Ō, Dai, Hiro 小 小 小 小 Ko 上 上 上 上 Kami, Taka, Jō 下 下 下 下 Shimo, Shita, Moto 丸 丸 丸 丸 Maru 女 女 女 女 Yoshi, Taka 及 及 及 及 Chika 子 子 子 子 Shi 千 千 千 千 Sen, Kazu, Chi 才 才 才 才 Toshi 与 与 与 与 Yo (unsimplified 與 13 strokes) 刄 刃 刃 刃 刃 Ha (unsimplified ) – 4 – 4 Strokes 元 元 元 元 Moto 天 天 天 天 Ama, Ten 井 井 井 井 I, Ido 月 月 月 月 Gatsu, Getsu, Tsuki (voiced) Gass, Gess 日 日 日 日 Aki, Nichi, (voiced) Niss 介 介 介 介 Suke 友 友 友 友 Tomo 中 中 中 中 Naka 夫 夫 夫 夫 Suke 仁 仁 仁 仁 Hito, Nin 太 太 太 太 Hiro, Ta 文 文 文 文 Fumi 多 多 多 多 Masa, Kata 分 分 分 分 Waki, Wake 戸 戸 戸 戸 Ie, To 市 市 市 市 Ichi, Machi 公 公 公 公 Kimi, Kō, Masa, Taka 王 王 王 王 Ō, Kimi 心 心 心 心 Kiyo, Shin 升 升 升 升 Masu 内 内 内 内 Uchi – 5 – 仍 仍 仍 仍 Yori 水 水 水 水 Sui, Mizu 少 少 少 少 Masa 仏 仏 仏 仏 Butsu (unsimplified 佛 7 Strokes) 予 予 予 予 Yo (unsimplified 豫 16 strokes) 5 Strokes 民 民 民 民 Tami 左 左 左 左 Sa, Suke 右 右 右 右 U, Suke 石 石 石 石 Ishi, Kazu 収 収 収 収 Kazu, Nobu, Kane 主 主 主 主 Nushi, Kimi 玉 玉 玉 玉 Kiyo, Tama, Gyō 立 立 立 立 Tatsu, Tate, Ryū 北 北 北 北 Kita, Hoku 卯 卯 卯 卯 Shige, Aki 世 世 世 世 Toshi, Se, Yo, Yuki 外 外 外 外 To, Tono, Soto, Ge 廣 広 広 広 広 Hiro, Kō (unsimplified 15 strokes) 弘 弘 弘 弘 Hiro 正 正 正 正 Masa – 6 – 包 包 包 包 Kane 本 本 本 本 Moto, Hon 平 平 平 平 Hira, Taira (voiced) Daira 功 功 功 功 Koto 永 永 永 永 Naga, Ei, Nori 末 末 末 末 Sue 加 加 加 加 Ka 古 古 古 古 Hisa, Ko 生 生 生 生 Nari, Shō 令 令 令 令 Nori, Yoshi 代 代 代 代 Shiro, Yo, Nori, Yori 白 白 白 白 Shiro, Kiyo, Haku 旦 旦 旦 旦 Tada 付 付 付 付 Tomo 辻 辻 辻 辻 Tsuji 田 田 田 田 Ta, Da, Tada 目 目 目 目 Yori 仙 仙 仙 仙 Hito, Sen 瓜 瓜 瓜 瓜 Uri 用 用 用 用 Mochi 司 司 司 司 Mori – 7 – 可 可 可 可 Yoshi 由 由 由 由 Yoshi 布 布 布 布 Nobu 半 半 半 半 Han 玄 玄 玄 玄 Haru, Gen 匡 匡 匡 匡 Masa, Tada 礼 礼 礼 礼 Nori 兄 兄 兄 兄 Tada 以 以 以 以 Sane, (voiced) Zane, o motte 辺 辺 辺 辺 Hen, Be (unsimplified 邊 19 strokes) 旧 旧 旧 旧 Kyū, Furu, Moto (unsimplified 舊 17 strokes) 台 台 台 台 Dai (unsimplified 臺 14 strokes) 6 Strokes 州 州 州 州 Shū, Kuni 竹 竹 竹 竹 Take 列 列 列 列 Tsuchi, Rei 行 行 行 行 Yuki, Kō, Gyō, Tsura 休 休 休 休 Yasu, Kyū 伊 伊 伊 伊 Kore, Tada 江 江 江 江 Kō, E 旨 旨 旨 旨 Mune – 8 – 光 光 光 光 Mitsu, Kō 次 次 次 次 Tsugu, Ji 吉 吉 吉 吉 Yoshi 成 成 成 成 Nari, Shige, Jō 安 安 安 安 Yasu, Sada 有 有 有 有 Ari 在 在 在 在 Ari 年 年 年 年 Toshi, Nen 宇 宇 宇 宇 U 守 守 守 守 Mori, Kami 宅 宅 宅 宅 Ie 因 因 因 因 In, Nao 仲 仲 仲 仲 Naka 曲 曲 曲 曲 Nori 先 先 先 先 Saki 任 任 任 任 Tō 同 同 同 同 Tomo, Dō, Atsu 羽 羽 羽 羽 Ha, Wa, Hane, U 充 充 充 充 Jū, Mitsu 自 自 自 自 Yori, Ji 舟 舟 舟 舟 Fune – 9 – 伝 伝 伝 伝 Hiro, Den, Yoshi (unsimplified 傅 12 strokes) 當 当 当 当 当 Masa (unsimplified 13 strokes) 芝 芝 芝 芝 Shige 至 至 至 至 Chika, Yoshi, Nori, Shi 全 全 全 全 Masa, Take, Mitsu, Yasu 共 共 共 共 Tomo 米 米 米 米 Yone, Mitsu 如 如 如 如 Nyo, Yoshi 汎 汎 汎 汎 Hiro 伏 伏 伏 伏 Fushi 式 式 式 式 Nori, Shiki 印 印 印 印 Aki, In 戌 戌 戌 戌 Inu 百 百 百 百 Hyaku, Momo 合 合 合 合 Haru, Au, Ai, Gō 汗 汗 汗 汗 Asa 肉 肉 肉 肉 Shishi 寺 寺 寺 寺 Tera, Ji – 10 – 7 Strokes 邦 邦 邦 邦 Kuni 言 言 言 言 Nobu, Toki, Koto 杉 杉 杉 杉 Sugi 杦 杦 杦 杉 Sugi 社 社 社 社 Mori, Taka, Ari 但 但 但 但 Tada, Tan 君 君 君 君 Kimi, Kun 私 私 私 私 Kisa, Shi 壽 寿 寿 寿 寿 Toshi, Ju, Hisa (unsimplified 14 strokes) 改 改 改 改 Kai, Masa 舛 舛 舛 舛 Masu 村 村 村 村 Mura 忍 忍 忍 忍 Nin, Oshi 秀 秀 秀 秀 Hide, Shū 助 助 助 助 Suke 芳 芳 芳 芳 Yoshi 辰 辰 辰 辰 Toki, Tatsu 見 見 見 見 Aki, Chika 近 近 近 近 Chika 利 利 利 利 Toshi 我 我 我 我 Ga – 11 – 良 良 良 良 Yoshi 花 花 花 花 Hana 伯 伯 伯 伯 Haku, Nori, Taka 角 角 角 角 Kado, Sumi, Zumi 作 作 作 作 Saku, Nari 抄 抄 抄 抄 Nuki, Suki 里 里 里 里 Sato 住 住 住 住 Sumi, Jū 位 位 位 位 Taka 谷 谷 谷 谷 Tani, Michi, Hiro 折 折 折 折 Toki 伴 伴 伴 伴 Tomo 町 町 町 町 Machi 足 足 足 足 Tari, Yuki 克 克 克 克 Katsu 臣 臣 臣 臣 Tomi, Shin, Omi 孝 孝 孝 孝 Taka 完 完 完 完 Masa, Sada 岑 岑 岑 岑 Mine 體 体 体 体 体 Moto, Tai, Teru (unsimplified 23 strokes) 床 床 床 床 Yuka, Toko – 12 – 戒 戒 戒 戒 Kai 妙 妙 妙 妙 Tada, Myō 希 希 希 希 Mare 亜 亜 亜 亜 Tsugu, A 酉 酉 酉 酉 Tori 應 応 応 応 応 Nobu, Nori, Ō (unsimplified 17 strokes) 判 判 判 判 Han 牡 牡 牡 牡 Bo 沖 沖 沖 沖 Oki 兵 兵 兵 兵 Hyō, Hei (voiced Bei) 来 来 来 来 Rai, Kuru, Kura, Yuki (unsimplified 來 8 str.) 宏 宏 宏 宏 Hiro, Kō 佛 佛 佛 佛 Butsu (simplified 仏 4 strokes) 宍 宍 宍 宍 Shi, Shishi 邑 邑 邑 邑 Mura, Kuni, Sato, Sumi, Tomo 究 究 究 究 Sumi (voiced Zumi) 序 序 序 序 Nobu, Tsugu 呂 呂 呂 呂 Ro, Naga 伸 伸 伸 伸 Shin, Nobu 對 対 対 対 対 Tai, Tsu (unsimplified 14 strokes) 志 志 志 志 Shi – 13 – 声 声 声 声 Sei, Koe (unsimplified 聲 17 strokes) 芸 芸 芸 芸 Gei (unsimplified 藝 18 strokes) 沢 沢 沢 沢 Sawa (voiced Zawa) (unsimplified 澤 16 str.) 余 余 余 余 Yo (unsimplified 餘 16 strokes) 8 Strokes 果 果 果 果 Aki, Ka 金 金 金 金 Kane, Kin, Kana, Kon, Yoshi 奇 奇 奇 奇 Ki 刻 刻 刻 刻 Toki 波 波 波 波 Nami, Ha (voiced Ba) 京 京 京 京 Kyō 空 空 空 空 Sora, Kū 径 径 径 径 Michi 拝 拝 拝 拝 Tomo 季 季 季 季 Sue, Toshi 幸 幸 幸 幸 Yuki, Kō, Yoshi 明 明 明 明 Aki, Teru, Myō 定 定 定 定 Sada, Tei 房 房 房 房 Fusa 國 国 国 国 国 Kuni, Koku (unsimplified 11 strokes) 忠 忠 忠 忠 Tada – 14 – 長 長 長 長 Naga, Osa 依 依 依 依 Yori 實 実 実 実 実 Zane, Sane, Jitsu (unsimplified 14 strokes) 宗 宗 宗 宗 Mune, Sō 直 直 直 直 Nao 延 延 延 延 Nobu 岩 岩 岩 岩 Gan, Iwa 法 法 法 法 Nori, Hō 門 門 門 門 Kado, Hiro 和 和 和 和 Kazu, Masa 周 周 周 周 Chika 治 治 治 治 Haru 青 青 青 青 Haru 舎 舎 舎 舎 Ie 岸 岸 岸 岸 Kishi 命 命 命 命 Naga, Nobu, Nori 泊 泊 泊 泊 Nami 泊 泊 泊 泊 Nori 岡 岡 岡 岡 Oka 枝 枝 枝 枝 Shige, Kore, Eda, Taka 茂 茂 茂 茂 Shige – 15 – 知 知 知 知 Tomo, Chi 武 武 武 武 Take, Mu 兎 兎 兎 兎 To 寳 宝 宝 宝 宝 Yoshi, Tomi, Taka (unsimplified 19 str.) 