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Journal articles on the topic 'Buddhist mythology'
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1
Cuevas, Bryan Jaré. "Predecessors and Prototypes: Towards a Conceptual History of the Buddhist Antarābhava." Numen 43, no. 3 (1996): 263–302. http://dx.doi.org/10.1163/1568527962598917.
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AbstractThe Buddhist Sanskrit term antarābhava refers quite literally to existence (bhava) in an interval (antarā) and designates the temporal space between death and subsequent rebirth. It is apparent that, among the early schools of Buddhism in India, the status of this intermediate existence inspired considerable controversy. However, in spite of its controversial beginnings, the concept of the antarābhava continued to flourish and to exert a significant force upon the theories and practices of the later Northern Buddhist traditions. Questions concerning the conceptual origins of this notion and its theoretical connections with earlier Indian systems of thought have received little scholarly attention, despite a growing popularity of literature on the subject of death in Buddhist traditions. In this essay the possible links between the early conceptual systems of Hinduism (the Vedic and Upaniṣadic traditions) and Buddhism are examined to determine whether certain theoretical developments in Hinduism may have contributed to the emergence of the Buddhist notion of a postmortem intermediate period. The conclusion is drawn that the early Buddhists, in formulating a concept of the antarābhava, borrowed and reinterpreted elements from Hindu cosmography and mythology surrounding the issue of postmortem transition.
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Dugarov, Bair S. "Индо-буддийские заимствования в бурятской Гэсэриаде". Монголоведение (Монгол судлал) 14, № 3 (2022): 608–19. http://dx.doi.org/10.22162/2500-1523-2022-3-608-619.
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Introduction. The article examines an understudied issue of how and to what extent Buddhism had influenced the Buryat epic of Geser. Over the past two millennia, the Buddhist factor — starting from the Xiongnu era — has been to a certain degree reflected in various areas of spiritual life of Turko-Mongolian nomads and their descendants. Goals. So, the work aims to study impacts of Buddhism on such a significant monument of the Buryat oral poetic tradition as Geseriad. Results. The method of comparative analysis proves instrumental in identifying terms and concepts of Indo-Buddhist origin that constitute an ancient dimension in narrative structures of the uliger (epic). Those constants include as follows: hумбэр уула ‘Mount Sumeru’ associated with the world Mount Meru that serves to mark a center of the earth and universe in ancient Indian mythology; hун далай ‘milk sea’ that has an ancient Indian prototype in the Samudra Manthana episode. Similarly, some other cosmogonic concepts of ancient India — such as замби (Sanskr. Jambudvīpa ‘Jambu mainland’) and галаб (Sanskr. kalpa ‘aeon’) — had penetrated the Buryat folk mythological tradition through Buddhism to get completely absorbed and adapted. The Buryat Geseriad also contains traces of Indo-Buddhist mythology at the level of zoomorphic images, especially notable in the case of Khan Kherdig ‘king of birds and devourer of serpents’. Conclusions. The southern borrowings had become organically integral to the epic of Geser — its plot and images — so that nowadays tend to be perceived as quite ‘autochthonous’ and indigenous elements of the narrative. This circumstance attests to that Buddhist vestiges in the Buryat epic have a long history.
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Ali, Anida Yoeu. "The Buddhist Bug: My Creation Mythology." Visual Anthropology 31, no. 1-2 (2018): 149–51. http://dx.doi.org/10.1080/08949468.2018.1428018.
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Laycock, Joseph, and Natasha Mikles. "Is Nessie a Naga?" Bulletin for the Study of Religion 43, no. 4 (2014): 35–40. http://dx.doi.org/10.1558/bsor.v43i4.35.
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In 2014 Lama Gelongma Zangmo of Scotland sparked curiosity when she suggested that the Loch Ness monster or “Nessie” is actually a naga––a fantastic creature from Buddhist mythology. Visitors to her Tibetan practice center on the shores of the Loch will be able to leave offerings to Nessie. Without exaggerating the significance of these offerings within the larger context of Zangmo’s practice, this article suggests that efforts to ritually incorporate Nessie into a Buddhist cosmology is an index of broader changes in Buddhism’s arrival to the West. First, Zangmo’s open discussion of cosmology, ritual, and supernatural beings is a marked distinction from “Protestantized” Western Buddhism, which has historically presented Buddhism as a rational and philosophical alternative to Christianity. This suggests that Buddhists in the West have become less concerned with conforming to Protestant notions of “proper” religion. Second, Zangmo’s praxis is significant to broader patterns of how Asian religions adapt to Western topography. Whereas Asian immigrants have sometimes re-imagined Asian sacred sites in Western countries, Zangmo was taken the opposite strategy of “Buddhicizing” a local monster. This suggests that similar transformative moves can be expected as a globalized world continues to transplant religious traditions from one continent to another.
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Dunaeva, Ekaterina. "The History of One Personal Copy: Esper E. Ukhtomsky (1861–1821) — His life, His Buddhist Collection, and the Study of Buddhism in Russia." Oriental Courier, no. 4 (2022): 91. http://dx.doi.org/10.18254/s268684310023804-2.
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The article focuses on the contribution of Esper E. Ukhtomsky, an outstanding collector of Buddhist sculpture and painting in pre-revolutionary Russia, to the study of Buddhist art. In addition to the main episodes of the biography, little covered earlier in research, the author examines how Ukhtomsky, who had the largest private Buddhist collection in the Russian Empire, contributed to the study of Buddhist art and collaborated with Albert Grunwedel, to whom he provided part of his collection, resulting in the famous Grunwedel’s work “The Mythology of Buddhism in Tibet and Mongolia”. Ukhtomsky himself published pamphlets in which he contributed to the clarification and understanding of Buddhism and the East by the reading public. In 1890–1891 Ukhtomsky was one of the retinues that accompanied the future Emperor Nicholas II, his brother and the Greek Prince on a journey to the East. It was Ukhtomsky who had the honor to write a trip report — “Journey to the East of His Imperial Highness the Sovereign Heir Tsesarevich” in three volumes. The article shows how Ukhtomsky worked with Asian material on the example of the book by Archbishop Nilus “Buddhism, Considered in Relation to Its Followers Living in Siberia” (1858), where Ukhtomsky left numerous marginalia. In his marginal notes, the author translated Mongolian terms into Russian, quoted major authors of Buddhist studies, and left his own reflections on what Archbishop Nilus, who was engaged in missionary activity in Siberia, managed to learn and understand.
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Lepekhova, Elena. "The transformation of the wrathful deity Mahākāla into the god of happiness and good luck Daikokuten in Japanese Buddhism." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 135. http://dx.doi.org/10.31857/s086919080020211-9.
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The transformation of the wrathful deity Mahākāla into the god of happiness and fortune Daikokuten in Japanese Buddhism. This study is devoted to the process of the transformation of the wrathful Hindu deity Mahākāla into the god of happiness and fortune Daikokuten in Japanese Buddhism. While in Hinduism and Vajrayāna Buddhism, Mahākāla was a wrathful deity, performing the functions of the Dharma protector, then as a result of the transference of this deity to the Japanese culture, his functions changed. The earliest examples of this process have been already marked in China, from where they later went to Japan. In the paper are traced the description of Mahākāla in the Japanese Buddhist textual tradition in the most notable Japanese text “Daikokutenjin-ho 大黒天神法” (“The Law of the Great Black God”), his iconography and the transformation in local folklore. The formation of Mahākāla iconography in Japan was influenced by a process of the Shintō-Buddhist syncretism, which combined the esoteric doctrines of the Tendai school, traditional Japanese Shintō mythology, Buddhist cosmology and related elements of Hinduism. All these trends are also well traced in Japanese folklore. As a sequence, we could come to conclusion that the process of transformation of the wrathful Hindu deity Mahākāla into one of the Japanese gods of happiness Daikokuten was influenced by the desire to rid Mahākāla of his original destructive deadly attributes, since they were not combined with the original Japanese Shintō tradition, referring to death and its manifestations as an impurity.
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Mirzaeva, Saglara V., та Byambajavyn Tuvshintugs. "Модель буддийской космологии в «Сутре о восьми светоносных неба и земли»". Монголоведение (Монгол судлал) 12, № 2 (2020): 271–87. http://dx.doi.org/10.22162/2500-1523-2020-2-271-287.
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The article discusses a Tibetan-Mongolian cosmological model of Buddhist universe presented in the Oirat translation of one of the most popular Buddhist ritual texts — The Sūtra of Eight Luminous of Heaven and Earth. Materials. The sūtra was translated into Oirat by Ven. Zaya Pandita Namkhaijamts at request of Princess Yum Agas in the 1650s, and is referred by scholars as a Buddhist apocrypha of Chinese origin. Nevertheless, in the literary tradition of Mongolic peoples it was always viewed as the authentic Word of the Buddha (buddhavacana). Results. The analysis of the Oirat manuscript of the sūtra shows that the model of Buddhist universe includes several components. The first one of Indian origin is related to the cosmology of classical Buddhism described in Vasubandhu’s Abhidharmakośa, including the astronomical conception of twenty-eight nakśatra constellations and nine planets, as well as some classes of beings of the Buddhist universe. The second component contains elements of Chinese astrology, such as the astrological diagram of the golden turtle, which encloses animals of the twelve-year cycle, and eight trigrams representing different elements. The last component belongs to original Tibetan mythology and includes a classification of supernatural beings co-existing with humans between heaven and earth — nāgas (Tib. klu), nyen spirits (Tib. gnyan) and spiritual lords of earth (Tib. sa bdag). Indian influence can also be traced in the classification of nāgas, the latter including eight great nāgas known in classical Buddhism, and five castes of nāgas structurally correlated with traditional Indian society. The detailed classification of the spiritual lords of earth presented in the sūtra was later included in the well-known Tibetan astrological work Vaiḍurya dkar po of Desi Sangye Gyatso. This classification represented in the Oirat translation includes some names which are absent in the Tibetan version of the sūtra (for comparative analysis the work examines a version of the sūtra included in the gZungs ’dus collection). This indicates that Ven. Zaya Pandita Namkhaijamts would also use another Tibetan version of the sūtra when making his Oirat translation.
