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Journal articles on the topic 'Japanese Buddhist devotional literature'
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1
Masatsugu, Michael K. "““Beyond This World of Transiency and Impermanence””: Japanese Americans, Dharma Bums, and the Making of American Buddhism during the Early Cold War Years." Pacific Historical Review 77, no. 3 (August 1, 2008): 423–51. http://dx.doi.org/10.1525/phr.2008.77.3.423.
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This article examines the growing interest in Buddhism in the United States during the Cold War, analyzing discussions and debates around the authenticity of various Buddhist teachings and practices that emerged in an interracial Buddhist study group and its related publications. Japanese American Buddhists had developed a modified form of Jōōdo Shinshūū devotional practice as a strategy for building ethnic community and countering racialization as religious and racial Others. The authenticity of these practices was challenged by European and European American scholars and artists, especially the Beats, who drew upon Orientalist representations of Buddhism as ancient, exotic, and mysterious. In response, Japanese American Buddhists crafted their own definition of ““tradition”” by drawing from institutional and devotional developments dating back to fourteenth-century Japan as well as more recent Japanese American history. The article contextualizes these debates within the broader discussion of cultural pluralism and race relations during the Cold War.
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Xiaodong, Yang. "Inscribing Scriptural Catalogs: Apropos of Two Southern Song Pagodas and Related Buddhist Monuments in the Sichuan Basin." T’oung Pao 106, no. 5-6 (December 31, 2020): 602–60. http://dx.doi.org/10.1163/15685322-10656p04.
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Abstract Commonly referred to in Chinese by the term jinglu, scriptural catalogs constitute a specific sort of Sinitic bibliographical literature that deals primarily with texts accepted in East Asian Buddhist circles as authoritative in matters of religion. The role that these catalogs played in the history of the Chinese Buddhist canon has become the subject of various important studies, but still oft-neglected are the functional places that such texts filled in the sphere of Buddhist devotional practice. To try to redress the balance, this essay brings into focus a small but significant group of Southern Song (1127-1279) Buddhist monuments in the Sichuan basin. Not only do these monuments allow us a rare glimpse into the devotional uses and symbolic functions of scriptural catalogs, but they offer a vantage point from which to view at least a part of what premodern Buddhists in the Sichuan basin actually believed and practiced.
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Shandyba, Sergey V. "From Temple to Household Altar (Butsudan and Zushi in Japanese Culture)." Study of Religion, no. 3 (2019): 43–52. http://dx.doi.org/10.22250/2072-8662.2019.3.43-52.
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The article focuses on one of the most important Buddhist sacred objects of Japanese religion known as household altar (butsudan) as well as the miniature icon case (zushi) which has genetic relation with the latter. These objects are the most typical examples of religious art in Japan. Aside from their major religious significance in Japanese culture, various religious ideas and many skillful techniques were incorporated to them that transform them into wonderful works of art. The Buddhist family altar is one of the most peculiar objects that characterize Japanese religiosity. This paper examines some issues of the origin, development and existence of a Buddhist altar. It is the center of family worship and devotional activities in Japan, as an important communication tool between this world and the world of the afterlife; it also produces a sense of continuity between the generations, e.g. when people report to the ancestors events related to the living members of the family. In Japan, where religion is increasingly observed critically, religious practices centered on the Butsudan are one of the country’s most enduring social and religious traditions.
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Wargula, Carolyn. "Embodied Objects: Chūjōhime’s Hair Embroideries and the Transformation of the Female Body in Premodern Japan." Religions 12, no. 9 (September 15, 2021): 773. http://dx.doi.org/10.3390/rel12090773.
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The female body in medieval Japanese Buddhist texts was characterized as unenlightened and inherently polluted. While previous scholarship has shown that female devotees did not simply accept and internalize this exclusionary ideology, we do not fully understand the many creative ways in which women sidestepped the constraints of this discourse. One such method Japanese women used to expand their presence and exhibit their agency was through the creation of hair-embroidered Buddhist images. Women bundled together and stitched their hair into the most sacred parts of the image—the deity’s hair or robes and Sanskrit seed-syllables—as a means to accrue merit for themselves or for a loved one. This paper focuses on a set of embroidered Japanese Buddhist images said to incorporate the hair of Chūjōhime (753?CE–781?CE), a legendary aristocratic woman credited with attaining rebirth in Amida’s Pure Land. Chūjōhime’s hair embroideries served to show that women’s bodies could be transformed into miraculous materiality through corporeal devotional practices and served as evidence that women were capable of achieving enlightenment. This paper emphasizes materiality over iconography and practice over doctrine to explore new insights into Buddhist gendered ritual practices and draws together critical themes of materiality and agency in ways that resonate across cultures and time periods.
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Hayes, Matthew. "Faith, Devotion, and Doctrinal Knowledge." Journal of Religion in Japan 7, no. 1 (November 8, 2018): 27–56. http://dx.doi.org/10.1163/22118349-00701001.
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Abstract The genre of kōshiki 講式 (ceremonial lectures) has, over the last decade, gained significant traction in the fields of Buddhist studies and Japanese religions, but its commentarial sub-genre remains largely unexplored. While kōshiki offer fertile ground for understanding devotional practices across nearly all Buddhist schools in Japan, commentaries reveal how Buddhists understood their liturgical content and, more narrowly, how this content was consumed and re-purposed through intellectual endeavor. This article contributes to this understudied area in two ways. First, it demonstrates how the medieval Shingon cleric Gahō 我寶 (1239–1317) wielded the Shari kuyō shiki 舎利供養式, a ceremonial lecture written by Kakuban 覺鑁 (1095–1143), as a textual and performative embodiment of faith and devotion. Second, it suggests that his commentary gave shape to expressions of these very themes in various intellectual, performative, and editorial forums in later periods at the Kyoto temple Chishakuin 智積院.
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Galvan-Alvarez, Enrique. "Meditative Revolutions? A Preliminary Approach to US Buddhist Anarchist Literature." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (December 23, 2020): 160–79. http://dx.doi.org/10.28914/atlantis-2020-42.2.08.
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This article discusses the various shapes, inner structures and roles given to transformative and liberative practices in the work of US Buddhist anarchist authors (1960-2010). Unlike their Chinese and Japanese predecessors, who focused more on discursive parallelisms between Buddhism and anarchism or on historical instances of antiauthoritarianism within the Buddhist tradition(s), US Buddhist anarchists seem to favour practice and experience. This emphasis, characteristic of the way Buddhism has been introduced to the West,sometimes masks the way meditative techniques were used in traditional Buddhist contexts as oppressive technologies of the self. Whereas the emphasis on the inherently revolutionary nature of Buddhist practice represents a radical departure from the way those practices have been conceptualised throughout Buddhist history, it also involves the danger of considering Buddhist practice as an ahistorical sine qua non for social transformation. This is due to the fact that most early Buddhist anarchist writers based their ideas on a highly idealised, Orientalist imagination of Zen Buddhism(s). However, recent contributions based on other traditions have offered a more nuanced, albeit still developing picture. By assessing a number of instances from different US Buddhist anarchist writers, the article traces the brief history of the idea that meditation is revolutionary praxis, while also deconstructing and complicating it through historical and textual analysis.