英 英 英 英 Hide, Teru 居 居 居 居 Sumi 供 供 供 供 Tomo 具 具 具 具 Tomo 虎 虎 虎 虎 Tora, Ko 取 取 取 取 Tori 姓 姓 姓 姓 Uji 若 若 若 若 Waka 昌 昌 昌 昌 Masa, Shō 林 林 林 林 Mori, Rin 典 典 典 典 Nori, Suke, Ten 往 往 往 往 Ō 阿 阿 阿 阿 A 侍 侍 侍 侍 Hito 枡 枡 枡 枡 Masu 松 松 松 松 Matsu 抹 抹 抹 抹 Matsu – 16 – 性 性 性 性 Saga 放 放 放 放 Sute 孟 孟 孟 孟 Take 沓 沓 沓 沓 Kutsu 東 東 東 東 Tō, Haru 受 受 受 受 Tsugu, Shige 使 使 使 使 Shi 朋 朋 朋 朋 Tomo 斉 斉 斉 斉 Nari 昊 昊 昊 昊 Kō 尚 尚 尚 尚 Nao, Hisa 弥 弥 弥 弥 Ya (unsimplified 彌 17 strokes) 夜 夜 夜 夜 Yoru 征 征 征 征 Masa 来 來 來 來 來 Rai, Kuru, Kura, Yuki (simplified 7 str.) 於 於 於 於 ni oite 奉 奉 奉 奉 Hō 寳 寶 宝 宝 宝 宝 Hō, Taka (unsimplified / 19/20 strokes) – 17 – 9 Strokes 研 研 研 研 Aki, Ken 屋 屋 屋 屋 Ie, Ya 計 計 計 計 Kazu 枯 枯 枯 枯 Kare, Karu 前 前 前 前 Mae, Saki (voiced Zaki) 城 城 城 城 Shiro, Jō 廻 廻 廻 廻 Tabi 為 為 為 為 Tame, Nari 浄 浄 浄 浄 Kiyo 神 神 神 神 Kami, Shin 軍 軍 軍 軍 Gun 草 草 草 草 Kusa, Sō 胡 胡 胡 胡 Ko 祓 祓 祓 祓 Kiyo 姿 姿 姿 姿 Kata, Taka 昭 昭 昭 昭 Aki, Shō 榮 栄 栄 栄 栄 Ei, Hide, Yoshi, Teru (unsimplified 14 str.) 則 則 則 則 Nori 秋 秋 秋 秋 Aki 重 重 重 重 Shige, Jū, Tsuge, Atsu 亮 亮 亮 亮 Suke, Aki – 18 – 乗 乗 乗 乗 Nori, Jō 祐 祐 祐 祐 Suke 品 品 品 品 Katsu, Shina 風 風 風 風 Kaze, Fū 信 信 信 信 Nobu, Shin 俊 俊 俊 俊 Toshi, Shun 貞 貞 貞 貞 Sada, Tei 春 春 春 春 Haru 政 政 政 政 Masa 持 持 持 持 Mochi 恒 恒 恒 恒 Tsune 宣 宣 宣 宣 Nobu, Nori 紀 紀 紀 紀 Nori, Ki 音 音 音 音 Oto 相 相 相 相 Suke, Sō 洞 洞 洞 洞 Tani 是 是 是 是 Kore 保 保 保 保 Yasu 郎 郎 郎 郎 Yoshi, O, Rō, Ryō 胤 胤 胤 胤 Tane 海 海 海 海 Umi, Kai – 19 – 圀 圀 圀 圀 Kuni 度 度 度 度 Nori, Do, Tabi 巻 巻 巻 巻 Maki 待 待 待 待 Machi 美 美 美 美 Yoshi, Mi, Bi 泉 泉 泉 泉 Sen, Izumi 厚 厚 厚 厚 Atsu 威 威 威 威 Take 香 香 香 香 Taka, Kō 南 南 南 南 Nan, Nami 後 後 後 後 Nochi, Go 故 故 故 故 Hisa 発 発 発 発 Hatsu 昼 昼 昼 昼 Hiru 俦 儔 儔 儔 Tomo (unsimplified 儔 16 strokes) 毘 毘 毘 毘 Aki, Hiro 盈 盈 盈 盈 Mitsu 勇 勇 勇 勇 Take, Yū 専 専 専 専 Taka 要 要 要 要 Toshi, Aki 珍 珍 珍 珍 Yoshi, Taka, Chin – 20 – 荘 荘 荘 荘 Ritsu 荘 荘 荘 荘 Shō, Ie 県 県 県 県 Ken (unsimplified 縣 16 strokes) 10 Strokes 朗 朗 朗 朗 Aki, Rō 兼 兼 兼 兼 Kane 帯 帯 帯 帯 Obi, Haki 郡 郡 郡 郡 Gun, Sato, Kuni 恭 恭 恭 恭 Yasu, Chika 修 修 修 修 Naga 倫 倫 倫 倫 Tomo, Rin 納 納 納 納 Nori, Nō 梅 梅 梅 梅 Ume, Bai 祥 祥 祥 祥 Yoshi 秡 秡 秡 秡 Kiyo 胷 胸 胸 胸 胸 Mune (variant ) 真 真 真 真 Sane (voiced Zane), Ma, Masa 