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Moon, Jung Pil. "Storytelling and Cultural Tourism of Architectural Change in Mythology: Focusing on Bongjeongsa Temple in Andong." Korean Association of Regional Sociology 23, no. 3 (2022): 123–47. http://dx.doi.org/10.35175/krs.2022.23.3.123.
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In this study, the values of storytelling to be applied to a culture tourism program were suggested by interpreting the Confucian ideology of Joseon and architectural changes in the later generations in terms of modern mythologies through Ahndong Bongjeongsa Temple. As the research method, Bongjeongsa Temple was examined from the aspect of Roland Barthes’s modern mythologies and discussed in three viewpoints found in the historical flow. The categories are the Confucian mythologic feature that shows the symbolism of how Bongjeongsa Temple was built through a human phoenix, the modern mythologic feature which dismantles the building to which Confucian supremacy was applied at the point of cultural assets restoration in 1960s, and the inherited mythological feature that the space of Manselu of Bongjeongsa Temple where Confucianism and Buddhism had been exchanged was applied to the construction of Seowons and to the elements of modern architecture later. The mythological values of storytelling culture tourism centered around Bongjeongsa Temple are as follows: First, Bongjeongsa Temple clearly reveals the semiotic meanings of ‘a phoenix’, ‘heavenly lamp’, ‘placenta of a king’ and etc. with its tale of establishment, and the analytic contents of the Buddhist tales implying a unified nation of those times should be reflected as the value of culture tourism storytelling. Second, the symbolized tradition in which a phoenix represents a king in the Bongjeongsa Temple foundation tale and the Confucian myth where Toegye is praised as a human phoenix need to be discussed as culture tourism contents that can be developed into an ideological value after being mixed with Buddhistic beliefs. Third, the dismantlement of ‘Wuhwalu’ and ‘Jinyeomun’ was the act of space restoration eliminating the complexity from the exchange between Buddhism and Confucianism, and needs to be recognized as the storytelling value to reflect on the modern mythological behavior exerted on Bongjeongsa Temple from which the historical trail had been erased. ‘Manselu’ of Bongjeongsa Temple is the space where monks and classical scholars interacted, and ‘Mandaelu’ of Byeongsanseowon, a Confucian building, has the common architectural element. It is the concept of ‘Nuhajinib’, shift of space and an entrance function, and ‘Lu malu’ to which nature was introduced with Chagyeong technique, and has been settled as the value of an inheritance factor of the traditional architectural culture today. Therefore, the archetetural elements related to the foundation tale of Bongjeongsa Temple can create the storytelling value with the implication of liberal arts that tourists can actually recognize with traditional architecture.
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Oinotkinova, N. R. "Plots and Motives about the Creation of the Earth and Man in the Mythology of the Altaians." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 38–62. http://dx.doi.org/10.25205/2410-7883-2020-1-38-62.
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The paper analyzes the plots and motives of Altai myths about the creation of the earth and man with the use of comparative material from the folklore of peoples with which the Altai people had close contacts in the past, in particular from Russian and Buryat-Mongolian folklore. The motives characteristic of these versions are considered: diving behind the earth; creation of the earth; the creation of man; the dog protects the human body; desecration of the human body; spilled elixir of immortality; lost heaven; the overthrow of the devil from heaven; competition of deities for primacy in the rule of the world. In the Altai folk tradition, two versions of the myth of the creation of the world and man are distinguished: the first is dualistic (pagan) and the second is “Buddhist”. In the dualistic version of the myth, the main characters are two deities – Ulgen and Erlik. In the plot of the “Buddhist” version of the myth, unlike the dualistic one, 4 deity brothers participate in the act of creation: Yuch-Kurbustan (Three Kurbustan) and Erlik. This story is joined by a Buddhist legend about how bodhisattvas competed in order for the victor to become the ruler of the world.
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Duncan, J., and M. Derrett. "Homer in India: the Birth of the Buddha." Journal of the Royal Asiatic Society 2, no. 1 (1992): 47–57. http://dx.doi.org/10.1017/s1356186300001802.
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This study has a limited object, but it touches upon a pregnant theme. Not long ago it was supposed that Indian texts which resembled Western were either so clearly older than the latter that, if contact could be posited, the latter must have learnt from the former, or the themes must be testimony to a common inheritance of the sundered portions of an Indo-European “race”. The relative dates of texts have come into question, and the prospect that Indian authors could have been inspired, at least in part, by Western authors (obvious in some contexts) is no longer alarming. That Buddhist authors could have learned from Judaeo-Christian stories is no longer surprising, or baffling.A later movement of Buddhist stories westwards is proved (as is well known) by the story ofBarlaam and Ioasaphattributed to St John Damascene; and I recently stumbled across a piece of Buddhist mythology adapted to a Jewish situation. 4 Since this is the immediate cause of the present disclosure a very brief summary is needed.
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Hackley, Rungpaka Amy, and Chris Hackley. "How the hungry ghost mythology reconciles materialism and spirituality in Thai death rituals." Qualitative Market Research: An International Journal 18, no. 4 (2015): 427–41. http://dx.doi.org/10.1108/qmr-08-2014-0073.
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Purpose – The purpose of this paper is to contribute to a more nuanced understanding of Asian consumer culture by exploring how hungry ghost death ritual in the Buddhist world reconciles spiritual asceticism and materialism. Design/methodology/approach – This is an interpretive study that incorporates elements of visual semiotics, ethnography and qualitative data analysis. The native-speaking first author interviewed local ritual leaders of the Pee Ta Khon festival in Dansai, Thailand, while both authors witnessed examples of other Buddhist death rituals in Thailand and visited temples and markets selling death ritual paraphernalia. Data include translated semi-structured interview transcripts, field notes, photographs and videos, the personal introspection of the first author and also news articles and website information. Findings – The paper reveals how hungry ghost death ritual resolves cultural contradictions by connecting materialism and spirituality through consumption practices of carnival celebration with feasting, music, drinking, costumes and spirit offerings of symbols of material wealth, such as paper money and branded goods. Research limitations/implications – Further research in the form of full ethnographic studies of the same and other rituals would add additional detail and depth to the understanding of the ritual in Asian consumer culture. Originality/value – The paper extends existing qualitative consumer research into death ritual into a new area and sheds light on the way managers must locate Asian marketing initiatives within distinctively local contexts.
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Li, Kunyuan, Ruoyu Li, Manxi Liu, Xinwen Liu, and Bingxin Xie. "A Mysticism Approach to Yeats Byzantium." Communications in Humanities Research 4, no. 1 (2023): 438–44. http://dx.doi.org/10.54254/2753-7064/4/20220657.
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William Butler Yeats is the most famous poet in the history of modern Irish literature. He is called the greatest poet of our time by T.S Eliot. He was awarded the Nobel Prize for Literature in 1925. He has a strong interest in mysticism and has made unremitting exploration of it throughout his life. Mysticism is an important source of Yeatss life creation. From the early collection of Irish folklore and mythology to the formation of the later mysterious system, Yeats constructed his own set of mythological systems. Yeats mysticism is particularly evident in his poem Byzantium. His poems are full of mystery due to the combination of Irish folk mythology, Swedish mysticism philosophy, Judaism and Christian doctrine, Indian Buddhist thought, ancient Greek and ancient Egyptian mythology and other factors. Among them, his poems are famous for the symbol of Oriental mysticism. This paper makes a detailed interpretation of Byzantine and then implements the analysis of this masterpiece in each section. Based on this analysis, this paper focuses on the interpretation of mysticism in poetry and its impact in order to achieve a better understanding of the mysticism embodied in poetry and provide a valuable reference for future research on related issues.
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Harriyadi, Harriyadi. "MAKNA RAGAM HIAS ŚAṄKHA BERSAYAP PADA CANDI HINDU DAN BUDDHA". PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 9, № 2 (2020): 113–30. http://dx.doi.org/10.24164/pw.v9i2.377.
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A temple is a religious building that used by Hindu and Buddhist devotees to do religious practices. The architectural form of temple is made to resemble a mountain as symbol of the gods’ house. Each decorative ornament carved in a temple represents the natural environment of heaven and it has meaning which was related with religious aspect. One of the most interesting decorative ornament carved in temple is the winged śaṅkha which usually was used as an attribute of deity. The goal of this research is to explain the meaning of winged śaṅkha ornament in temple. This research was conducted by collecting winged śaṅkha ornaments in Hindu and Buddhist temples. Data will be described and analysis will be conducted by comparing the winged śaṅkha ornaments with its mythology in Indian culture. The results showed that the winged śaṅkha have correlation with water element which could bring fertility. Therefore, the winged śaṅkha, as a symbol of water, can bring fertility and welfare to communities of surrounding temple.
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Hazri, Tengku Ahmad. "Performance Art as an Instrument of Spiritual Contemplation: The Case of the Malay Wayang Kulit (Shadow Play)." ICR Journal 6, no. 3 (2015): 371–87. http://dx.doi.org/10.52282/icr.v6i3.317.
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This article offers an interpretation of the wayang kulit (Malay shadow play) as a type of traditional art, in which the art forms are conceived within the broader cosmology derived from religious tradition. To this end, it focuses on three aspects of the play, namely, the rituals, mythology and symbolism in the setting to uncover their meanings and how these relate to the tradition in which it was conceived. As the play predates Islam and was immersed in animistic and Hindu-Buddhist milieu, it underwent reinterpretation to accommodate the coming of Islam and in fact was utilised to convey Islamic message by building on the people’s pre-Islamic beliefs, thereby offering an instance of intercultural dialogue through art.
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Mihály, Vilma-Irén. "Myths, Science, and Literature – Different Fields, the Same Essence." Acta Universitatis Sapientiae, Philologica 15, no. 1 (2023): 95–112. http://dx.doi.org/10.2478/ausp-2023-0007.