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Kuzhel, Yu L., and T. I. Breslavets. "Semantics of Attributes of Japanese Buddhist Sculpture." Vestnik NSU. Series: History and Philology 21, no. 10 (December 1, 2022): 89–101. http://dx.doi.org/10.25205/1818-7919-2022-21-10-89-101.
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The article is devoted to the description and analysis of some iconographic elements inherent in Buddhist cult sculpture, which made communication between a person and a deity possible. The set being analyzed in this article, which is distinguished by its diversity, is limited to attributes that the deities hold in their hands, as well as crowns crowning the heads of deities, since they occupy a particularly important place in the structure of Buddhist iconography. The various identification marks endowed with Buddhist deities, in general, remain unchanged. As symbols, since images of deities are perceived by the adherents of the faith, they contribute to the birth of the corresponding associations. Embodied in Buddhist sculpture with their characteristic semantics, the attributes help to understand the essence of Buddha's teaching. Some objects are an information sign exclusively for a certain deity, others may belong to the subject environment of different deities. In the visual arts of Japan, the attributes of Buddhist sculpture have become a conventional image, contributing to the message of the versatility of Buddhist teaching, revealing its spiritual essence. Religious and aesthetic merged into one in the works of outstanding masters, who paid special attention to iconographic details, giving them artistic expressiveness. Buddhist sculpture uses symbols with well-established traditional meanings – religious values that have become common culture. The semantic structure of the symbol appeals to the experience and knowledge of a parishioner in a temple or a visitor in a museum, deepening and expanding his spiritual and mental space. This is facilitated by the canonized system of pictorial language that has developed over the centuries.
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Kang, Kyungha. "A Study on the Literature of Korean and Japanese Buddhist Monks." Japanese Cultural Studies 69 (January 31, 2019): 5–24. http://dx.doi.org/10.18075/jcs..69.201901.005.
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Babkova, Maya V., and Nadezhda N. Trubnikova. "Biographies of Monks in Japanese Buddhist Literature and Konjaku Monogatari-shū." Voprosy Filosofii, no. 1 (2023): 174–85. http://dx.doi.org/10.21146/0042-8744-2023-1-174-185.
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The tradition of “biographies of eminent monks”, kōsōden, was adopted by Japanese Buddhist masters from China and developed in various works, including collections of setsuwa tales. There are three components in monastic biographies: the path of the Buddha, retraced by his follower; the role of the monk in the history of the country; ascetic experience, which allows to assign the monk to one of the categories within the community (exegete of the Buddha teaching, miracle worker, merciful helper to the suffering living beings etс.). The genre of biographies partly overlaps with other genres: tales about miracles and about posthumous retribution; the same story, depending on the context, may shift toward one of these genres. “Genkō Era Buddhist History” (“Genkō Shakusho”, 1322) contains about 400 biographies of monks, which are divided in several categories. What categories turned out to be the most extensive in this text – in particular, the biographies of miracle workers – allows us to make some assumptions about the sources the compiler used or at least took into account. One of these sources was “Anthology of Tales from the Past” (“Konjaku monogatari-shū”, 1120s). This collection of setsuwa tales showcases the structure of biographies as they differ from texts of related genres based on several series of examples. In turn, a number of stories included in this collection trace back to “Miraculous Tales of the Lotus Sutra” (“Hokke Genki”, 1040s). A comparison of the two texts shows how, with a change in context, the tale about a miracle can become the tale about of a person who experienced a miracle, that is, acquire the features of a life story.
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Galdan, D. "Шинжаангийн уйгур өөртөө засах орны цөөн тоот үндэстний эртний ном бичгийн албан гэрийн тод үсгийн дурсгал бичгийн тойм байдал (= Ойратская коллекция Фонда древних рукописей национальных меньшинств Синьцзяна)." Монголоведение (Монгол судлал) 12, no. 4 (December 17, 2020): 801–14. http://dx.doi.org/10.22162/2500-1523-2020-4-801-814.
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Until recently, the Oirat manuscripts from Xinjiang remained inaccessible to researchers due to a number of circumstances. Most of the manuscripts are kept in private collections. According to some data, in the Ili-Kazakh Autonomous Province alone, the Olets living there have more than 300 personal collections, in which, according to rough estimates, there are more than two thousand manuscripts. The Fund of Ancient Manuscripts of National Minorities of the Xinjiang Uygur Autonomous Region of the PRC, created in the second half of the 1970s, is a large repository of texts in the ‘Clear Script’ of the Oirats. The basis for its creation was manuscripts and xylographs from private collections, which were preserved during the years of the Cultural Revolution thanks to the personal courage of ordinary lovers of book antiquity. The Oirat collection of Xinjiang contains 398 manuscripts and xylographs of various contents: Buddhist texts of the canonical content (sutras, sastras, devotional texts), works of popular Buddhist literature (jatakas, teachings, didactic instructions and sayings, framed novels, etc.), astrological, ritual folklore texts.
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Machado, Roberto Pinheiro. "Hagiwara Sakutarô, Buddhist realism, and the establishment of japanese modern poetry." Estudos Japoneses, no. 35 (March 7, 2015): 71–103. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p71-103.
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This article approaches the works of poet Hagiwara Sakutarô (1886-1942) from a comparative perspective that engages philosophy and literature. The philosophical dimension of Sakutarô’s poetry is analyzed by means of inter-textual readings that draw on the tradition of Buddhist epistemology and on the texts of logicians Dignāga and Dharmakīrti (5th century). The comparative analysis is considered under the perspective of the influence of Naturalism and the use of description in the emergence of Japanese modern poetry. Pointing to the possibility of a Buddhist realism that shares some common characteristics with Naturalism, the article emphasizes the Buddhist dimension of Sakutarô’s poetry, which appears in spite of the poet’s turn to Western philosophy (notably to Schopenhauer, Nietzsche, and Kant), as well as to his overt rejection of Buddhism as a necessary step to the modernization of the Japanese letters.
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Overmeire, Ben Van. "HARD-BOILED ZEN: JANWILLEM VAN DE WETERING’S THE JAPANESE CORPSE AS BUDDHIST LITERATURE." Contemporary Buddhism 19, no. 2 (June 2018): 382–97. http://dx.doi.org/10.1080/14639947.2018.1480890.
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Murakami, Daisuke. "Japanese Imaginings of Tibet: Past and Present." Inner Asia 12, no. 2 (2010): 271–92. http://dx.doi.org/10.1163/000000010794983559.
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AbstractThis article attempts to demonstrate and analyse Japanese images and fantasies that have been projected onto Tibet both in Japan's colonial and contemporary eras. The author focuses particularly on the latter period, investigating literature and social vocabularies demonstrated by important Japanese monks, scholars and travellers who disseminated conflicting and distinctive images of Tibet. In so doing, he argues that Japanese imaginings of Tibet throughout the last century have been inextricably connected both to the nature of Japanese modernity and to the ways in which Japanese interpret their Buddhist traditions and national identity.
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Van Overmeire, Ben. "Inventing the Zen Buddhist Samurai: Eiji Yoshikawa's Musashi and Japanese Modernity." Journal of Popular Culture 49, no. 5 (October 2016): 1125–45. http://dx.doi.org/10.1111/jpcu.12461.
