DIJ ISSN 1433-6685 June 2004 NEWSLETTER 22 Information from the German Institute for Japanese Studies Katsushika Hokusai (1760–1849) often “This is a serious story!” strike humorous notes. This (self-)iron- Religions and Manga ic approach to religion has been contin- ued to the present day. Thus, Tezuka by Monika Schrimpf Osamu in his Buddha biography de- picts a disappointed Buddha sur- rounded by crocodiles who must learn lthough a separate category of ple and murderer Gao in Hi no tori, for that he cannot relinquish his life for “religious comics” is not instance, gives a concrete form to the them because consuming him would A known to the world of Japa- fundamental Buddhist teaching that inflict diarrhea and meningitis upon nese manga, many of the comics deal “all life is suffering” and illustrates Te- them (fig. 1). The comics by Ôkawa with religious topics. Especially manga zuka’s personal response to the ques- Ryûhô, the head of the new religious aimed at youth use motifs that recall tion of how one can uphold (or gain) a movement Kôfuku no Kagaku, also religious myths and apocalyptical im- positive attitude toward life despite contain elements of humor: in Tengoku agery, such as end-of-the-world vi- tragic circumstances. no mon (The Gate to Heaven) the narra- sions, the emergence of a savior, or the Comics with educational or mis- tor is surrounded by cherub-like be- fight between good and evil. Others sionary intentions deal with various ings in the chapter “Love.” One of present important figures from reli- aspects of the teachings, practices and these “angels” immediately realizes gious history, religious concepts, or history of a religion. To mention just a the explanations of the virtue “love” in practices. The thematic diversity re- few examples, manga biographies de- practice by beginning to wash the nar- flects various intentions: Manga can ex- pict the life of Buddha or other exem- rator’s forehead with a tiny cloth, press personal religiosity or the religio- plary Buddhists in Japanese history; while another is buried under a moun- philosophical reflections of individual introductions explain the central texts tain of balls with ai (love) written on artists, but they can also aim at reli- of Japanese Buddhism, such as the Lo- them (fig. 2). gious education or represent a reli- tus Sutra; self-help books illustrate the What makes manga an attractive gious community. The most renowned relevance of Buddhist teachings for medium as a transmitter of religious example of the former is the manga cre- coping with everyday life; manga of contents? And what effect does the art ated by the veteran author Tezuka Osa- new religious communities describe form have on these contents? Has only mu (1928–1989). The stories in his chef their teachings and systems of reli- the aesthetic of the pictorial representa- d’oeuvre Hi no tori (The Phoenix) and gious practice; still others are dedicat- tions changed in comparison to the the multivolume biography of the Bud- ed to religious customs such as annual past by adapting to the zeitgeist? It dha Budda reflect his own understand- festivals. seems to me that the emphasis of the ing of the historical Buddha as well as The relationship between religion messages has shifted together with the topics such as reincarnation, immortal- and caricature or illustrated stories is aesthetic adaptations. Manga mediate ity, and the meaning of life and death. in no way a recent development: the The moving biography ouof the crip- earliest examples of caricature draw- ings have been found in Bud- Table of Contents dhist temples near Nara. Many of the scrolls thought to be the precursors to contemporary Title Story 1 manga were created in a reli- DIJ Events 3 gious context or deal with re- ligis issues. The most well- DIJ Publications 4 known examples of religious “cartoons” include the scrolls Conference Reports 5 Chôjûgiga (12th century) by the Book Review 5 monk Toba. One of the scrolls shows animals parodying Bud- Other Matters / Outlook 6 dhist monks through their hu- man-like appearance. Other scrolls from this period portray German Institute for Japanese Studies life in the six Buddhist worlds Managing editor: Matthias Hoop in a grotesque fashion, as for 3-3-6 Kudan-Minami example, in the case of the hun- Chiyoda-ku, Tokyo 102-0074, Japan gry ghosts. Also the Zen Bud- Tel.: +81-3-3222-5077 dhist drawings created since Fax: +81-3-3222-5420 Fig. 1. Not for crocodile consumption? Tezuka Osamu’s the 17th century as well as the E-mail: [email protected] © Kôdansha disappointed Buddha. folkloric woodblock prints of Homepage: http:Âwww.dijtokyo.org DIJ Newsletter JUNE 2004 1 Fig. 2. In “The Gate to Heaven” angelic creatures wash Fig. 5. The composed Buddha and his choleric the narrator’s forehead and are buried under the weight rival. © Kôdansha of love. © Kôfuku no Kagaku Shuppan Especially in the comics created by Kôfuku no Kagaku the possibilities of visual representation are used