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Abstract The present study aims at analysing the relationship and establishing the similarities between ancient Eastern myths, literature, and today’s leading scientific views such as quantum physics. In ancient times, the mythic worldview was the only one being widely accepted, a dominancy that lasted up into, roughly put, the mid-nineteenth century, when most sciences as known today started to flourish and overtook the place of mythology, invalidating it. Nowadays, however, ancient myths and modern sciences have begun getting closer to each other and, at a deep insight, one may discover that they reveal the same truth. Thus, the paper shall discuss and compare ancient Buddhist texts with leading quantum theories and literary works by Béla Hamvas and Sándor Weöres that facilitate the comprehension of the essence.1
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Harriyadi, Harriyadi. "Studi Pendahuluan Bentuk Simbol Penyatuan dalam Tradisi India Kuno yang Ditemukan di Indonesia." AMERTA 39, no. 2 (2021): 113–28. http://dx.doi.org/10.24832/amt.v39i2.113-128.
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Abstract. Preliminary Study Of Unification Symbols Form From Ancient India Tradition Found In Indonesia. Humans and symbols have a bond that cannot be separated from each other because they always appear in a community group. During the Hindu-Buddhist period in Indonesia, various signs related to religion appeared. One of the religious practices that developed is the worship of the union of life. This study aims to identify the form of symbols and the meaning of the worship of the unification of life for the Hindu-Buddhist period. This study was conducted by collecting data on the worship of the union of life from various secondary sources in research reports, journals, and articles. Data collection is also focused on finding data on artifacts in Indonesia associated with symbols of the unification of life. The data collection results between mythology in India and artifacts in Indonesia are then synthesized to obtain a form of embodiment of the unification of life during the Hindu-Buddhist period in Indonesia. The study results show that the concept of the unification of life is symbolized in the linga-yoni, mudrā bodhyagrimudrā, and shatkona. Depictions of the yoni phallus and shatkona can be found in Indonesia. In Buddhism in Indonesia, the concept of the unification of life is symbolized in the mudrā bodhyagrimudrā found in the Mahavairocana Buddha statue. The gesture of the bodhyagrimudrā hand is a representation of the union of males and females. The depiction of the unification of life is more aimed at fulfilling religious needs, namely to achieve release (moksha) in Hinduism and achieve nirvana in Buddhism. Abstrak. Manusia dan simbol memiliki ikatan yang tidak dapat dipisahkan satu sama lain karena selalu muncul dalam suatu kelompok masyarakat. Pada masa Hindu-Buddha di Indonesia muncul berbagai simbol yang berkaitan dengan religi. Salah satu praktik religi yang berkembang adalah pemujaan penyatuan kehidupan. Kajian ini bertujuan untuk mengidentifikasi bentuk simbol dan makna pemujaan penyatuan kehidupan bagi masyarakat pada masa Hindu-Buddha. Kajian ini dilakukan dengan cara mengumpulkan data mengenai pemujaan terhadap penyatuan kehidupan dari berbagai sumber sekunder berupa laporan penelitian, jurnal, dan artikel. Pengumpulan data juga difokuskan untuk mencari data objek artefak di Indonesia yang berhubungan dengan simbol penyatuan kehidupan. Hasil dari pengumpulan data antara mitologi di India dan artefak di Indonesia kemudian disintesiskan untuk mendapatkan bentuk perwujudan penyatuan kehidupan pada masa Hindu-Buddha di Indonesia. Hasil kajian menunjukkan bahwa konsep penyatuan kehidupan disimbolkan dalam lingga-yoni, mudrā bodhyagrimudrā, dan shatkona. Penggambaran lingga yoni dan shatkona dapat ditemukan di Indonesia. Dalam agama Buddha di Indonesia konsep penyatuan kehidupan disimbolkan dalam mudrā bodhyagrimudrā yang dijumpai pada arca Buddha Mahavairocana. Sikap tangan bodhyagrimudrā merupakan representasi penyatuan laki-laki dan perempuan. Penggambaran penyatuan kehidupan lebih ditujukan untuk pemenuhan kebutuhan religi, yaitu mencapai pelepasan (moksha) dalam agama Hindu dan mencapai nirwana dalam agama Buddha.
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Byczkowska-Owczarek, Dominika. "Dance as a Sign: Discovering the Relation Between Dance Movement and Culture." Kultura i Społeczeństwo 63, no. 3 (2019): 63–74. http://dx.doi.org/10.35757/kis.2019.63.3.4.
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This article presents examples of the relationship between culture, dance, and the body in the fields of communication (with oneself, the community, God/deity), the social hierarchy, social values, relations between the individual and the group, and relations between genders, from the perspective of the sociology of the dance. The sociological perspective also indicates the various historical, ritual, control, and regulatory roles that traditional and modern dances play in the communities in which they arise and are performed. The second part of the text contains a case study of the Japanese ankoku butoh dance. The author presents the philosophical roots of the dance (e.g., Japanese mythology, Zen Buddhist philosophy) and the creator’s personal experiences (childhood trauma and post-war social situation) as factors that influenced the dance’s development. The example of ankoku butoh illustrates the interrelation between cultural meanings and dance movements.
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Ermakova, L. M. "Space and the Gods of Space in Japanese Myths." Russian Japanology Review 5, no. 1 (2022): 76–96. http://dx.doi.org/10.55105/2658-6444-2022-1-76-96.
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This article focuses on the concept of space and two different structures of space in the mythological chronicles Kojiki and Nihon Shoki. It considers two main invisible divine gods of space, probably connected to Chinese mythology and appearing in the mythological chronicles first – Ame-no-minaka-nushi and Kuni-no-tokotachi. It traces their evolution in history and also deals with obtaining by some of Japanese gods, within the Buddhist worldview, a fantastic appearance and the key role in cosmogenesis. It also deals with the connection of the first verbal descriptions of the appearance of the Japanese lands as a living creature or a symbolic thing seen from above with the ritual of “viewing the realm” (kunimi), and also with a technique of Chinese-Japanese painting wherein an object is portrayed as seen from above (for the purpose of which, in the cases of indoor scenes, a building is depicted without a roof), etc.
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Goldenberg, Naomi. "“Religion” and Its Limits." Journal of the British Association for the Study of Religion (JBASR) 21 (December 18, 2019): 1. http://dx.doi.org/10.18792/jbasr.v21i0.37.
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The keynote contributes to critical analysis of religion and attendant categories by proposing that religions be understood as vestigial states. According to this hypothesis, religion is a modern discursive product that is not present in the Bible. The category evolves as a management strategy, a technology of statecraft to contain and control conquered, colonized and/or marginalized populations as an alternative to genocide. Examples are drawn from Greek mythology, Jewish and Druid history and recent Buddhist politics. The author uses texts pertaining to international law and political philosophy to argue that viewing religion as synonymous with displaced, uneasy, former government opposes male hegemony by revealing the political structure of mystified nostalgia for male leadership. She also maintains that understanding religions as restive governments promotes clarity in regard to contemporary conflicts between religious freedom and equality rights. Psychoanalytic theories of Sigmund Freud, Melanie Klein and Wilfrid Bion are cited to support the disassembling of foundational terms of Religious Studies.
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Prasetyo, Lery. "THE SPIRITUAL AND CULTURAL SYMBOLS IN A MAHAYANA BUDDHIST TEMPLE ‘VIHARA LOTUS’ SURAKARTA." Analisa: Journal of Social Science and Religion 4, no. 01 (2019): 59–78. http://dx.doi.org/10.18784/analisa.v4i01.788.
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The symbols contained in a vihara is intentionally used to remind the people to something that is believed, both cultural and spiritual values. This article aims to analyze the meaning and value of spiritual and cultural symbols in Vihara Lotus Surakarta. This is a qualitative research. This article shows that (1) The meaning and value of spiritual symbols in Vihara Lotus can be found on the category of altar and statue which consist of ancestor altar, Amitabha Buddha Altar, Avalokitesvara Altar, Three Buddhas Alta, Si Mien Fo Altar, Maitreya Buddha, Si Da Tian Wang Statues, And Earth Gods. Then in category of Prayer tools consist of Ching/Gong, Muk Ie, He Che, and Tan Che. Those spiritual symbols have meaning and value in term of the Buddha teaching such as the Sigalovada sutta, sukhavati realm, reflection of Buddhas nature, concept of Tri Kaya, affection state, four nobles qualities, dharma wheel turning, awareness, equanimity concept, introspection, and catumaharajika realm. (2) Meaning and Value of Cultural Symbols in Vihara Lotus can be found on the category of altar and statue consists of Thian Kong Altar, Chinese Generals, Earth gods, and Horse statues. Then in plant and food category consist of soy bean, Candy and Cookie, cigarette, wine, Chinese evergreen, and pineapple. Those cultural symbols have meaning and value in term of Chinese tradition and habit, such as Tradition of Sky Praising, merits appreciation, Chinese mythology, traditional food, hope of better life, special service to idol, and hope of sustenance.
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Nikolaeva, N. N. "When the Boar Teacher lights his fire under the ground...: one character of Buryat mythology." LANGUAGES AND FOLKLORE OF INDIGENOUS PEOPLES OF SIBERIA, no. 47 (2023): 78–88. http://dx.doi.org/10.25205/2312-6337-2023-3-78-88.
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This paper examines the image of Gakhai bagsha in fairy tales, heroic epic, shamanic invocations, and the folk calendar of the Buryats. The name of this character includes the gakhai ‘pig/boar’ component. At the same time, it is an anthropomorphic character with obvious mythological roots. Gakhai bagsha is a type of simpleton under the guise of a sage who emerges victorious from conflict situations thanks to his luck and coincidence. The epic Gakhai bagsha is rather close to the deity of the shamanic-buddhist character. An indispensable attribute of Gakhai bagsha in fairy tales and epics is a pig’s / boar’s head. The mythological basis of this outfit appears in the folk calendar. Gakhai bagsha making a fire under the ground is associated with the arrival of spring and the thawing of the earth. In shamanic invocations, he is called the owner of the earth. The image of Gakhai bagsha is rooted in ancient ideas about the owner of the earth embodying the idea of fertility and the heavenly deity controlling the rains and fertility. Not only did the ancient Mongols have such representations. They were also widespread in the world culture. Another aspect of this image is the reminiscence of the totemistic cult of the boar-first ancestor. Gakhai Bagsha is likely to have appeared in the folklore and mythological space of Buryats through the Khori-Buryat people. Due to historical reasons, Khori-Buryats were longer influenced by the Mongol world and preserved the ancient Mongolian mythological and totemistic representations.