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Faure, Bernard R., and Andrea Castiglioni. "Aspects of Medieval Japanese Religion." Religions 13, no. 10 (September 23, 2022): 894. http://dx.doi.org/10.3390/rel13100894.
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The focus of this Special Issue is on medieval Japanese religion. Although Kamakura “new” Buddhist schools are usually taken as unquestioned landmarks of the medieval religious landscape, it is necessary to add complexity to this static picture in order to grasp the dynamic and hybrid character of the religious practices and theories that were produced during this historical period. This Special Issue will shed light on the diversity of medieval Japanese religion by adopting a wide range of analytical approaches, encompassing various fields of knowledge such as history, philosophy, materiality, literature, medical studies, and body theories. Its purpose is to expand the interpretative boundaries of medieval Japanese religion beyond Buddhism by emphasizing the importance of mountain asceticism (Shugendō), Yin and Yang (Onmyōdō) rituals, medical and soteriological practices, combinatory paradigms between local gods and Buddhist deities (medieval Shintō), hagiographies, religious cartography, conflations between performative arts and medieval Shintō mythologies, and material culture. This issue will foster scholarly comprehension of medieval Japanese religion as a growing network of heterogeneous religious traditions in permanent dialogue and reciprocal transformation. While there is a moderate amount of works that address some of the aspects described above, there is yet no publication attempting to embrace all these interrelated elements within a single volume. The present issue will attempt to make up for this lack. At the same time, it will provide a crucial contribution to the broad field of premodern Japanese religions, demonstrating the inadequacy of a rigid interpretative approach based on sectarian divisions and doctrinal separation. Our project underlines the hermeneutical importance of developing a polyphonic vision of the multifarious reality that lies at the core of medieval Japanese religion.
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김선화. "A Study on Women's Broken Heart and Entering the Buddhist Priesthood in Japanese Medieval Literature." Journal of Japanese Language and Literature 62, no. 1 (August 2007): 1–16. http://dx.doi.org/10.17003/jllak.2007.62.1.1.
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Trubnikova, Nadezhda N. "Incarnated Bodhisattva: A Record of the Commemoration of Princess Sonshi." Study of Religion, no. 2 (2019): 66–76. http://dx.doi.org/10.22250/2072-8662.2019.2.66-76.
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The article describes one of the examples of the ganmon genre in Japanese Buddhist literature: the text of Yoshishige-no Yasutane (933–1002), compiled in 985 for the commemoration rite of Princess Sonshi (addressee of Sanbō ekotoba) and included into the Honchō Monzui collection. In this ganmon, a noble woman appears as the incarnation of bodhisattva: although in childhood and youth the princess was a priestess of Kamo shrine, then became the sovereign's wife and only became a nun shortly before her death, her life choice is described as moving along the path of the Buddha to the rebirth in Pure Land. Like other compilers of gammon texts, Yasutane combines references to Buddhist scriptures with motifs from Chinese secular poetry. The rite of commemoration, of which he speaks, is indicative from point of view of the selection of Buddhist sutras presented to the temple – those that were most popular in Japan and were considered especially useful for women. Among the Japanese texts about Kannon (Avalokiteśvara), this gammon is interesting by the sense in which the fate of a woman, in her life and after death, can be considered the realization of the Bodhisattva's merciful practice. The article is accompanied by translation of the Yasutane’s ganmon
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Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.
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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?
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Tang, Muh-Chyun, Weijen Teng, and Miaohua Lin. "Determining the critical thresholds for co-word network based on the theory of percolation transition." Journal of Documentation 76, no. 2 (December 11, 2019): 462–83. http://dx.doi.org/10.1108/jd-06-2019-0117.
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Purpose One of the chief purposes of bibliometric analysis is to reveal the intellectual structure of a knowledge domain. Yet due to the magnitude and the heterogeneous nature of bibliometric networks, some sorts of filtering procedures are often required to make the resulting network interpretable. A co-word analysis of more than 135,000 scholarly publications on Buddhism was conducted to compare the intellectual structure of Buddhist studies in three language communities, Chinese, English and Japanese, over two periods (1957–1986 and 1987–2016). Six co-word similarity networks were created so social network analysis-based community-detection algorithm can be identified to compare major research themes in different languages and eras. The paper aims to discuss this issue. Design/methodology/approach A series of filtering procedures was performed to exclude less discriminatory keywords and spurious relationships of a large, cross-language co-word network in Buddhist studies. Chief among the filtering heuristics was a percolation-transition based method to determine the similarity threshold that involves observing the relative decrease of nodes in the giant component with the increasing similarity threshold. Findings It was found that the topical patterns in the Chinese and Japanese scholarship of Buddhism are alike and observably distinct from that of the English scholarship. Furthermore, a far more drastic changes of research themes were observed in the English literature relative to the Chinese and Japanese literature. Originality/value The filtering procedures were shown to greatly enhance the modularity values and limited the number of modularity classes; thus, domain expert interpretation is feasible.
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Kovlekov, Kirill Ivanovich. "The image of the "demon Lord" in Japanese fantasy: traditions, formality, originality." Litera, no. 10 (October 2022): 106–14. http://dx.doi.org/10.25136/2409-8698.2022.10.38135.
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Modern Japanese fantasy is based on a limited set of characters. One of them is “demon lord” or "Maou" (jap. 魔王). Given the growing popularity of novels implementing the character during composition, as well as growing popularity of manga and anime adaptations, it seems relevant to study the key characters of Japanese fantasy. In this regard, the purpose of the study is to determine the role of the demon lord character. Subject of the study pertains to modern Japanese fantasy. To achieve research goals, methods of comparative historical analysis, J. G. Kavelty's literary formula approach, and content analysis were used. The main result of the work was identification of the characteristic features and the role of the demon lord as character in its diachronic and synchronic aspects. The fields of application of the research results are literary studies, Oriental studies, the study of modern Japanese mass literature. It is concluded that the demon lord as a concept dates back to traditional Buddhist origins, but nowadays returns to its roots in a new capacity after adapting Japanese popular culture, in response to the needs of modern man. In the context of modern mass literature, the demon lord holds value as a type of standard of Japanese fantasy and as an important element of the conventional structure of the literary formula.
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Fredericks, James. "The Kyoto School: Modern Buddhist Philosophy and the Search for a Transcultural Theology." Horizons 15, no. 2 (1988): 299–315. http://dx.doi.org/10.1017/s0360966900039177.
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AbstractThe author argues that the Kyoto school of modern Japanese Buddhist philosophy can contribute much to Christian reflection on the problem of a transcultural theology. Starting with the work of Nishida Kitaro in the early part of this century, the Kyoto school has attempted to express Mahayana Buddhist thought in Western philosophical categories. Articulating his own “logic” based on the Mahayana notions of emptiness and nothingness, Nishida went on to advance a fully developed philosophy of religion which offers a unique interpretation of Christian theism while presenting the Mahayana tradition in a critical and systematic language accessible to a Western readership. Nishida's colleagues in the School include Tanabe Hajime, Nishitani Keiji, Takeuchi Yoshinori, and Abe Masao among others. A review of the literature available in Western languages is offered, as well as a discussion of some of the salient theological problems raised by this Mahayana critique of Christian theism and its contribution to the problem of a transcultural theological standpoint.