高 高 高 高 Taka 座 座 座 座 Kura, Za 家 家 家 家 Ie – 21 – 倉 倉 倉 倉 Kura 鬼 鬼 鬼 鬼 Oni, Ki 峯 峯 峯 峯 Mine, Hō 峰 峰 峰 峰 Mine, Hō 員 員 員 員 Kazu 時 時 時 時 Yoki 能 能 能 能 Yoshi 泰 泰 泰 泰 Yasu, Hiro 流 流 流 流 Haru, Ryū 師 師 師 師 Moro, Nori 涌 涌 涌 涌 Waki, Waku 倶 倶 倶 倶 Tomo 敏 敏 敏 敏 Toshi 浦 浦 浦 浦 Ura 純 純 純 純 Sumi, Zumi, Jun 起 起 起 起 Oki 格 格 格 格 Nori, Kaku 連 連 連 連 Tsura 馬 馬 馬 馬 Ma, Uma 倍 倍 倍 倍 Masu 益 益 益 益 Masu – 22 – 通 通 通 通 Michi 宮 宮 宮 宮 Miya 帰 帰 帰 帰 Moto, Yori 秘 秘 秘 秘 Yasu, Hi 哲 哲 哲 哲 Tetsu 恕 恕 恕 恕 Yoshi 商 商 商 商 Aki, Shō 造 造 造 造 Nari, Tsukuru, Zō 貢 貢 貢 貢 Tsugu 耆 耆 耆 耆 Toshi 浪 浪 浪 浪 Nami 哥 哥 哥 哥 Yoshi, Uta 剣 剣 剣 剣 Akira, Tsurugi, Ken 浮 浮 浮 浮 Fu 扇 扇 扇 扇 Sen 将 将 将 将 Masa, Shō 剛 剛 剛 剛 Masa 孫 孫 孫 孫 Mago 陣 陣 陣 陣 Tsura, Jin 晃 晃 晃 晃 Aki 勉 勉 勉 勉 Tsutomu – 23 – 恵 恵 恵 恵 Yoshi, Kei (unsimplified 惠 12 strokes) 宴 宴 宴 宴 Mori 素 素 素 素 Moto 烈 烈 烈 烈 Retsu 庫 庫 庫 庫 Kura 記 記 記 記 Nori, Ki 隼 隼 隼 隼 Haya 矩 矩 矩 矩 Nori, Tsune, Tada, Kane 浜 浜 浜 浜 Hama (unsimplified 濱 17 strokes) 竜 竜 竜 竜 Ryū, Tatsu (unsimplified 龍 16 strokes) 11 Strokes 惟 惟 惟 惟 Kore, Tada 崎 崎 崎 崎 Saki 鹿 鹿 鹿 鹿 Shika 梢 梢 梢 梢 Sue 貫 貫 貫 貫 Tsura 庸 庸 庸 庸 Tsune 教 教 教 教 Nori, Kyō 国 國 國 國 國 Kuni, Koku (unsimplified 8 strokes) 進 進 進 進 Yuki, Nobu 健 健 健 健 Take, Ken – 24 – 康 康 康 康 Yasu, Kō 啓
Recommended publications
  • Japan's Secretive Death Penalty Policy
    Japan’s Secretive Death Penalty Policy: Contours, Origins, Justifications, and Meanings♦ David T. Johnson I. ABSTRACT...................................................................................................62 II. “REIKO IN WONDERLAND” .....................................................................63 A. SECRECY AND SILENCE ..............................................................................70 III. ORIGINS .......................................................................................................76 A. MEIJI BIRTH ...............................................................................................76 B. THE OCCUPATION’S “CENSORED DEMOCRACY” ........................................80 C. POSTWAR ACCELERATION..........................................................................87 IV. JUSTIFICATIONS ........................................................................................97 V. MEANINGS.................................................................................................109 A. SECRECY