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Lin, Yan, Hazlina Abdul Halim, and Farhana Muslim Mohd Jalis. "Translation Purposes Determine Everything? Appellation Translation in Northern Shaanxi Folk Songs Based on Corpus Method." World Journal of English Language 13, no. 8 (2023): 512. http://dx.doi.org/10.5430/wjel.v13n8p512.
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This study employs the skopos theory to analyze the translation methods used for appellations in Northern Shaanxi folk songs, a prominent genre in Chinese folk songs. The skopos theory emphasizes the importance of understanding and respecting the purpose of a translation, as it ultimately shapes the translation process and outcome. The English translations by Wang Hongyin and Wang Zhanbin are used to create a bilingual Chinese-English parallel corpus using a corpus technique. Additionally, to help the corpus software retrieve important statistics, the appellations and translation methods are manually annotated with the pertinent software. This study identifies seven primary categories of appellations, including those related to love, characters, laborers, family, mythology, allusions, and Buddhist figures. It explores the translation methods applied to each category, revealing that Wang Hongyin and Wang Zhanbin creatively adapt these appellations to convey their essence and significance to English-speaking readers while adhering to the skopos theory’s principles. This article contributes valuable insights into the translation of Northern Shaanxi folk songs, transcending cultural boundaries and enhancing cross-cultural understanding.
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SHULGA, P. I. "ABOUT THE INDIAN MIRROR FROM ROGOZIKHA-1 AND THE FORESIGHT OF A. P. UMANSKY." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 18, no. 1 (2023): 31–37. http://dx.doi.org/10.37386/2687-0584-2023-18-31-37.
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The «elephant scene» complex on the discovered by A. P. Umansky in 1985 rattle-mirror has been considered by many researchers. Alexey Pavlovich was particularly interested in it as well. In his opinion, the mirror shape and image semantics are connected with Hinduism religious mythology, and the scene is a solemn festive procession. Materials from Pakistan, India and Thailand support both of these provisions of A. P. Umansky. According to the summarised data, the back side of the rattle-mirrors with the cone and platens was a kind of Buddhist mandala variant with a conical projection in the center and concentric circles. The comparative analysis of the scenes on the mirror and a jar from Himachal Pradesh leaves no doubt about marches with musicians, dancers and elephants depiction. Such real or virtual processions content in North India in the second half of the I thousand BC may have varied considerably, but it was usually based on religious beliefs. It is possible that they were connected with the afterlife as A. P. Umansky envisaged.
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Akhmedov, Ilia. "Some Remarks on the Genesis of One of the Images of Early Medieval Art." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (February 2019): 25–46. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.2.
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The article focuses on the origin of the image of a dragon with a serpentine body known in the early medieval antiquities of Eastern European nomads. Researchers have long been discussing such images found on the sites of the Volga region and the Urals. According to the most recent hypothesis proposed by N.A. Lifanov, these dragon figures generally match the image of ancient κyτος which was adopted as a result of the acquaintance of the steppe inhabitants with works of late antique or early Byzantine art. The present study addresses a wide range of sources allowing us to construct an alternative version of the genesis of the dragon image. The group of images of fantastic creatures associated with early Buddhist art can be found in East Turkestan. They show immediate morphological and stylistic conformity with Eastern European images. They are also similar to the figures of Sogdian mural and plastic arts. East Turkestan’s images reproduce the well-known patterns of the Buddhist art of Gandhara. Gandhara figures originate from the images of κÞτεα and other widespread in Hellenistic art of Bactria sea monsters. KÞτεα which were companions of sea deities in classical mythology were seamlessly included in the decoration of headwear of Buddha sculptures, worship or relic veneration scenes. They are often found on the architectural details of stūpas. Some believe that κÞτεα evolved from the creation of sea into the creation of sea, air, and earth in the Indo-Greek tradition. They became mediators between worlds. Finally, they could exercise some sort of soteriological function. Apparently, Turkic peoples who were actively involved in all processes that took place in Central Asia and East Turkestan could comprehend these properties. So, the κÞτεα images could be reinterpreted and integrated into their imagery.
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Wang, Ziming. "Hakkō Ichiu: Religious Rhetoric in Imperial Japan." Religions 14, no. 1 (2022): 21. http://dx.doi.org/10.3390/rel14010021.
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The wartime propaganda slogan Hakkō Ichiu 八紘一宇 (“Unify the whole world under one roof”) was loaded with historical meaning: Japan was glorifying the aggression and colonization of war by fostering a specific interpretation of the narrative about how Jimmu, the first emperor, founded the nation in State Shinto mythology. In this article, I consider this slogan as central to a religious rhetoric with nationalistic overtones and I analyze it in terms of etymology, connotation, and rhetorical devices. First, the expression Hakkō Ichiu originated in ancient East Asian cosmology, before becoming one of the rhetorical expressions of State Shinto, emphasizing the extent of the imperial reign. Second, the Nichirenist activist Tanaka Chigaku rediscovered it and gave it an expansionist connotation, fostering a syncretistic approach mixing Buddhist and Shinto features. Finally, during wartime, in official documents, lyrics, trademarks, etc., the slogan gave way to a number of graphic and monumental expressions, reinforcing its connections with militarism and ultranationalism. The most notable of these material expressions was the Hakkō Ichiu Tower, erected to commemorate the 2600th anniversary of the foundation of the nation and perpetuate the State Shinto rhetoric.
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Badmaev, A. A. "Corvids in the Buryat Traditional Worldview." Archaeology, Ethnology & Anthropology of Eurasia 51, no. 4 (2024): 119–25. http://dx.doi.org/10.17746/1563-0110.2023.51.4.119-125.
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Using a structural-semiotic approach together with a comparative historical one, and based on ethnographic, lexical, and folklore sources, this study focuses on the raven and the crow as characters in Buryat mythology. Buryat terms for these birds are of Mongolian origin. Folk beliefs concerning the raven are more elaborate than those concerning the crow. The image of the raven is ambiguous, whereas the crow is an unambiguously negative character. The analysis of vocabulary and of the minor genres of folklore shows that Buryats paid attention to the various zoological features of these birds: plumage color and voice in the crow; plumage color, size, beak, flight duration, collectivism, emotionality in expressing joy and greed in the raven. The essence of both birds of prey was believed to be impure. The raven symbolized heaven, spring, vigilance, war, masculinity, and rancor. Being intelligent and independent, the raven was the Buddhist deity’s aide. Unlike the crow, the raven was patronized by evil spirits and other demonic characters. The crow was a feminine character, a symbol of sky, winter, water, bloodlust, and rumor. Both birds were associated with shape-shifting. The Buryat views, then, combined specifically ethnic and universal ideas about corvids.
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Jeon, Jin-kook. "An Academic and Historical Review of the Buddhist Embellishment of Dangun Mythology and the Name of Dangun - Focusing on Shiratori Kurakichi’s Research -." Sogang Journal of Early Korean History 40 (April 30, 2022): 283–319. http://dx.doi.org/10.35160/sjekh.2022.04.40.283.
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Simpson, Emily B. "Like a Fierce God: Reenvisioning the Enemy in the Legend of Empress Jingū in the Wake of the Mongol Invasions." Religions 13, no. 8 (2022): 695. http://dx.doi.org/10.3390/rel13080695.
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The legend of Empress Jingū’s conquest of the Korean peninsula is well-known for its many divine elements. However, the legend’s successful conquest of a foreign enemy has also been key to its longevity. In particular, the Mongol Invasions of the late thirteenth century inspired a renaissance of the Jingū legend in the fourteenth, with the addition of several new motifs. One such motif is Jinrin, a red demon with multiple heads and immense power from the continent who threatens Japan before being slain by Jingū’s husband Emperor Chūai. In this paper, I argue that the Jinrin motif plays an important role in reenvisioning Jingū’s conquest as a war against evil. Though Jinrin may have antecedents in the Buddhist Canon and Japanese mythology, this “fierce god” emerges in the medieval Hachiman tradition in origin narratives and later in regional kagura. Jinrin serves as a visual representation of the threat of the Korean kingdoms and an opportunity for Chūai’s heroism and honorable death, creating a clear juxtaposition between a depraved Korean peninsula and an ethical Japan. Thus, Jinrin provides a vibrant example of how the belief in Japan as land of the gods (shinkoku shisō) galvanized a reinterpretation of Japan, its world, and its history.
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Kohar, Abdul. "Islamic Theology And Rasionalism: Analisis Pemikiran Sutan Takdir Alisyahbana." Tribakti: Jurnal Pemikiran Keislaman 31, no. 1 (2020): 103–22. http://dx.doi.org/10.33367/tribakti.v31i1.986.
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This paper explores the thoughts of Sutan Takdir Alisyahbana (STA). STA is referred to as a cultural practitioner, because it discusses more the cultures that enter Indonesia, such as Indian, Hindu, Buddhist, Islamic and native Indonesian culture, even it also discusses western culture. He also wrote a lot such as poetry, novels, philosophy books and he was among the first to make Indonesian terms, so he was called a writer. This research is a type of library research (library research) by presenting qualitative-interpretative data. The purpose of this study is to reveal the fact that the religion of Islam in Indonesia is a religion that does not dichotomize between the reality supported by invoices and spiritual reality because Islam today is deeply engrossed in the history of the development of Islam in the time of the Prophet Muhammad, also today Islam is shackled with religious myths, so as to be able to resolve Islam in Indonesia, it cannot develop and is anti-Western rationality. STA thinking is rooted in the humanist understanding that developed in Europe from the Renaissance to the rise of new-positivism. Its humanism is built on human liberation from the shackles of mythology and religion.
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Sarbash, Lyudmila N. "Non-Russian Mythology and Folklore in the Volga Travelogue of the 19th Century." Imagologiya i komparativistika, no. 15 (2021): 140–55. http://dx.doi.org/10.17223/24099554/15/8.