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Atwood, Christopher P. "A Romantic Vision of National Regeneration: Some Unpublished Works of the Inner Mongolian Poet and Essayist, Saichungga." Inner Asia 1, no. 1 (1999): 3–43. http://dx.doi.org/10.1163/146481799793646439.
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AbstractWorks of the poet and essayist Saichungga, a founder of modern Inner Mongolian literature, written in 1945 gave voice to the Japanese-sponsored nationalist mobilisation in Inner Mongolia during the final months of World War II. This article presents one unpublished essay and eight poems, reading them in the light of Saichungga’s cultural nationalism, which focused on moral renewal and scientific and cultural revival. Expressing the supersession of Buddhist ethics by incorporating its chief metaphors, Saichungga expresses his romantic vision of national regeneration with complementary dualities: youth and age, rootedness and restlessness, and male and female.
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Guilin, Tan. "The New Spiritual Elements and Artistic Exploration of Chinese Buddhist Literature during the War of Resistance against Japanese Aggression." Social Sciences in China 39, no. 2 (April 3, 2018): 114–27. http://dx.doi.org/10.1080/02529203.2018.1414385.
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Zuber, Devin. "The Buddha of the North: Swedenborg and Transpacific Zen." Religion and the Arts 14, no. 1-2 (2010): 1–33. http://dx.doi.org/10.1163/107992610x12598215383242.
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AbstractThe Scandinavian scientist-mystic Emanuel Swedenborg (1688-1772) has had a curious relationship to the history of how Western literature has responded to Buddhism. Since Honoré de Balzac’s claim in the 1830s that Swedenborg was “a Buddha of the north,” Swedenborg’s mystical teachings have been consistently aligned with Buddhism by authors on both sides of the pacific, from D. T. Suzuki to Philangi Dasa, the publisher of the first Buddhist journal in North America. This essay explores the different historical frames that allowed for this steady correlation, and argues that the rhetorical and aesthetic trope of “Swedenborg as Buddha” became a point of cultural translation, especially between Japanese Zen and twentieth-century Modernism. Swedenborg’s figuration in the earlier work of Ralph Waldo Emerson and William Blake, moreover, might begin to account for the peculiar ways those two Romantics have particularly affected modern Japanese literature. The transpacific flow of these ideas ultimately complicates the Orientalist critique that has read Western aesthetic contact with Buddhism as one of hegemonic misappropriation.
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Rambelli, Fabio. "The Vicissitudes of the Mahāsammata in East Asia." Medieval History Journal 17, no. 2 (October 2014): 207–27. http://dx.doi.org/10.1177/0971945814544562.
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This article discusses Buddhism’s conflicting relation with kingship through an analysis of the figure of the Mahāsammata, the first mythical ruler according to Buddhist scriptures and canonical commentaries. The Mahāsammata, literally the ‘Great Elect’, was a human being elected by the people and entrusted with keeping order in a society that was gradually becoming more complex; as such, this myth expresses an idea of kingship that is very different from Indic and East Asian theories of divine sovereignty. The Mahāsammata has been studied within the South Asian context, but very little is known about its role in East Asian Buddhism. This article offers an analysis of this figure based on sutras translated into Chinese and subsequent literature in Chinese and Japanese. It aims to show some of the ways in which the Mahāsammata and the political ideas it represents were interpreted and transformed in East Asia, also in order to gain a better understanding of the varieties of Buddhist political thought, including those with the oppositional potential (if not actual oppositional praxis) to become conceptual bases for social and political resistance.
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Eubanks, Charlotte. "The Mirror of Memory: Constructions of Hell in the Marukis' Nuclear Murals." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1614–31. http://dx.doi.org/10.1632/pmla.2009.124.5.1614.
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How does art cultivate moral reflexivity? Maruki Iri and Maruki Toshi, eyewitnesses to the atomic aftermath at Hiroshima, were the first artists to publicly display works showing the effects of nuclear irradiation on the human body. While their work has long been considered antiwar, few attempts have been made to theorize how their compositions structure an ethical response to aggression. Three interconnected zones of representation are explored: the artists' murals, Toshi's testimonials regarding the creation of the murals, and the museum in which the murals are displayed. Bringing Japanese Buddhist traditions for the depiction of suffering (etoki ‘picture explanation,‘ hell screen art) into conversation with contemporary theories of performance (Turner's concept of the “subjunctive mood,” Taylor's notion of “the repertoire”), memory (Kansteiner's “collected memory,” Auron's “pain of knowledge”), and museum studies (Crane's “distortion”), I articulate a contemporary Japanese model of nuclear criticism.
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Kramer, Derek J. "“He Rests from His Labors”: Racialized Recreation and Missionary Science in Colonial Korea." positions: asia critique 29, no. 2 (May 1, 2021): 347–72. http://dx.doi.org/10.1215/10679847-8852111.
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AbstractThis article examines how Anglo-American evangelicals in colonial Korea employed racialized understandings of the environment to justify a culture of recreation and health. In the metropole and periphery, missionary researchers studying climate, geography, and public health asserted a science-based injunction to rest that was intended to maintain a population of evangelical workers. The production of this scientific research, external to the Japanese colonial state, allowed the missionary community to establish a rationale for collective segregation from the local populations they sought to save. In Korea, this dynamic is profiled through the history of a missionary resort at Sorai beach. Initially believed to have contributed to the suicide of an evangelical worker in 1895, within a few years the Sorai area rapidly transformed. In step with the broader culture of summer recreation that emerged in Korea during the 1910s and 1920s, the missionaries recast Sorai from a deleterious space into a site of strategic and devotional rest.
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Amano, Ikuho. "Poetics of Acculturation: Early Pure Land Buddhism and the Topography of the Periphery in Orikuchi Shinobu’s The Book of the Dead." Japanese Language and Literature 54, no. 1 (March 30, 2020): 1–35. http://dx.doi.org/10.5195/jll.2020.89.
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The article examines Orikuchi Shinobu’s novella, Shisha no sho [The Book of the Dead] (1939), as a discursively constructed amalgamation of multiple cultural and historical sources. Whereas Orikuchi tends to be considered the exponent of cultural nativism, the novella resists a nationalist impulse of extolling the legend of Taima Mandala and Princess Chūjō (Chūjōhime) as a paragon of the Japanese reception of Buddhism. According to the widely-known legend, Princess Chūjō, a member of the politically powerful Fujiwara clan in the Nara period, had woven in a day the mandala out of lotus threads shortly after completing one thousand copies of Shōsanjyōdo Busshōjukyō (the Amida sutra). Further the legend tells that she was welcomed to the Pure Land by Amida Buddha upon her death at the age of twenty nine. In The Book of the Dead her legendary labor opts out of simple appraisal for her devotional response to Buddhism, as though implicitly refuting the Yamato state’s political advocacy of the religion. In turn, Orikuchi’s modernist revisionism reanimates a spectacle of the antiquity, contextualizing the legend in the socio-political periphery of the Taima village. To this end, the novella calls forth a number of historical episodes, topographical images of the locality, and the transculturation of Buddhism in ancient Japan. Concretely, the narrative interweaves the tragedy of Prince Ōtsu who was executed for the treason plotted against the imperial government, a cult of Mount Futakami (today’s Nijōzan in Nara Prefecture), pre-Buddhist practice of worshipping the Sun, and the formation of Nissōkan in Japan’s early Buddhism. Through the dialogic unity of these motifs, Orikuchi deconstructs the legend of Princess Chūjō and the Taima Mandala, transforming it into a visionary narrative devoid of a single cultural and religious root.