AND LEGITIMACY......................................................................109 B. SECRECY AND SALIENCE ..........................................................................111 C. SECRECY AND DEMOCRACY.....................................................................117 D. SECRECY AND LAW ..................................................................................119 VI. CONCLUSION.............................................................................................123
    [Show full text]
  • Tra Storia E Leggenda “Kusanagi No Tsurugi” La Spada Falciatrice D’Erba
    Tra storia e leggenda “Kusanagi no Tsurugi” la Spada Falciatrice d’Erba Si narra che il dio Haya Susanoo - figlio del dio Attorno alle spade giapponesi (alla loro origine, ai Izanagi, creatore, insieme alla dea Izanami, delle fabbri che le forgiarono, ai personaggi che ne furo- isole nipponiche - venne esiliato nella regione di no in possesso o ne subirono gli effetti) sono fiorite Izumo dalle otto centinaia di decine di migliaia nel tempo numerose storie e leggende come quella di dei. Qui egli uccise un drago con otto teste per di Susanoo, sospese tra mito e realtà storicamente salvare una vergine, offerta in sacrificio al mostro. documentate. Tramandati di padre in figlio in epoche Trafitta a morte la bestia, si affrettò a smembrarla con lontane, molti di questi racconti sono inverosimili la propria spada ma, arrivato alla coda, non riuscì a alla luce della pragmatica logica occidentale, ma un troncarla: il filo della spada si intaccava, cozzando tempo erano venerati in Giappone come indiscutibili contro un elemento prodigiosamente inscalfibile. verità rivelate: spade indistruttibili e prodigiosamente Squarciata la coda per tutta la lunghezza, il dio trovò affilate riparavano torti e scacciavano spiriti malvagi all’interno una grande spada, che venne chiamata in nome della giustizia. E portavano nomi propri, Tsumugari (La Ben Affilata). Susanoo la consegnò legati al possessore, al fabbro o, più frequentemente, alla dea solare Amaterasu, che la diede poi al nipote ad un particolare elemento della loro straordinaria Ninigi quando questi discese dal cielo per governare vicenda. il Giappone. La spada fu infine ereditata dagli impe- ratori, il decimo dei quali, Suigin, ordinò che fosse _ custodita nel tempio di Ise.