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The Volga Travelogue is a large layer of travel essays in the 19th-century Russian literature. This layer has not become a subject of special research in literature studies. The “journey along the Volga” is distinguished by the wide diversity of issues and themes it discusses: the economic and industrial activities of the region, its cultural and historical sights, the uniqueness of the Volga region in an ethnographic perspective – of the multifaceted “Volga region resident”. One of the structural components of the travelogue is the Volga mythology and folklore: historical-geographical and cultural-ethnic information is supplemented with legends of the ancient Volga, Russian and non- Russian (Tatar, Mordovian, German, Kalmyk) legends. Describing the “non-Russian Volga”, writers refer to the national aspects of the life of different nationalities, the most important archetypes of their consciousness. A characteristic feature of N.P. Bogolyubov’s travelogue The Volga from Tver to Astrakhan is the non-Russian word as a marker of cultural identity: it is invariably present in the description of national customs. Telling about the “Mordovian places” of the Volga region, Bogolyubov describes specific rituals associated with the birth of a baby and with burials. The Muslim as a different national and cultural tradition of the Volga region particularly attracts writers’ attention. M.I. Nevzorov, in his Journey to Kazan, Vyatka and Orenburg in 1800, tells about the spiritual and religious experience of the Tatar people: writes about the ontological constants, acquaints the reader with epigraphic culture representing Muslims’ existential ideas about people and the universe. S. Monastyrsky, in his Illustrated companion along the Volga, presents Tatar legends about the winged snake Jilantau, about the “Black Chamber” and the khan’s daughter. These legends express the religious and poetic ideas of the people. Telling about the local cultural and mythological tradition is a characteristic feature of the Russian travelogue: an autochthon is represented by its ethnocultural identity. Folklore material functions in structural parallels – multilingual sources: V.I. Nemirovich-Danchenko, in his travelogue The Great River: Pictures from the Life and Nature on the Volga, gives two – Russian and Mordovian – versions of the legend about “Polonyanka”, and notes the particular poetry of the non-Russian text. In the combination of various – Tatar, Russian, Kalmyk – cultural and national constants of the lower Volga. German characterology is particularly expressed. A German legend associated with biblical material about the history of the prophet Elijah’s wandering through the desert to Sarepta of Sidon is fixed in the travelogues of Ya.P. Kuchin, S. Monastyrsky, and A.P. Valueva. The legend conveys the historical “memory of the place” – the foundation of the Sarepta colony. In the travelogues of V. Sidorov, N. Bogolyubov, descriptions of Buddhist Kalmyks, with their way of life, khuruls and gelyungs, are supplemented with Kalmyk legends about the Bogdo-Ola mountain. Folklore and mythology as categories of a non-native cultural text complicate the artistic system of the travelogue and contribute to the poetic comprehension of the poly-ethnic and poly-confessional Volga region.
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Izotova, N. N. "Dragon images in Japanese culture: Genesis and semantics." Japanese Studies in Russia, no. 2 (July 10, 2024): 100–112. http://dx.doi.org/10.55105/2500-2872-2024-2-100-112.
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The article deals with the genesis, semantics, and functions of the dragon image in Japanese culture. The relevance of the study is due to the increased attention of researchers to the basic values of local cultures, issues of symbolism, inextricably linked to the problems of national self-identification. The methodological basis of the study is the structural-semiotic approach, which was used to analyze the value content of the dragon image, the descriptive-analytical method, and the method of cognitive interpretation of the semantics of linguistic means verbalizing the dragon image in the Japanese language. In contrast to the Western tradition, in the culture of the peoples of East Asia, a dragon is a revered and significant symbol of power, strength, and authority. Stories about dragons are found in ancient texts of both Hinduism and Buddhism. It is established that the formation and evolution of the dragon cult in Japan was influenced by the mythical Chinese dragons, Indian Naga snakes, and the belief in dragons as deities of the water element. The author examines the genesis and evolution of the dragon image in different historical epochs, the influence of cultural-historical, natural, and religious factors on its transformation. It is shown that, in medieval Japan, the dragon was considered the protector of Buddhism, personifying strength, wisdom, prosperity, good luck, and images of these mythical creatures became an organic element of Buddhist culture. Particular attention is paid to the analysis of the image of the dragon as a sign of the Chinese zodiacal calendar, the representations of dragons in Japanese mythology, fairy tales and legends, in Hitachi-Fudoki, Kojiki, Nihon shoki. In the mythological picture of the world of the Japanese, the dragon is ambivalent and has both positive and negative features. It is revealed that the image of the dragon occupies an important place in Japanese traditional culture, painting, architecture, arts and crafts, calendar holidays, is widely represented in proverbs and sayings, word combinations and idioms. The reference to Japanese phraseology allowed to expand the base of the study and to reveal the totality of ideas about the dragon in the worldview of native speakers of the Japanese language. The author concludes that, nowadays, the image of the dragon in Japan has lost its sacral significance and is mainly used as tribute to tradition.
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Цыбикова, Бадма-Ханда Бадмадоржиевна. "Folklore and Ethno-Cultural Traditions of the Buryats of China and Russia." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2022): 131–42. http://dx.doi.org/10.26158/tk.2022.23.2.011.
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В статье проведено исследование жанров несказочной прозы, народной песенной культуры, малых жанров фольклора локальной группы бурят, живущих в Китае, в сравнении с фольклором российских бурят. Охарактеризованы локальные особенности традиционного фольклора зарубежных бурят, определены универсальные архетипы, общебурятские сюжеты и мотивы. Анализ этнокультуры бурят Китая на фоне общебурятской и в целом монгольской традиций позволил выявить общий пласт мифологии и фольклора, наличие типологических параллелей, существующих в фольклоре и культуре монгольских народов, сохранность и преемственность элементов материнской традиции. Рассмотренной в статье обрядово-ритуальной практике бурят Внутренней Монголии в сравнении с обрядами жизненного цикла российских бурят присущи черты общности и самобытности в проведении свадебных и погребальных мероприятий. Наряду с выявлением наиболее устойчивых компонентов в бурятских эпических произведениях, сказках, несказочной прозе, песенной культуре, паремийных жанрах установлено локальное своеобразие этих жанров в анклавной традиции. Сравнительный анализ сохранности и трансформации фольклора и культуры бурят в иноэтнической и материнской среде показывал общность бурятского и монгольского художественного наследия. При оценке буддизма как культурообразующего компонента бурят сделан вывод о наличии буддийских компонентов во всех традиционных фольклорных жанрах, в то же время в устной прозе зарубежных бурят обнаруживаются добуддийские представления и шаманистские составляющие религиозного сознания, связанные с культами неба, огня, воды, духов местности. Материалы «живых» традиций бурят Китая, обследованных как предмет фольклористики и этнографии, позволили дать семантико-функциональную характеристику текстам устной прозы. This article examines the non-fictional prose, folk song culture, and small folkloric genres of a group of Buryats living in China in comparison with the folklore of Buryats in Russia. It examines the local features of the traditional folklore of Chinese Buryats as well as universal archetypes, common Buryat plots and motifs. Analysis of the ethnic culture of Chinese Buryats against the background of Buryat and Mongol traditions reveals a common stratum of mythology and folklore, typological parallels as well as continuity of the elements of the parent tradition. In conducting wedding and funeral ceremonies, the ritual practice of the Buryats of Inner Mongolia and of Russian Buryats show both common and individual features. Along with identifying the most stable components in Buryat epics, fairy tales, non-fairytale prose, song culture, and paremic genres, the article establishes the local uniqueness of these genres in the enclave tradition. Comparative analysis of Buryat folklore and culture in both the foreign and the home ethnic environment shows the commonality of the Buryat and Mongol artistic heritage. Evaluating Buddhism as a culture-forming component of the Buryats, the author concludes that Buddhist components exist in all traditional folklore genres, while in the oral prose of foreign Buryats there were found pre-Buddhist ideas and shamanistic components of religious consciousness associated with veneration of the cult of the sky, fire, water, and local spirits. The materials of the “living” traditions of the Buryats of China, studied as a subject of folklore and ethnography, make it possible to give a semantic and functional description of the verbal texts of oral prose.
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Prophet, Erin. "Hermetic Influences on the Evolutionary System of Helena Blavatsky’s Theosophy." Gnosis: Journal of Gnostic Studies 3, no. 1 (2018): 84–111. http://dx.doi.org/10.1163/2451859x-12340050.
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AbstractHelena Blavatsky (1831–1891) developed a program of salvation that she called “double evolution,” which was elaborated in a system known as root race theory. Human souls were seen as traversing through progressive reincarnation a series of seven “races,” or body types, ranging from gigantic amorphous and ethereal bodies and transitioning through hermaphroditic into gigantic gendered ape-like humans, modern humans, and thereafter adepts and divine beings. Although root race theory drew from the scientific racism of its day, it did not equate root races with human races, but to stages of human emanation from and return to divinity. The sources of root race theory have been sought in Eastern contexts due to its use of Hindu and Buddhist terminology, though scholars have noted its Western esoteric influences. This article argues that the primary structure of root race theory is based in the Corpus Hermeticum. It identifies some of Blavatsky’s Hermetic sources, showing that she referred not only generally to a perennialist “Hermetic philosophy” that incorporated Western esoteric tropes, but also to specific Hermetic texts. These texts provided the organizing matrix of root race theory, specifically its creation mythology, support for prior androgyne human existence, a “fall into matter,” and the initial ensoulment of humans with mind, ornous. It also provided a template for the future transformation of humans into divine beings. The article builds on the suggestions of Nicholas Goodrick-Clarke (2013) and Brendan French (2001) to elaborate on the role of Hermetic influence in Blavatsky’s reconfiguring of evolution as a novel form of salvation for an empirically-oriented nineteenth century audience.
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Santiko, Hariani. "Ragam Hias Ular-Naga di Tempat Sakral Periode Jawa Timur*." AMERTA 33, no. 2 (2015): 89. http://dx.doi.org/10.24832/amt.v33i2.217.