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Dąbrowski, Grzegorz. "Droga Herbaty. Część I." Wrocławskie Studia Wschodnie 25 (December 30, 2022): 9–34. http://dx.doi.org/10.19195/1429-4168.25.1.
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The aim of the article is to point out that the numerous cultural behaviours — usually those of secular nature — which in Japanese culture fall into the category of chadō (its sense seems to be best conveyed precisely by the notion of the “Way of Tea”) are largely a manifestation of putting the Buddhist philosophy into practice. In this tale of Buddhism through a symbol, that is tea, an important element is also the notion of “Zen,” which should be linked to the form of Buddhism rooted in Japan and known as Zen Buddhism.
The strategy used to illustrate the problem in question is to introduce and discuss successive concepts, figures or cultural texts that are inextricably linked to Japanese tea culture and that clearly correspond to the many dimensions of Buddhist thought, which originated in India around the 6th century BC. One of the dimensions of this thought is the law of interdependent emergence, which, finding its expression in chadō, not only serves to celebrate culturally established behaviours, but sensitises those following the Way of Tea to their cognitive capacities, which — according to this law — never depend solely on the subject or the method used.
The article is divided into two parts. The first contains an introduction, information about the literature and discussion of categories associated with chadō and described by means of terms like “master,” “roji,” “emptiness” and “tokonoma.” In the second part, the categories discussed are those of “host and guest,” “four noble truths” and “suchness.” The second part of the article also includes a conclusion.
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Iriani, Ade, Hamzon Situmorang, and T. Tyrhaya Zein. "The Social Reality of Japanese Society in Rei Kimura's Novel Butterfly in The Wind." Madah: Jurnal Bahasa dan Sastra 12, no. 1 (May 3, 2021): 118–32. http://dx.doi.org/10.31503/madah.v12i1.400.
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This study is a literary study that discusses the picture of the social reality of Japanese society in a novel by Rei Kimura entitled Butterfly in the Wind. The method used is descriptive analytic. The data are in the form of excerpts or sentence excerpts in novels that describe the social reality of Japanese society. The theory used is the sociological theory of literature and Marx's social analysis approach. From the analysis, it is concluded that various social realities of Japanese society are depicted in the novel Butterfly in the Wind which includes aspects of politics, economy, culture, education, family, morals, gender, religion, and technology. In the political aspect, it is illustrated that the attitude of government (bakufu) is arbitrary and unfair, especially among farmers and fishermen groups. The economic aspect illustrates the economic gap between groups of aristocrats and ordinary people. Cultural and religious aspects are reflected in the patriarchal culture of Japanese society and Buddhist rituals which are carried out such as funeral processions. The aspect of education illustrates the unfairness and distribution of education for Japanese society at that time. The family aspect shows a picture of affection between family members, especially parents and children. The moral aspect is reflected in the behavior of people who hate Okichi's background as a concubine. The gender aspect illustrates the gender bias between men and women. Finally, on the technological aspect, the reality of Japanese technology is still low compared to European and American countries.
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Ashta, Ashok, Peter Stokes, and Paul Hughes. "Change management in Indo-Japanese cross-cultural collaborative contexts." Journal of Organizational Change Management 31, no. 1 (February 12, 2018): 154–72. http://dx.doi.org/10.1108/jocm-05-2017-0201.
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Purpose Within the globalized commercial context, Japanese business activity in India has increased significantly. The purpose of this paper is to highlight common attitudinal traits that would facilitate orientation of Indian executives towards Japanese management methods through, for instance “reverse adaptation”, using an approach other than cultural dimensions that have emerged in recent decades and consider how these play out in change management contexts. Design/methodology/approach A literature review was undertaken which found significant parallels between traditional Indian philosophy and modern Japanese management methods, inter alia long-term orientation, equanimity and Nemawashi (pre-arranged participative decision making) and shared spiritual dimensions. The paper employed a methodology of participant observation and semi-structured interview approaches contextualized through lived experience methodology (Van Manen, 2015). These events are described and analysed narratively using a blend of qualitative participant observation and reflexive critical incident review. Findings The findings, by examining the confluence of Indian and Japanese management, provide an innovative avenue of research and theory for change management. Research limitations/implications The research employs an inductive methodology which employs vignettes to examine Indo-Japanese contexts. The limits to generalization are recognized within the study. The paper offers important implications on Indo-Japanese collaboration and change management. Practical implications These findings have important practical implications for Indian and Japanese managers who will be able to engage better within the dynamics of the Japanese work environment in Japanese subsidiaries in India. These same insights could also potentially facilitate wider examples of working in Japanese environments, either in Japan or outside Japan. At a more general level, the findings are relevant to all foreign investors in India for enhanced employee engagement by providing insights into spiritual values of Indian managers and their impact on change management situations. Social implications There is emerging research on how traditional Indian philosophy tenets can be found in modern (western) management. This paper provides reasons, based in the extant literature, to believe that modern Japanese methods can trace their origin in Buddhist Indian philosophical thought and offer important implications for managing change. Originality/value The paper offers in-depth original insights into Indo-Japanese collaborative contexts.
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Novikova, Natalia A. "The gotokaku leaf horn in iconography of japanese mandalas of Muromachi and Edo periods." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 207–23. http://dx.doi.org/10.17223/22220836/45/19.
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The subject of this article is the imagery of gotokaku leaf horn, a rare musical instrument found on Japanese mandalas depicting Pure Land of Muromachi (1336-1573) and Edo (1603-1868) periods. It looks like a green tree leaf, folded in half and intertwined with a silk ribbon. Specialized studies on him in domestic and foreign literature have not been found. Artistic images of gotokaku are quite rare; associated with the “celestial music” motif, they usually placed in peripheral space of mandala. Bearing in mind that each composition element of Buddhist mandala is related to various aspects of practice, it seems very interesting to explore symbolic significance of this musical instrument within the context of some provisions of Amidism. The origin of the Pure Land school in China dates back to the Vth century. The imagery of paradise, the Pure Land of Buddha Amitabha, is crucial in Pure Land doctrine. It can be assumed that the symbolism of the musical instrument was associated with ideas about the melodious sound of “jewel-trees”, which, according to canonical texts, are grow in Amitabha's land. Ideas of Amidism were known in Japan in the Nara period (710-794), and during the Kamakura period (1185-1333) they became widespread. Traditional and the most complete form of the artistic representation of Amitabha's Pure Land in Japan has become Taima-mandala. The composition of Taima-mandala has a clear chain, and a large part of it is given to the sky motif. Over there, among the other instruments of the “celestial orchestra”, we can find an image of unusual musical instrument made from a leaf. Referring to Japanese compendiums on Buddhist iconography from the XVII-XVIII centuries, it was identified as gotokaku (梧桐角, Ch. wutong jiao) leaf horn. All the founded images were accompanied with a brief description in Chinese. The earliest Chinese text that mentions wutong jiao (梧桐角, Jap. gotokaku) is Wang Zhen's Nong Shu (Book of Agriculture, 1303); a schematic drawing of the instrument is given there, but it’s only remotely resembling gotokaku images on Japanese mandalas. Thus, it is not yet completely clear when and where the image of gotokaku appeared for the first time in the form which we find it on mandalas and in Japanese iconographic guidelines of the XVIIth-XVIIIth centuries. It is clear that the instrument had Chinese origin; Chinese literature sources refers to it as “ancient”. During the medieval times it was known as wutong jiao. There is a chance that different instruments with different methods of production and sound extraction were known under the same name in both countries.