    [Show full text]
  • Full Download
    VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン=ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS
    [Show full text]
  • No.723 (April Issue)
    NBTHK SWORD JOURNAL ISSUE NUMBER 723 April, 2017 Meito Kansho Examination of Important Swords Juyo Bijutsu Hin Important Art Object Type: Tachi Owner: Mori Kinen (memorial) Shu-sui Museum Mei: Toshitsune Length: 2 shaku 3 sun1 bu 8 rin (70.25 cm) Sori: 9 bu 6 rin (2.9 cm) Motohaba: 9 bu 2 rin (2.8 cm) Sakihaba: 6 bu 3 rin (1.9 cm) Motokasane: 2 bu (0.6 cm) Sakikasane: 1 bu 1 rin (0.35 cm) Kissaki length: 8 bu 6 rin (2.6 cm) Nakago length: 6 sun 5 bu 7 rin (19.9 cm) Nakago sori: 1 bu (0.3 rin) Commentary This is a shinogi zukuri tachi with an ihorimune, a standard width, and there is not much difference in the widths at the moto and saki. It is slightly thick, there is a large koshi-sori with funbari, the tip has a prominent sori, and there is a short chu- kissaki. The jihada is itame mixed with mokume, the entire jihada is well forged, and some areas have a fine ko-itame jihada. There are ji-nie, chikei along the itame hada areas, and jifu utsuri. The entire hamon is high, and composed of ko- gunome mixed with ko-choji, square gunome, and togariba. The hamon’s vertical alterations are not prominent, and in some places it is a suguha type hamon. There are ashi and yo, a nioiguchi, a little bit of uneven fine mura, and mizukaze-like utsuri at the koshimoto is very clear and almost looks like a hamon.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries Permalink https://escholarship.org/uc/item/90w6w5wz Author Carter, Caleb Swift Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Caleb Swift Carter 2014 ABSTRACT OF THE DISSERTATION Producing Place, Tradition and the Gods: Mt. Togakushi, Thirteenth through Mid-Nineteenth Centuries by Caleb Swift Carter Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2014 Professor William M. Bodiford, Chair This dissertation considers two intersecting aspects of premodern Japanese religions: the development of mountain-based religious systems and the formation of numinous sites. The first aspect focuses in particular on the historical emergence of a mountain religious school in Japan known as Shugendō. While previous scholarship often categorizes Shugendō as a form of folk religion, this designation tends to situate the school in overly broad terms that neglect its historical and regional stages of formation. In contrast, this project examines Shugendō through the investigation of a single site. Through a close reading of textual, epigraphical, and visual sources from Mt. Togakushi (in present-day Nagano Ken), I trace the development of Shugendō and other religious trends from roughly the thirteenth through mid-nineteenth centuries. This study further differs from previous research insofar as it analyzes Shugendō as a concrete system of practices, doctrines, members, institutions, and identities.
    [Show full text]
  • In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine
    In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Patricia Shehan Campbell, Chair Jeffrey M. Perl Christina Sunardi Paul S. Atkins Program Authorized to Offer Degree: Music ii ©Copyright 2017 Michiko Urita iii University of Washington Abstract In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita Chair of the Supervisory Committee: Professor Patricia Shehan Campbell Music This dissertation explores the essence and resilience of the most sacred and secret ritual music of the Japanese imperial court—kagura taikyoku and kagura hikyoku—by examining ways in which these two songs have survived since their formation in the twelfth century. Kagura taikyoku and kagura hikyoku together are the jewel of Shinto ceremonial vocal music of gagaku, the imperial court music and dances. Kagura secret songs are the emperor’s foremost prayer offering to the imperial ancestral deity, Amaterasu, and other Shinto deities for the well-being of the people and Japan. I aim to provide an understanding of reasons for the continued and uninterrupted performance of kagura secret songs, despite two major crises within Japan’s history. While foreign origin style of gagaku was interrupted during the Warring States period (1467-1615), the performance and transmission of kagura secret songs were protected and sustained. In the face of the second crisis during the Meiji period (1868-1912), which was marked by a threat of foreign invasion and the re-organization of governance, most secret repertoire of gagaku lost their secrecy or were threatened by changes to their traditional system of transmissions, but kagura secret songs survived and were sustained without losing their iv secrecy, sacredness, and silent performance.