to illus- religious messages in the form of nar- the historical Buddha mostly with a trate the teachings of the religious com- rations, which are focused on people benevolent and acquiescent mien. This munity. Quite often the same faces and their emotions. Manga are there- impression is reinforced by the con- transmigrate through ages and places, fore particularly suited for the presen- trast with the people surrounding the e.g., from Buddha’s lifetime in India to tation of biographies and hagiogra- Buddha who respond to his compo- the early modern age in Europe and phies in particular. The specific sure with extreme emotionality: into contemporary Japan. This enables drawing techniques of Japanese com- whether it is the murderer Angulimâla the author to illustrate the idea of rein- ics amplify this tendency since they fo- who cannot bear Buddha’s serene ex- cus the reader’s attention rather to- pression and reacts hypnotized, wards individual persons than on the scared, unsure and, finally, with anger presentation of certain scenes. In long (fig. 4), or Buddha’s cholericly scream- sequences of picture frames, “close ing rival Gayâ Kâshyapa (fig. 5). On the ups” of facial expressions (fig. 3), ges- other hand, the young Buddha in Ôka- tures, body postures and movements wa Ryûhô’s Budda saitan (The Return of are presented without accompanying the Buddha) appears to have a sad and text in order to build up tension or cre- wise look; his body emaciated (fig. 6). ate the illusion of motion. In addition, And the face of Nobori Ryûta’s the focus on physiognomic details Nichiren in a manga biography pub- lends the protagonists their dynamic- lished by Sunmark bespeaks tenacity emotional expressivity, which is typi- and determination (fig. 7). In addition cal of comics. In this manner, a few to allowing pointed characterizations pages suffice to characterize personali- of personalities, the representation of ties and sketch emotional develop- emotions such as surprise, annoyance, ments. Due to their visual qualities fear, etc., contributes to the “humaniza- such images are especially easy to tion” of the lofty protagonists, and thus remember and comprehend. Biograph- to bring them closer to the reader and Fig. 6. The haggard Buddha by Ôkawa ical comics in particular offer the op- facilitate the reader’s identification û ô © Kôfuku no Kagaku Shuppan portunity to emphasize certain charac- with them. In this way, the characters Ry h . teristic features through their visual of Buddhist religious history become representation. For example, in his alive and receive specific personalities. Buddha biography Tezuka portrays Fig. 7. Nichiren’s features are marked by deci- siveness in a manga drawn by Nobori Ryûta. © Fig. 3. A monk accompanying Nichiren be- Kino Kazuyo- comes aware of an enemy sneaking up. A shi, Shiratori pearl of sweat symbolizes his fear. © Kino Haruhiko, No- Kazuyoshi, Shiratori Haruhiko, Nobori Fig. 4. Buddha defeats the murderer Angu- bori Ryûta, Ryûta, Sunmark limâla with his gaze. © Kôdansha Sunmark 2 DIJ Newsletter JUNE 2004 even make the reader laugh. But frivol- was aimed at providing the broader ity must not be allowed to get the up- Japanese public with information on per hand. Because, as his rival, Gâya the most recent developments in the Kashyapa, remarks on Buddha’s field in Germany. The keynote lecture friendship with the crocodiles, “such a was given by Gerhard Cromme, head thing may happen in a manga for kids, of the German Corporate Governance but this is a serious story!” Commission and of ThyssenKrupp’s supervisory board. The lecture was fol- References: lowed by a panel discussion where Kino Kazuyoshi (editor); Shiratori well-known experts from the scientific Haruhiko (author); Nobori Ryûta (il- community (Yoshimori Masaru, Yoko- lustrator). Manga Nichiren nyûmon: hama National University) and from a Hokekyô ni junjita kyûdôsha no shôgai. multinational enterprise (Wolfgang Tôkyô: Sanmâku Shuppan, 2001 Stegh, Representative and Managing Ôkawa Ryûhô. Budda saitan. Manga de Director BASF Japan, Ltd.) exchanged miru ‘Kôfuku no Kagaku’ 3. Tôkyô: their views with Gerhard Cromme. Kôfuku no Kagaku Shuppan, 2001 Ogino Hiroshi, senior researcher of the (first ed. 1993) daily newspaper Asahi Shinbun chaired Ôkawa Ryûhô. Tengoku no mon. Manga the discussion. de miru ‘Kôfuku no Kagaku’ [1]. The second day – Saturday, Febru- ô ô ô Fig. 8. After her journey to the other world, a T ky : K fuku no Kagaku Shuppan, ary 21 – was dedicated to scientific ex- new life begins for the young Ai-chan. 2002 (first ed. 1992) change and the comparison of recent © Kôfuku no Kagaku Shuppan Tezuka Osamu. Budda 11, Tôkyô: developments in Japan and Germany. Kôdansha, 2003 (first ed. 1983) In a different location – the Research Institute of Economy, Trade and Indus- carnation and concurrently emphasize try – eight specialists on corporate gov- the claim to timelessness and univer- ernance issues, Matsuda Takeshi (Meiji sality.