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Bocking, Brian. "Hisao Inagaki [and] P.G. O'Neill: A dictionary of Japanese Buddhist terms: based on references in Japanese literature, xvi, 437 pp. + errata. Kyoto: Nagata Bunshodo, [1984]. Y. 7, 500." Bulletin of the School of Oriental and African Studies 50, no. 2 (June 1987): 416–17. http://dx.doi.org/10.1017/s0041977x00049703.
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Keppler-Tasaki, Stefan, and Seiko Tasaki. "Goethe, the Japanese National Identity through Cultural Exchange, 1889 to 1989." Jahrbuch für Internationale Germanistik 51, no. 1 (January 1, 2019): 57–100. http://dx.doi.org/10.3726/ja511_57.
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Abstract This is a study of the alleged “singular reception career”1 that Goethe experienced in Japan from 1889 to 1989, i. e., from the first translation of the Mignon song to the last issues of the Neo Faust manga series. In its path, we will highlight six areas of discourse which concern the most prominent historical figures resp. figurations involved here: (1) the distinct academic schools of thought aligned with the topic “Goethe in Japan” since Kimura Kinji <styled-content>,</styled-content> (2) the tentative Japanification of Goethe by Thomas Mann and Gottfried Benn, (3) the recognition of the (un-)German classical writer in the circle of the Japanese national author Mori Ōgai <styled-content></styled-content>, as well as Goethe’s rich resonances in (4) Japanese suicide ideals since the early days of Wertherism (Ueruteru-zumu <styled-content></styled-content>), (5) the Zen Buddhist theories of Nishida Kitarō <styled-content></styled-content> and D. T. Suzuki <styled-content></styled-content>, and lastly (6) works of popular culture by Kurosawa Akira <styled-content></styled-content> and Tezuka Osamu <styled-content></styled-content>. Critical appraisal of these source materials supports the thesis that the polite violence and interesting deceits of the discursive history of “Goethe, the Japanese” can mostly be traced back, other than to a form of speech in German-Japanese cultural diplomacy, to internal questions of Japanese national identity.
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Taketomi, Ria. "Reading Never Let Me Go from the Mujo Perspective of Buddhism." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 114–28. http://dx.doi.org/10.2478/abcsj-2018-0019.
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Abstract This essay analyzes the children’s imaginative play in Kazuo Ishiguro’s various novels, with a special focus on Never Let Me Go. Children often engage in various types of repetitive imaginative play, acting out stories about things that do not actually exist in order to avoid the pain of confronting their problems. An exploration of children’s play and the roles performed by the guardians and Madam helps us read the novel from a new perspective – the Mujo view of Buddhism. Mujo is the Buddhist philosophy which describes “the impermanence of all phenomena.” In Never Let Me Go, shadows of death weigh heavily on the reader as an unavoidable reminder of the nature of life. This brings Mujo to the Japanese readers’ minds. The Mujo view of Buddhism has imbued Japanese literature since the Kamakura Era (1185), and a reading of Never Let Me Go from the Mujo perspective sheds light on the condition of its protagonists. My analysis aims to introduce the Mujo doctrine to anglophone literary studies by foregrounding the poignancy and resilience found in Never Let Me Go.
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Surowen, D. A. "INFLUENCE OF BUDDHISM ON THE EXPANSION OF WRITING IN THE MID SIXTH CENTURY YAMATO." Bulletin of Kemerovo State University, no. 4 (December 23, 2018): 79–92. http://dx.doi.org/10.21603/2078-8975-2018-4-79-92.
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The article features the influence of Buddhism, which appeared in Japan in the first half of the VI century, on the expansion of writing and written culture in Yamato. The author believes that the Chinese dynastic stories underestimated the expansion of writing in Japan during the VI century in their wish to link the appearance of the written language with Buddhism, which contradicts the finds of ancient Japanese epigraphic inscriptions on swords and mirrors made in the V century. The confusion in the Chinese sources probably arose from the ancient tradition of talking knots and cuts on wooden plates in the early VI century. Yamato had to refuse from this practice when Buddhism entered Japan in the early VI century. First, Buddhism was introduced at the court of the unrecognized Yamato ruler, prince Hironiwa (future Kimmei) in 538 A.D. It was officially recognized during his rule in 552 A.D., which was confirmed by the Chinese dynastic histories. To read Buddhist literature and write in good Chinese, new Japanese adepts and scientists had to master thieroglyphic writing.
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Ashta, Ashok. "Postulation of India-Japan Vedic-Buddhist cross-cultural management cluster: conceptualizing a spiritual philosophy-based explanation for emerging theory." Management Research Review 44, no. 7 (January 20, 2021): 1029–41. http://dx.doi.org/10.1108/mrr-06-2020-0345.
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Purpose Though there is emerging research that induces a postulation for a Vedic–Buddhist (V–B) cultural cluster, good theory development requires not only generalizability but also strong explanation. This paper aims to address the explanation gap to strengthen emerging theory development. Design/methodology/approach Religion-derived spiritual philosophy travel is traced from historical origins in India to contemporary Japanese management practice and its underpinning values. Findings The enhanced explanation developed in this paper finds a clear trace of spiritual values with roots in India surfacing in contemporary Japanese management as identified in extant cross-cultural management (CCM) literature. Research limitations/implications This paper offers important explanation to strengthen emerging theory on the novel idea of a V–B CCM cluster. Practical implications The strengthening of explanation for emerging theory adds to the case for modification of the traditional CCM meta-narrative that has positioned India and Japan in separate cultural clusters. Social implications Strengthening the postulation of a V–B cultural cluster potentially lubricates foreign investment from Japan to India contributing to achievement of United Nations Sustainable Development Goal no. 17 that pertains to international partnerships. Additionally, the findings raise questions for public policymakers who in modern times occlude religion from the public sphere. Originality/value This paper offers novel explanatory perspectives for emerging CCM theory, potentially expanding the spiritual philosophy avenue of management research.
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김환수. "Seeking the Colonizer's Favors for a Buddhist Vision: The Korean Buddhist Nationalist Paek Yongsong's (1864-1940) Imje Son Movement and His Relationship with the Japanese Colonizer Abe Mitsuie (1862-1936)." Sungkyun Journal of East Asian Studies 14, no. 2 (October 2014): 171–93. http://dx.doi.org/10.21866/esjeas.2014.14.2.002.
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Son, Daehyun. "A Study on the East Asian Variation of Cho-Han War-related Literature: Focusing on Peking Opera <Paewangbyulhee>, Jeongjae <Hangjangmu>, Noh <Hangwoo>." Korean Society of Culture and Convergence 44, no. 6 (June 30, 2022): 859–82. http://dx.doi.org/10.33645/cnc.2022.6.44.6.859.