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Abstract. Naga-Snake Ornaments at Sacred Places in East Java Period. Among those archaeological remains from Hindu-Buddhist in East Java period, dated from 8th to 16th centuries, was nagasnakeornament (snake with physical characteristic of a dragon) whether it stands alone or with a garuḍa figure. This ornament was found in temples, sacred bathing sites, and meditation caves. This ornament has not been found in earlier Hindu-Buddhist period in Central Java (early 6th to early 10th centuries). In order to understand the ideas behind this ornament selection, a historical-archaeology method was used based on artefactual and textual data, such as old manuscripts or inscriptions. East-Javanese śilpins used garuḍa and naga snake ornaments to manifest the story of Samudramanthana (Amŗtamanthana) and the story of Garudeya. Both stories tell the churning of the Ksirārnawa by the śura and aśura to get the amŗta (the holy water). This ornament can be found at Jalatunda bathingsite, Kidal temple, and Jabung temple. The preference to use Samudramanthana and Garudeya stories was related with the mythology of the mountain in Hinduism, which is believed as a “ladder” to Gods’ place. A temple is a miniature of Mahameru, the location of amŗta, guarded by the dragon-snake. Abstrak. Tinggalan Arkeologi dari masa Hindu-Buddha di Jawa Timur (abad ke-10-16), di antaranya berupa ragam hias ular-naga (ular dengan ciri-ciri fisik naga) yang digambarkan sendiri, maupun bersama tokoh garuḍa. Ragam hias ular-naga ini ditemukan di kompleks percandian, pemandian suci (patirthan), dan di gua-gua pertapaan. Menarik perhatian adalah, ragam hias jenis ini tidak ditemukan pada kepurbakalaan masa sebelumnya, yaitu masa Hindu-Buddha di Jawa Tengah (abad ke-6 sampai awal abad ke-10). Untuk mengetahui gagasan yang melatari dipilihnya artefak tersebut,akan diterapkan metode arkeologi-sejarah, yaitu metode yang menggunakan data artefaktual dan data tekstual, berupa naskah-naskah atau prasasti. Kemunculan garuḍa bersama ular-naga ini, dikemukakan bahwa para seniman Jawa Kuno menggunakan cerita Samudramanthana (Amŗtamanthana) dan cerita Garuḍeya. Kedua cerita tersebut menceritakan pengambilan dan perebutan air suci amŗta (air suci, air penghidupan) antara dewa (śura) dan aśura. Ragam hias ular-naga terdapat pada Pemandian Jalatunda, Candi Kidal dan Candi Jabung, Candi Panataran, Candi Kedaton dan sebagainya. Dipilihnya cerita Samudramanthana dan Garuḍeya terkait dengan mitologi gunung dalam agama Hindu, yangmerupakan “tangga naik” ke tempat dewa-dewa di puncaknya. Candi adalah bentuk miniatur dari Mahameru tersebut, tempat amŗta yang dijaga oleh ular-naga.
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Zorin, Artem N. "LITTLE BIG MAN. CONTEXTS AND INTERTEXTS OF THE IRON HORSEMAN BY ALEXEY ZHITKOVSKY." Челябинский гуманитарий 66, no. 1 (2024): 41–49. http://dx.doi.org/10.47475/1999-5407-2024-66-1-41-49.
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The analysis of a contemporary dramatic text involves deconstructing the intertextual references embedded within it, which are defined by a situation of total play with the meanings of aesthetic models and sociocultural paradigms of preceding eras. Plays by post-Soviet playwrights are increasingly analyzed from the perspectives of post- or metamodernism. In this context, the importance of reconstructing the intertextual connections of authorial statements and their interpretations within a cohesive artistic context is particularly emphasized. Alexey Zhitkovsky’s play The Iron Horseman (2022) actualizes variants of the Petersburg text of Russian literature, while being correlated with both The Bronze Horseman itself and the tradition of playful relations of Pushkin’s poetics in Russian literature of the 20th century. Zhitkovsky’s one-act “story of one training session” in the style of Shotokan karate is associated with various levels of cultural mythology. The plot models are built around the ancient Greek myth of Cadmus, who, after defeating the sacred dragon, must himself transform into a dragon, with activations in the reader’s consciousness of inversions of this story in Eastern folklore (the Vietnamese tale of the dragon), in Buddhist philosophical parables (“if you meet the Buddha on the road, kill him”), and in the ideology of Eastern martial arts. At the dialogic level, the ironic tone in addressing Eastern themes actualizes the stylistic explorations of the prose of V. Pelevin and V. Sorokin, which are rooted in Pushkinian allusions and the poetics of the Oberiuts. Ultimately, the initiatory plot of the play reveals a direct dialogue with the poetics of chivalric romance by allusively reproducing the episode of Parzival’s victory over the Red Knight (Wolfram von Eschenbach’s Parzival), which fundamentally changes the status of the main character. The use of deep mythopoetic significance allows the playwright to prominently mark the broad sociocultural issues of changes in public consciousness and the positioning of the masculine principle in society in the 2020s.
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Dashieva, Lidiya D., and Surjana B. Miyagasheva. "The cult of the tengries in archival materials of the Center of oriental manuscripts and xylographs of the IMBT SB RAS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 184–94. http://dx.doi.org/10.17223/22220836/45/17.
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An important role in preserving the ethnic and cultural identity of the Buryat ethnos is acquired by traditional culture and a unique historical and cultural heritage, in which a special place is occupied by works of a shamanic cult. In this regard, the study of the phenomenon of the cult of the tengries, shamanic hymns and invocations, as well as shamanic rituals of the Buryats, often lost or modified, their reconstruction becomes obvious urgency and timeliness. The article is devoted to the study of the shamanic cult of the tengries in the archival materials of the Center of Oriental manuscripts and xylographs of the IMBT SB RAS. For the first time in Russian and foreign Mongolian studies an attempt is made to systematize handwritten sources in the Old Mongolian written, Buryat and Russian languages and comprehensively present the materials of the richest funds of the archive. In the archive fund, three groups are revealed: the general fund, the Mongolian fund and the phonofund. The database of the study of the cult of the tengries became materials of more than 116 sources, containing information from the general archive fund in Buryat and Russian (more than 100) and the Mongolian fund (16 sources) translated by the authors of the article from the old Mongolian written into Russian. The materials of the general fund reflect the diversity of shamanic rituals of the Buryats as a whole. Thematic groups such as mythology and uranium genealogy, hymns and texts of shamanic conscription and ritual practice are highlighted for revealing the specific motives of the cult of the tengries. This fund, which is kept in the manuscript department is the heritage of ethnographers, religious scholars, linguists and folklorists. The Mongolian Fund is represented by unique samples of texts of buddhist-shamanic ritual practice. It is determined that such rituals, connected with veneration of tengri, are the basis on the ritual of burning incense named san. These texts refer to the syncretic ritual practice, and represent records of hymns, prayers and descriptions of sacrificial rites to shamanic deities and ancestral spirits included in the Buddhist pantheon of deities. Manuscripts in the Old Mongolian language are a valuable historical and cultural source, revealing the phenomenon of written heritage of the Mongolian peoples. The collection of audio records of shamanic hymns, invocations, spells, stored in the phonofund of the archive of the IMBT SB RAS, which have value as a phenomenon of the ritual shamanic poetry of the Buryats, is singled out. The differentiation of audio samples into ritual singing and foul (narrative) genres is defined. Samples of audio recordings of the shamanic poetry dedicated to the cult of the tengries are systematized into the shamanic calls of the boogei durdalga and shamanic songs of boogei duunuud. It is revealed that the sound or acoustic code is of particular importance in the music of the shamanic cult, and in this connection the question of the correlation of the verbal and musical components in the shamanic invocations and hymns is touched upon.
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Han, Jing, and Xiaoyang Wang. "A Comparative Study of Religious Images on Sogdian Burial Utensils in China and Central Asia." Religions 14, no. 1 (2023): 115. http://dx.doi.org/10.3390/rel14010115.
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The comparison of Sogdian images in China and Central Asia has become a hot topic in academic circles in recent years. However, there is no specific comparison of Sogdian images on burial utensils in the existing studies. Accordingly, the author proposes to compare the images on burial utensils by collecting together the remaining materials as much as possible and making corresponding data tables. First and foremost, this paper focuses on the actual quantity of the remains and gives a table, “Statistics of the Sogdian Burial Utensils with Images”, to show this quantity for the first time: there are 30 remains of Sogdian burial utensils in China (26 sarcophagi and four ossuaries) and 23 Sogdian burial utensils in Central Asia (all are ossuaries). Secondly, there are several tables based on remaining materials in this paper, including “Distribution of the Shapes of Sogdian Sarcophagi in China”, “Historical Period and Shape of Sogdian Ossuaries in Central Asia”, “Religious Images Table of Sogdian Sarcophagi in China”, “Table of Religious Image Types of the Sogdian Ossuaries in Central Asia” and “Common Religious Images of the Burial Utensils in China and Central Asia”. Thirdly, further analysis shows that there are two image systems. Grounded in the above analysis, this paper comes to conclusions at three levels. Firstly, there are two shapes of burial utensils. Sarcophagi are widely seen in China whilst ossuaries are commonly discovered in Central Asia. As a result, the images on the sarcophagi in China are large in size and wide in narrative themes, whereas those on the ossuaries in Central Asia are small in size, emphasizing important content and narrative themes. All are rich in image representation. Secondly, there are three types of religious images on the burial utensils. The comparison results of image types show the common images in three categories: gods, funeral ceremonies and sacred fire sacrifice. Thirdly, the images on burial utensils have different characteristics regarding religious transmission. Zoroastrianism is dominant in Central Asia, while Zoroastrianism, Chinese mythology and Buddhist images are primary in China and images of tomb owners embodying secularity are also widespread in China.
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Tsendina, Anna D. "«Устная история» в дневниках Ц. Дамдинсурэна". Oriental Studies 15, № 5 (2022): 1147–58. http://dx.doi.org/10.22162/2619-0990-2022-63-5-1147-1158.