    [Show full text]
  • Japonica Humboldtiana 8 (2004)
    JAPONICA HUMBOLDTIANA 8 (2004) Contents MARKUS RÜTTERMANN Ein japanischer Briefsteller aus dem ‘Tempel zu den hohen Bergen’ Übersetzung und Kommentar einer Heian-zeitlichen Handschrift (sogenanntes Kôzanjibon koôrai). Zweiter und letzter Teil ............ 5 GERHILD ENDRESS Ranglisten für die Regierungsbeamten des Hofadels Ein textkritischer Bericht über das Kugyô bunin ............................. 83 STEPHAN KÖHN Alles eine Frage des Geschmacks Vom unterschiedlichen Stellenwert der Illustration in den vormodernen Literaturen Ost- und Westjapans .................... 113 HARALD SALOMON National Policy Films (kokusaku eiga) and Their Audiences New Developments in Research on Wartime Japanese Cinema.............................................................................. 161 KAYO ADACHI-RABE Der Kameramann Miyagawa Kazuo................................................ 177 Book Reviews SEPP LINHART Edo bunko. Die Edo Bibliothek. Ausführlich annotierte Bibliographie der Blockdruckbücher im Besitz der Japanologie der J. W. Goethe-Universität Frankfurt am Main als kleine Bücherkunde und Einführung in die Verlagskultur der Edo-Zeit Herausgegeben von Ekkehard MAY u.a............................................ 215 4 Contents REGINE MATHIAS Zur Diskussion um die “richtige” Geschichte Japans Steffi RICHTER und Wolfgang HÖPKEN (Hg.): Vergangenheit im Gesellschaftskonflikt. Ein Historikerstreit in Japan; Christopher BARNARD: Language, Ideology, and Japanese History Textbooks ...........................................................................
    [Show full text]
  • Honjo, Eijiro Citation Kyoto University Econo
    A SHORT HISTORY OF SOCIAL PROBLEMS IN JAPAN Title BEFORE THE RESTORATION Author(s) Honjo, Eijiro Citation Kyoto University Economic Review (1928), 3(2): 41-85 Issue Date 1928-12 URL https://doi.org/10.11179/ker1926.3.2_41 Right Type Departmental Bulletin Paper Textversion publisher Kyoto University Kyoto University Economic Review MEMOIRS OF THE DEI"ARTMENT OF ECONOMICS IN THE IMPERIAL UNIVERSITY OF KYOTO VOLUME III 1928 PUBLISHED BY THE DEPARTMENT OF ECONOMICS IN THE IMPERIAL UNIVERSITY OF KYOTO A SHORT HISTORY OF SOCIAL PROBLEMS IN JAPAN BEFORE THE RESTORA TION.* CHAPTER I CHANGES IN POLITICAL AND SOCIAL ORGANISATIONS. 1. SOCIETY BASED ON THE SHIZOKU (Jr;~) SYSTEM (CLAN SYSTEM). The constitution of the shizoku. The political and social organisations in Japan of remote ages were based on ! the shizoku system. The shizoku means a community embra· I cing a number of households of the same ancestry or those which believed themselves to be of the same ancestry. The I households constituting it include not only those of direct descent but those of collateral lines. Each shizoku community had its head who ruled all component households, while each I.. household was led by its master. To each of these uji (Jr;) (shizoku) belonged a body called be ('llII) or lomo (f$) and also another body called yakko (~). Although an uji was a community of those of the same ancestry, such was not necessarily the case with the be. As they belonged to some uji, they came by degrees to assume the name of that uji, and finally regarded themselves as of the same ancestry as their chief, their claim being recognised by outsiders also.