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This paper attempted to examine how the war between Cho and Han was embodied and modified in the Chinese, Korean, and Japanese musical dance drama by focusing on the Chinese Peking Opera “Paewangbyulhee (Farewell My Concubine),” Korean Jeongjae “Hanjangmu” and Japanese Noh “Hangwoo.”. Peking Opera “Paewangbyulhee” is divided into nine chapters, mainly composed of the last battle of the War between Cho and Han, which is also described as the song of surrounded by enemies on all four sides. The events unfold in an orderly causal relationship, and the description is also very detailed. Through this incident, “Paewangbyulhee” depicts the love and death of Xiang-Yu and Yuji through the narrative reproduction of the song surrounded by enemies on all four sides. Royal Court public performance “Hangjangmu” has no chapter but it can be divided into three paragraphs, mainly composed of the confrontation between Xiang-Yu and Liu Bang in the Hongmunyeon feast. Also, the performance of Xiang-yu and Liu-bang’s vassals, who want to kill or protect, is centered on the sword dance. Therefore, “Hangjangmu” embodies the image of a loyal subject to loves and respects his king through the dramatic reproduction of the Hongmunyeon feast. There is no chapter division in Noh “Hangwoo,” but it can be divided into three paragraphs in terms of form. Life's uncertainty and sadness are constantly emphasized, centered on the reminiscences and emotions of unrealistic characters, and it tried to overcome by returning to the Buddhist world. Therefore, “Hangwoo” embodies the emptiness of life through the representation of the Cho-Han post-war. However, “Paewangbyulhee” emphasizes the love and death of Xiang-yu and Yu-ji, so the tragic beauty is strengthened, and “Hangjangmu” has strengthened elegant beauty by dramatically revealing the content of the character being congratulated, the dignity of the royal family and the content related to the loyal subjects to love and respect his king. In “Hangwoo,” the sublime beauty is strengthened by embodying the emptiness of life and returning to the Buddhist world through restrained music, characters dialogues, and songs. In the end, it can be said that the musical dance drama works of Korea, China, and Japan related to the war between Cho and Han embody distinctive literature by utilizing their literary assets and sense of beauty.
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Kervel, Mojca. "Postmodern Angst and Zen Buddhism in Ruth Ozeki‘s A Tale for the Time Being." Ars & Humanitas 12, no. 1 (July 20, 2018): 56–72. http://dx.doi.org/10.4312/ah.12.1.56-72.
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The article addresses issues concerning objective, or systemic, violence which legitimizes and conditions other forms of violence – psychological, economic, sexual, physical, etc. These issues are approached from the perspective of frustrations and traumas experienced by individuals as a consequence of the shift of the sociohistorical paradigm, which has so far been principally governed by the mechanisms and interests of global postindustrial capitalism. Through the analysis of the status of reality and subject in A Tale for the Time Being, a 2013 novel by Japanese-American author Ruth Ozeki, I first identify the violent and traumatic aspects of contemporary conditions as experienced by the protagonists in the novel. Then, Ozeki’s literary scenario for improving quotidian existence of individuals via internalization of Dogen’s Zen Buddhist principles is assessed from the perspective of the philosophical definitions of the categories of subject and reality in postmodernity, as well as in relation to the actual conditions in the global consumerist societies of the digital age. The article maintains that Ozeki’s solution of the protagonists’ existential crises is rather significant since the fundamental premises of Zen Buddhism correspond to the metaphysical structuring of postmodernity. The novel hence illuminates the productive facets of the fractal nature of postmodern individuals, as well as the role literature can play in their concretisation.
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Krevel, Mojca. "Postmodern Angst and Zen Buddhism in Ruth Ozeki‘s A Tale for the Time Being." Ars & Humanitas 12, no. 1 (July 20, 2018): 56–72. http://dx.doi.org/10.4312/ars.12.1.56-72.
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The article addresses issues concerning objective, or systemic, violence which legitimizes and conditions other forms of violence – psychological, economic, sexual, physical, etc. These issues are approached from the perspective of frustrations and traumas experienced by individuals as a consequence of the shift of the sociohistorical paradigm, which has so far been principally governed by the mechanisms and interests of global postindustrial capitalism. Through the analysis of the status of reality and subject in A Tale for the Time Being, a 2013 novel by Japanese-American author Ruth Ozeki, I first identify the violent and traumatic aspects of contemporary conditions as experienced by the protagonists in the novel. Then, Ozeki’s literary scenario for improving quotidian existence of individuals via internalization of Dogen’s Zen Buddhist principles is assessed from the perspective of the philosophical definitions of the categories of subject and reality in postmodernity, as well as in relation to the actual conditions in the global consumerist societies of the digital age. The article maintains that Ozeki’s solution of the protagonists’ existential crises is rather significant since the fundamental premises of Zen Buddhism correspond to the metaphysical structuring of postmodernity. The novel hence illuminates the productive facets of the fractal nature of postmodern individuals, as well as the role literature can play in their concretisation.
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HORVAT, Andrew. "Bushidō and the Legacy of “Samurai Values” in Contemporary Japan." Asian Studies 6, no. 2 (June 29, 2018): 189–208. http://dx.doi.org/10.4312/as.2018.6.2.189-208.
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Though difficult to define as a clear set of moral precepts, aspects of so-called “samurai values”, the combination of orally-transmitted Confucian and Buddhist lore to which Nitobe Inazō refers in his Bushido, can clearly be discerned in Japanese society today. As evidence for the influence of “samurai values”, I have provided examples from two fields with which I am personally familiar: journalism and education. Although in recent years several academic works have exposed historical anomalies in widely-held beliefs about actual samurai behaviour, I argue that the effectiveness of ideologies does not depend on historical accuracy. For example, justification for the right of newspapers to criticise governments in Japan does not stem from inalienable rights originating with European Enlightenment philosophers. Instead, it is linked to the view that the former samurai who in the 1870s became Japan’s first news reporters could be trusted intermediaries between the government and the people, because as samurai they possessed higher standards of morality. That expectations of superior moral conduct continue to justify in the eyes of the general public the right of newspapers to speak truth to power can be seen by mass cancellations of subscriptions of newspapers whose staff betray these expectations through involvement in scandal. Likewise, the emphasis on “character building” (jinkaku keisei) in Japanese higher education is another link to perceived “samurai values.” Some of Japan’s leading private universities were founded in the late nineteenth century by former samurai. As in the case of journalism, the maintenance of superior moral conduct helps strengthen the claim to legitimacy of educational institutions in Japan. Finally, I will present a picture of Nitobe as an example of a former samurai who long after his passing continues to be revered for having adhered to the “samurai values” he both defined and embraced.
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Ruscica, Giovanni. "From China to the World: The main media pilgrimages of Sun Wukong and Son Gokū." Mutual Images Journal, no. 10 (December 20, 2021): 21–50. http://dx.doi.org/10.32926/2021.10.rus.china.