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Introduction. The oral tradition has figured largely in the literature of Mongols since ancient times. This is due to the nomadic way of life resulting in that sparse population gets scattered across vast territories forced to exchange news and knowledge by word of mouth. Such intensive functioning of the oral text transmission form can be witnessed even nowadays. Goals. The paper aims at introducing some data on ‘oral histories’ contained in Ts. Damdinsüren’s diaries into scientific circulation. Results. The tradition of using oral narratives in the functional sphere, in particular, to preserve and transmit historical facts — i.e. to somewhat ‘document’ the past — has given rise to such genres as ‘oral history’ (aman tuuh), ‘oral memoires’ (huuch yaria), and ‘folkloric accounts’ (yaria) that have become very popular in recent decades. And it is Academician Ts. Damdinsüren that can be viewed as initiator of this genre in Mongolian literature. The diaries of Ts. Damdinsüren dated from 1956 to 1986 contain materials used by him in his publications of ‘oral histories’. The latter can be somewhat provisionally classified into a few categories. First of all, it is evident enough that Ts. Damdinsüren was interested in funny stories, amusements, and anecdotes. Furthermore, he had been collecting narratives about supernatural entities for many years. The theme aroused the academician’s interest as manifested mythopoeia of the Mongols and as embodied living mythology of the people rather than as some mere object of curiosity, neither was he ever that enthusiastic about insights into esoteric practices of Mongolian Buddhist priests. The notebooks also contain quite a number of texts dealing with the Mongolian Revolution and the dramatic 1930s to have witnessed harsh repressions. The latter coupled with arrangements directed against the old culture did capture the scholar’s attention. The recorded ‘oral histories’ were articulating inconvenient and sometimes even hostile data for authorities on topics that remained banned up to the 1990s. So, the ‘oral histories’ not only introduce new historical and cultural facts, opinions of commoners on certain events, but also narrate about Mongolian household life of the past, peculiarities of ethnic worldviews and attitudes.
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Dashieva, Lidiya D. "Раннефольклорные обрядовые жанры традиционной культуры хори-бурят". Монголоведение (Монгол судлал) 13, № 4 (2021): 704–12. http://dx.doi.org/10.22162/2500-1523-2021-4-704-712.
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This article continues the study of the traditional musical culture of the Eastern Khori-Buryats, based on rare archival material of the audio collection of the famous orientalist Purbo Baldanovich Baldanzhapov (1921–1991). The research was started by the author in 2014 in the article “Materials of P. B. Baldanzhapov as a source for studying the song tradition of the Khori-Buryats”. The aim of this article is to represent the early folklore genres of the ceremonial traditional music of the Eastern Khori-Buryats. In the article the methods of genre and structural-typological analysis of folklore works recorded by P. B. Baldanzhapov were used. The study of the Khori-Buryat ritual song tradition, as a system, entailed the involvement of a structural and functional method, which allowed us to consider various aspects of the ritual and ritual complex of the eastern Khori-Buryats. The traditional musical culture of the Eastern Khori-Buryats can be divided into two genre groups (ceremonial and non-ceremonial). The ritual music of P.B. Baldanzhapov’s audio collection includes wedding songs (Uusyn duunuud), the ancient ritual dance Neryelge and accompanying songs (Neryelgyn or Neryeenei duunuud), the glorification of the horse by Morinoy solo, Buddhist Maani chants. The second group includes such genres of non-ritual sphere as uligers (Ulgernuud), historical songs (Tuuhyn duunuud) about Shilde Zangi, magtals to parents (Magtaalnuud), ring songs (Beheligey duunuud), comic songs (Shog duunuud). In this article, special attention is paid to the unique, but already lost genres of ritual music of Khori-Buryats – Neryelgyn duunuud, accompanying the ritual dance of Neryelge and the glorification of the horse (Morinoy solo), who won the race. The analysis of the semantics of poetic texts and musical intonations of Neryelgyn duunuud and Morinoy solo allows us to attribute these genres to the early folklore layer of the traditional musical culture of the Eastern Khori-Buryats and to reveal the semantic connection with the mythology and religion of the early nomads. Of course, in the future research it is necessary to continue studying the works of non-ritual traditional music of the Khori-Buryats from the collection of P.B. Baldanzhapov. The analyses of these samples of song folklore might allow to carry out the notation of Morinoy’s solo samples with their subsequent musical analysis and publication. One of the promising areas of research may be the reconstruction of these rare and unique genres of ritual music of the Khori-Buryats in the context of a comparative historical study of the cultural traditions of the Turkic-Mongolian peoples.
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Knorozova, Ekaterina Yu. "THE IMAGE OF INDRA IN VIETNAMESE CULTURE: TRADITION AND MODERNITY." Southeast Asia: Actual Problems of Development, no. 3(56) (2022): 213–25. http://dx.doi.org/10.31696/2072-8271-2022-3-3-56-213-225.
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Indra in ancient Indian mythology is the god of thunder and lightning, the head of the gods, embodies primarily a military function, is also associated with fertility. Belief in Indra probably came to Vietnam with Buddhism. Indra was revered as the protector of the Buddha. The convergence of the images of Indra and Jasper Lord Ngok-hoang led to the fact that Indra began to be perceived as the patron of chess.
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Satıcıoğlu, H. "SOME KYRGYZ LEGENDS THAT AROSE THROUGH THE INFLUENCE OF ISLAMIC PARABLES." Herald of KSUCTA n a N Isanov, no. 2-2-2022 (April 30, 2022): 1011–17. http://dx.doi.org/10.35803/1694-5298.2022.2.1011-1017.
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There is a reciprocal relationship between religion and culture. Religion is a social institution that creates societies with elements such as faith, morals and rituals along with their cultures. In the historical process, beliefs such as Buddhism, Manichaeism, Zoroastrianism, Judaism, Christianity have been adopted by various Turkish tribes for various social and political reasons. However, the influence of the belief of Sky God, which is the basis of Turkish mythology and culture, on the Turkish tribes living in Turkestan has always continued. One of the results of the Talas War, which took place in 751, was that the Turkish tribes living in Turkestan began to accept Islam en masse. In the process of almost thirteen centuries that have passed since the arrival of the Turks under the influence of Islam, Mesopotamian mythology, along with Islamic teachings, influenced Turkic culture and folklore. Desiring to know, interpret and comprehend the nature and environment in which they live, the Turks created various toponymic legends based on their beliefs and cultures. While supernatural powers were gods, goddesses, creatures and spirits in Turkiс mythology, with the evolution of this tradition in post-Islamic Kyrgyz society, the concept of God, religious-mystical personalities such as prophet saints, jinns and angels came to the fore. Our study is about legends compiled on the territory of Kyrgyzstan and presumably formed under the influence of the Islamic faith.
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Cheuk, Michael Ka-chi. "Gao Xingjian’s Escape from Orientalism." Archiv orientální 89, no. 2 (2021): 365–87. http://dx.doi.org/10.47979/aror.j.89.2.365-387.
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Of Mountains and Seas (1989) and Snow in August (1997) are two plays which Gao Xingjian completed in France and contain direct references to ancient Chinese cultures. With reference to Gao’s “cold” theatrical techniques of suppositionality and tripartite acting, I argue such plays not only expose the Orientalist impulses in their portrayals of Chinese mythology and Zen Buddhism but also breathe new life into these ancient Chinese traditions. By highlighting Gao’s emphasis on observation, this paper demonstrates how his “escape” from Orientalism via literature is less about the avoidance of Orientalism than the reflexive observation of Orientalism.
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Kortunov, Vadim V., and Marina R. Gozalova. "Phenomenon of an Irrational in Eastern Direction in Thinking." International Journal of Criminology and Sociology 9 (April 5, 2022): 2622–27. http://dx.doi.org/10.6000/1929-4409.2020.09.323.
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Indian mythology and the Vedic image of the world built on its basis are of exceptional importance for understanding the entire Eastern culture. The mythological complex of Indian representations is the most ancient (researchers attribute its formation to the III millennium BC) and surprisingly persistent. The Vedic image of the world combines the features of proper mythology and religion and philosophy; it becomes the initial model for the formation of later religious and philosophical doctrines. Recall that it was the Vedic image of the world that formed the Brahmanism ideology prevailing in Ancient India and then formed the foundation of modern Hinduism through a modification of the Brahmin doctrine. Moreover, even religious-philosophical systems opposed to Brahmanism, such as Jainism, Bhagavatism, Buddhism, which questioned Rigveda and other Samhitas's sanctity, maintained a standard worldview continuity and solidarity with the fundamental images of the Vedic world model. Of course, Indian mythology, especially at the early stages of its formation, has much in common with mythological representations of other peoples of the world. At a particular stage in the development of mythic consciousness, we can everywhere find syncretic and anthropomorphic motifs, echoes of totemism or animism, the influence of matriarchy, and, of course, the tendency to overcome polytheistic traditions and the tendency to theistic monism. However, in the East, all these elements of mythological consciousness acquired an exceptional fundamental sound, making it possible to raise the question of the specifically Eastern way of world relations and the key importance of Vedic images in the general model of the world built by the East.
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Petrushko, Vitalii. "Cosmogonic views in the mythology of the Korean people." Ethnic History of European Nations, no. 67 (2022): 123–27. http://dx.doi.org/10.17721/2518-1270.2022.67.16.
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The traditional culture of the Korean people is not considerably studied in Ukrainian historiography, compared to Chinese or Japanese mythologies. While Korean traditional culture has much in common with the nations of the East Asia region, it also has many unique socio-cultural phenomena that are very perspective for research. The mythology of the Korean people has come down to our time thanks to traditional Korean shamanism, which was greatly influenced by Buddhism and Taoism. This unical confluence of religious systems deserves attention from researchers. Korean mythology does not have a strict hierarchy of gods, as is the case in Western mythologies. Despite this, it is full of original plots and characters, which can have many different versions. Cosmogonic legends in Korean mythology are represented in many variations of sacred shamanic stories, recorded from the mouths of Korean shamans Mu. After the partition of the Korean Peninsula in 1945, ethnographic science suffered greatly. While traditional Korean shamanism still exists legally in South Korea, it is outlawed in the North, and many shamans – important carriers of ethnographic material – have been subjected to political repression. Most of the stories studied in this article were written before the partition of Korea in the 1920–1930s. Some of the stories were also recorded in South Korea in the 1970–1980s. The article analyzes in detail the cosmogony narratives in Korean sacred shamanic stories; classifies, explores and compares various legends about the creation of the universe and highlights the main features of traditional Korean cosmogony. Also, the article reveals the chronological and geographical boundaries of ethnographic research in Korea, during which stories were recorded that contain traditional cosmogonic plots.