    [Show full text]
  • Kyoto Sightseeing Route
    Imamiya-jinja Nearest bus stop ❾● Nearest bus stop ❾● Eizan Elec. Rwy. Specialty Shrine For Shimogamo-jinja Shrine For Ginkaku-ji Templeダミー銀閣寺の説明。□□□□□□□□□□□□□□□□□□□□□□□□□ Free Wi-Fi on board Operate every 5~10 min. Operate every 5~10 min. ( to Kibune/Kurama) Specialty SSID:skyhopbus_Free PW:skyhopbus ABURI MOCHIダミー金閣寺の説明。□□□□□□□□□□□□□□□□□□ □□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ 1 2 GOLD LEAF aitokuji 【Kyoto City Bus】 【Kyoto City Bus】 yoto ta. arasuma ojo roasted□□□□□□□□□□□□□□□□□□□□□□□□□□□□D □□□□□□□□□□□□□□□□□ Sky Hop K S K G SOFT CREAM rice cakes Bus route No.203 & No.102 BusKita-Oji route St. No.203 & No.102 □□□□□□□□□□□□□□□□□□□□□□□□□□□□Temple Bus □□□ Koto-in Karasuma Imadegawa Demachiyanagi Sta. Karasuma Imadegawa Ginkakuji-michi Ichijoji Sta. SKYHOP BUS Kyoto With Kyoto as the gateway to Hotel New Kyoto Tower ↑ Nearby Byodo-ji Temple was Temple 8 ※Walking about 3 min. from❾ ※Walking about 12 min. ※Walking about 3 min. from❾ ※Walking about 10 min. ダミー下鴨神社の説明。□□□□□□□□□□□□□□□□□ history, the station features a Hankyu Kyoto Hotel established when a statue of 2 Ryogen-in Temple to Shimogamo-jinja Shrine to Ginkaku-ji Temple (1 trip 99 min./every 30 min.) Kinkakuji 7 廬山寺 □□□□□□□□□□□□□□□□□□□□□□□□□□□□ Japanese Go board tile design. Yakushi Nyorai was drawn from ※A separate fare fromShimei the SkySt. Hop Bus Kyoto ticket is ※A separate fare from the Sky Hop Bus Kyoto ticket is Gojo Shimogamo Hon-dori St. Hon-dori Shimogamo □□□□□□□□□□□□□□□□□□□□□□□□□□□□ required. This fareKarasuma St. is 230 yen (one way). required. This fare is 230 yen (one way). Visitors from abroad will the sea and enshrined in 997. Temple □□□□ 500m 法然院 Subway Karasuma Line ダミー銀閣寺の説明。□□□□□□□□□□□□□□□□□□□□□□□□□ Tomb of Murasaki Shikibu 1 appreciate the large tourist Information 京都The principle image of Yakushi □□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ Central Gojo St.
    [Show full text]
  • Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
    UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance.
    [Show full text]
  • Discourses on Religious Violence in Premodern Japan
    The Numata Conference on Buddhist Studies: Violence, Nonviolence, and Japanese Religions: Past, Present, and Future. University of Hawaii, March 2014. Discourses on Religious Violence in Premodern Japan Mickey Adolphson University of Alberta 2014 What is religious violence and why is it relevant to us? This may seem like an odd question, for 20–21, surely we can easily identify it, especially considering the events of 9/11 and other instances of violence in the name of religion over the past decade or so? Of course, it is relevant not just permission March because of acts done in the name of religion but also because many observers find violence noa, involving religious followers or justified by religious ideologies especially disturbing. But such a ā author's M notion is based on an overall assumption that religions are, or should be, inherently peaceful and at the harmonious, and on the modern Western ideal of a separation of religion and politics. As one Future scholar opined, religious ideologies are particularly dangerous since they are “a powerful and Hawai‘i without resource to mobilize individuals and groups to do violence (whether physical or ideological of violence) against modern states and political ideologies.”1 But are such assumptions tenable? Is a quote Present, determination toward self-sacrifice, often exemplified by suicide bombers, a unique aspect of not violence motivated by religious doctrines? In order to understand the concept of “religious do Past, University violence,” we must ask ourselves what it is that sets it apart from other violence. In this essay, I the and at will discuss the notion of religious violence in the premodern Japanese setting by looking at a 2 paper Religions: number of incidents involving Buddhist temples.
    [Show full text]
  • Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Laura Nuffer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the Medieval Studies Commons Recommended Citation Nuffer, Laura, "Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan" (2014). Publicly Accessible Penn Dissertations. 1389. https://repository.upenn.edu/edissertations/1389 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1389 For more information, please contact [email protected]. Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Abstract Interspecies marriage (irui kon'in) has long been a central theme in Japanese literature and folklore. Frequently dismissed as fairytales, stories of interspecies marriage illuminate contemporaneous conceptions of the animal-human boundary and the anxieties surrounding it. This dissertation contributes to the emerging field of animal studies yb examining otogizoshi (Muromachi/early Edo illustrated narrative fiction) concerning elationshipsr between human women and male mice. The earliest of these is Nezumi no soshi ("The Tale of the Mouse"), a fifteenth century ko-e ("small scroll") attributed to court painter Tosa Mitsunobu. Nezumi no soshi was followed roughly a century later by a group of tales collectively named after their protagonist, the mouse Gon no Kami. Unlike Nezumi no soshi, which focuses on the grief of the woman who has unwittingly married a mouse, the Gon no Kami tales contain pronounced comic elements and devote attention to the mouse-groom's perspective.
    [Show full text]