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Kim, Myungok. "Is Queen Heo a myth created: A Critical Review of Queen Heo's Mythology by Kim Tae-sik and Lee Kwang-soo." Barun Academy of History 17 (December 31, 2023): 113–46. http://dx.doi.org/10.55793/jkhc.2023.17.113.
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This article has the character of refutation to Kim Tae-sik and Lee Kwang-soo's claim that Queen Heo's mythology was created in the 7th and 8th centuries. Kim Tae-sik and other Lee Kwang-soo consistently claim that Queen Heo's mythology was created in the 7th to 8th centuries, and that several elements were added to the myth when KumGwanJujisa wrote the “Gaehwangnyaku,” and later Ilyeon entered Garakgukgi while compiling “Samkukyusa” Their claims were groundless, only inferences.
 India's navigation techniques and records at that time, and coins engraved with two sword poles cast in the 2nd century show India's active maritime trade. In addition, the cabin partition wall excavated from Bonghwang-dong shows Gaya's navigation technology. In other words, records and relics suggest maritime trade between India and Gaya. Therefore, as recorded in “Samkukyusa” it shows that Queen Heo arrived at Gaya through the sea. On the other hand, the inscriptions on the Pasa Stone Pagoda and “Gimhae Wolmyeong Historic Site Monument” are concrete evidence that Queen Heo's arrival and Buddhism were introduced to Gaya. The Gimhae Wolmyeong Historic Site Monument clearly states that Wolmyeong Temple was founded in March 144 AD. In addition, the people say that Kim Su-ro and Heo empress are their ancestors through the origin story of Gimhae Kim and Gimhae Heo.
 Records, relics, and people's memories are all said to have come to Gaya in 48 AD. However, Kim Tae-sik, Lee Kwang-soo, and Baek Seung-chun deny the arrival of Queen Heo in 48 AD. The fundamental reason why they denied Queen Heo's existence was to claim that “Gaya = Imna.” In order to become “Gaya = Imna,” Gaya must not be founded in 42 and Queen Heo must not arrive in 1948. This is because when Queen Heo comes, the world of Gaya must be recognized and Gaya Buddhism must be recognized, so there is no place for Imna to stand.
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Zhambalova, Sesegma G., та Marina Ts Tsyrenova. "В «образе Другого»: буряты в русской массовой литературе XXI в." Монголоведение (Монгол судлал) 15, № 2 (2023): 240–52. http://dx.doi.org/10.22162/2500-1523-2023-2-240-252.
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Introduction. Contemporary Russian popular literature shows a trend to depict non-Russian citizens as minor and negative characters, the malign features proper being often somewhat attributed to race and ethnicity. Goals. The study provides an insight into the image of Buryats in Russian popular literature of the twenty first century, since some of the identified narratives can artificially ignite xenophobia in Russian society. Materials and methods. The article examines a variety of literary and research material, published field data collected by S. Zhambalova and N. Igaue, online sources. The employed methods comprise those of historical imagology and theory of stigmatization. Results. The considered detective novel (Taxi for an Angel) by V. Platova depicts four Buryats and one German as ‘othered’ — secondary and negative characters. Body-related portrayals are adversely supplemented with elements of Buryat mythology, religion, and ethnography. As for the work by I. Stogoff, he articulates therein some negative impressions of his stay in Buryatia. And both the literary compositions are abundant in critical accounts of Buddhism, Buddhists, and Ivolginsky Datsan. Discussion. The examined narratives are distinguished by xenophobia towards Buryats and basically contradict the state of the art, Russia’s Constitution, current nationalities policies of the Government, and may threaten interethnic relations. The bulk of Buryats are Russian citizens successfully integrated into global contexts, and the negative public stigmatization of one indigenous people attests to rudiments of the post-Soviet self-stigmatization of Russia are still there. Conclusions. Both the books are products of early twenty-first-century literature characterized by identity crisis — and bear traces of nationalism and ethnocentrism. Images of the Other attributed to Buryats are toll opinion-based, questionable, and falsify the actual present-day interethnic agenda in Russia. Like other indigenous communities, Buryats are civilized members of the contemporary world, while the manifested stigmas may adversely influence intra-nation harmony. Such publications and nation-wide self-stigmatization in Russian popular literature are definitely inadmissible.
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Zhambalova, Sesegma G., та Marina Ts Tsyrenova. "В «образе Другого»: буряты в русской массовой литературе XXI в." Монголоведение (Монгол судлал) 15, № 2 (2023): 82–94. http://dx.doi.org/10.22162/2500-1523-2023-2-82-94.
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Introduction. Contemporary Russian popular literature shows a trend to depict non-Russian citizens as minor and negative characters, the malign features proper being often somewhat attributed to race and ethnicity. Goals. The study provides an insight into the image of Buryats in Russian popular literature of the twenty first century, since some of the identified narratives can artificially ignite xenophobia in Russian society. Materials and methods. The article examines a variety of literary and research material, published field data collected by S. Zhambalova and N. Igaue, online sources. The employed methods comprise those of historical imagology and theory of stigmatization. Results. The considered detective novel (Taxi for an Angel) by V. Platova depicts four Buryats and one German as ‘othered’ — secondary and negative characters. Body-related portrayals are adversely supplemented with elements of Buryat mythology, religion, and ethnography. As for the work by I. Stogoff, he articulates therein some negative impressions of his stay in Buryatia. And both the literary compositions are abundant in critical accounts of Buddhism, Buddhists, and Ivolginsky Datsan. Discussion. The examined narratives are distinguished by xenophobia towards Buryats and basically contradict the state of the art, Russia’s Constitution, current nationalities policies of the Government, and may threaten interethnic relations. The bulk of Buryats are Russian citizens successfully integrated into global contexts, and the negative public stigmatization of one indigenous people attests to rudiments of the post-Soviet self-stigmatization of Russia are still there. Conclusions. Both the books are products of early twenty-first-century literature characterized by identity crisis — and bear traces of nationalism and ethnocentrism. Images of the Other attributed to Buryats are toll opinion-based, questionable, and falsify the actual present-day interethnic agenda in Russia. Like other indigenous communities, Buryats are civilized members of the contemporary world, while the manifested stigmas may adversely influence intra-nation harmony. Such publications and nation-wide self-stigmatization in Russian popular literature are definitely inadmissible.
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He, Yan, and Rongqiao Wu. "An Exploration of the Evolution of the Loong Mother Belief System in Lingnan: Formation and Transformation." Religions 14, no. 9 (2023): 1103. http://dx.doi.org/10.3390/rel14091103.
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The rise of a patriarchal society has led to a prevalent perception of male superiority over women, which is reflected in the gender-based disparities within the deity system of China. However, in contrast to the situation in the Central Plains, the Lingnan region assigns a significant social status to women, as evidenced by the active worship of female deities. Among them, the Loong Mother stands out as a highly revered goddess in Lingnan’s mythology. This paper investigates the evolution of the Loong Mother’s deification from a mortal woman, and explores the varying religious principles of Buddhism, Taoism, and Confucianism, as well as their influence on the veneration of female deities in Lingnan. Additionally, this paper analyzes the Loong Mother’s portrayal within civil society. Despite undergoing continuous transformation to cater to diverse religious traditions and societal needs, the goddess’s actions and functions ultimately reflect her creation and shaping by the community.
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Jainudin, Jainudin. "Mitologi Buyut Cili Kepercayaan dan Habituasi Transendental Suku Using, Banyuwangi." Religió: Jurnal Studi Agama-agama 9, no. 1 (2019): 77–97. http://dx.doi.org/10.15642/religio.v9i1.1234.
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The history of the mythology of Using Tribe in Banyuwangi has been rooted within the ancestral beliefs of Hinduism and Buddhism. Using Tribe used to do a pilgrimage (ziarah) to what so called Petilasan Buyut Cili which is believed as ground-breaker of the construction of Using. This research aims to describe history of Petilasan Buyut Cili, cultural changes of the ancestral faith, and transcendental habituation. Using phenomenological approach, this research attempts to elucidate that social belief could create a basically well-balanced connection between human and God. This research found that (1) the growth of the belief of Using Tribe has been influenced by Department of Tourism which established Kemiren Village as a traditional and cultural village; (2) urbanization changes religious patterns of Using Tribe; and (3) the tribe has been transformed to be a religious-based tourist destination. The tribe practiced annual religious rites which are conserved simultaneously to become a transcendental habituation for the people of Desa Kemiren.
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Fallon, Breann. "“I am Mother to my Plants”." Fieldwork in Religion 13, no. 2 (2018): 169–82. http://dx.doi.org/10.1558/firn.36021.
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The tree stands as a sacred symbol in many faith traditions. Unsurprisingly, nature-based new religious movements are no exception. This article considers the manifestation of sacred trees in a number of religious traditions, including Australian Aboriginal and Torres Strait Islander spirituality, Abrahamic traditions, Ancient Egyptian religion, Buddhism, Hinduism, Norse mythology, the Shinto faith, and nature-based new religious movements. After this initial section, I present the findings of a fieldwork project undertaken in 2016. Using the survey as a tool, this project enquired into the use of trees, plants, and private gardens among practitioners from nature-based new religious movements. This survey makes use of both quantitative and qualitative survey methods, having been distributed to various nature-based new religious movements in New Zealand, Australia, Europe, the United States, and the United Kingdom. Despite extensive tree lore, these survey results present the tree as a peripheral plant in the practitioners' everyday practice, with the garden as a whole being more critical than any single variety of vegetation.