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The ‘Journey to the West’, also translated as the’ Pilgrimage to the West’, is one of the masterpieces of ancient Chinese literature. Published anonymously by the putative author Wu Cheng'en in the late 16th century, the story traces in broad outline the journey taken by the monk Tripitaka in the year 629 a.D. to India to acquire Buddhist scriptures, and it is the result of reworking antecedent works, such as ‘Poetic notes on the pilgrimage of Tripitaka of the Great Tang to acquire the Sutras’ and ‘‹Journey to the West› Opera’. In this fiction, the writer moves away from the authenticity of the traditional pilgrimage: here the monk is escorted by sinful-followers (i.e., a dragon-horse, a pig, a demon, and a monkey) capable of removing malevolent beings throughout the journey. Sun Wukong is the wild and skillful monkey that ascends to Buddhity, becoming a ‘Victorious Fighting Buddha’ at the end of the literary work. Later on, the Chinese work of fiction was used as a source of inspiration for the creation of Dragon Ball, a Japanese fantasy & martial arts manga. Published in 1984 as a manga and then adapted into an anime, Dragon Ball sketchily follows the Chinese work of fiction. After coming across Bulma, young Son Gokū decides to escort the girl in her quest to collect seven magic dragon spheres. The series’ success allowed the manga’s author, Akira Toriyama, to continue the story arc and launch a new series in 2015. Since 1986, several videogames with a monkey character have entered the market. The purpose of this article is to highlight the main affinities between Sun Wukong and his Japanese counterpart Son Gokū first, and then attempt to explain how the monkey character has become a world-famous symbol, and contextualise it into the phenomenon of ‘worldwide pilgrimage’.
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Kawashima, Terry. "Preachers, Poets, Women, and the Way: Izumi Shikibu and the Buddhist Literature of Medieval Japan. By R. Keller Kimbrough. Ann Arbor: Center for Japanese Studies, The University of Michigan: 2008. Pp. xiii + 374. ISBN 10: 1929280483; 13: 9781929280483." International Journal of Asian Studies 7, no. 1 (January 2010): 110–13. http://dx.doi.org/10.1017/s1479591409990313.
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Hayakawa, Atsushi (Shōken). "Smuggled Hinduism—From Dōgen’s Viewpoint." Religions 14, no. 1 (December 27, 2022): 41. http://dx.doi.org/10.3390/rel14010041.
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The central question of this paper is what kind of view Dōgen had about Mazu. At first glance, this may seem completely irrelevant to the theme of this issue. In fact, however, Dōgen’s view points to a subtle relationship between Buddhism and Hinduism in an interesting way. Dōgen seems to regard Mazu as an ambiguous figure, standing on the borderline between Buddhism and Hinduism. However, Dōgen’s intention was to save Mazu and keep him on the side of Buddhism. So how can Mazu be saved? To answer this question is to trace the fundamental boundary between Buddhism and Hinduism according to the outstanding Zen master. In this study we adopt the usual method of textual analysis. Our discussion proceeds in the following order. (The steps do not correspond exactly to the section breaks.) (1) First, the argument of a person called Senni is presented from Dōgen’s Bendōwa, where Dōgen severely criticizes him as a non-Buddhist heresy. At this step we will confirm that Senni is a Sāṅkhya theorist (hence, a Hinduist). (2) We take up a parallel to the above passage from Dōgen’s Shōbōgenzō, Chapter “Sokushinzebutsu”. It becomes clear that the true target of Dōgen’s criticism was Mazu, the great Chinese Chan master. (3) The above operation shows that Dōgen was trying to position Mazu as someone on the borderline between Hinduism and Buddhism. (4) We try to reconstruct from the text what in Senni angered Dōgen, or, in other words, from what he wanted to save Mazu. As a result, the borderline as seen by Dōgen will be visible to us. The main findings of this paper are as follows: (1) The mark that distinguishes Buddhism from Hinduism, according to Dōgen, is the presence of the never-ending Bodhi-mind. This is in fact what TSUNODA Tairyū suggested in his 1985 article. Dōgen implemented this idea as an endless loop of Bodhi-mind, which makes the goal unreachable. (2) The implicit object of Dōgen’s criticism is not the Japanese Tendai or the Darumashū, but Mazu, as HE Yansheng indicated in his 2000 book. The so-called Critical Buddhism movement began on the basis of a misunderstanding. The large amount of secondary literature that has resulted is also indirectly based on this error.
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Andriani, Astri Dwi, and Rian Sacipto. "Tinjauan Eksplorasi Sejarah Negara Hukum di Indonesia dalam Prespektif Konstitusi." Smart Law Journal 1, no. 2 (August 30, 2022): 122. http://dx.doi.org/10.34310/slj.v1i2.672.
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AbstrakAnalisis terhadap penelitian normatif ini bertujuan untuk memaparkan bagaimana sejarah dan perkembangan hukum yang ada di Indonesia berdasarkan konstitusi. Adapun jenis penelitian yang digunakan dalam pembahasan ini adalah menggunakan library research atau telaah pustaka yang meliputi: pengidentifikasian secara sistematik, analisis dokumen-dokumen yang memuat informasi yang berkaitan dengan masalah kajian. Teknik yang digunakan digunakan ialah content analysis atau kajian isi. Hasil penelitian menunjukkan bahwa Sejarah hukum nasional dibagi menjadi beberapa fase, diantaranya adalah fase pra kolonial, fase kolonial, dan fase kemerdekaan. Fase Pra-Kolonial biasa disebut dengan fase sebelum penjajahan, di mana Indonesia masih menganut sistem kerajaan dengan dua jenis sistem yakni sistem kerajaan Hindu-Budha dan sistem kerajaan Islam. Kemudian di fase selanjutnya adalah fase kolonial atau fase penjajahan. Dalam fase ini dibagi menjadi dua bagian utama, yakni pada masa kekuasaan Belanda dan pada masa kekuasaan Jepang. Setelah Indonesia merdeka, kemudian terjadi fase ketiga yakni fase kemerdekaan Indonesia. Setelah merdeka terdapat tiga fase yang menjadi jejak sejarah perkembangan hukum di Indonesia, diantaranya masa orde lama, masa orde baru, dan masa reformasi.Kata Kunci : Sejara, Hukum, Konstitusi, Negara AbstractThis study aims to explain how the history and development of existing law in Indonesia. The type of research used in this discussion is library research or literature review which includes: systematic identification, analysis of documents containing information related to the study problem. The technique used is content analysis or content study. The results show that the history of national law is divided into several phases, including the pre-colonial phase, the colonial phase, and the independence phase. The Pre-Colonial phase is commonly referred to as the pre-colonial phase, where Indonesia still adheres to a royal system with two types of systems, namely the Hindu-Buddhist royal system and the Islamic royal system. Then in the next phase is the colonial phase or the colonial phase. This phase is divided into two main parts, namely during the Dutch rule and during the Japanese rule. After Indonesia's independence, then there was a third phase, namely the phase of Indonesian independence. After independence, there were three phases that became traces of the history of legal development in Indonesia, including the old order period, the new order period, and the reform period.Keywords: History, Law, Constitution, State
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Migone, Paolo. "Some contributions on the experience and therapy of depression published in the Italian journal Psicoterapia e Scienze Umane («Psychotherapy and the Human Sciences»)." Psychotherapie-Wissenschaft 10, no. 2 (October 2020): 77–79. http://dx.doi.org/10.30820/1664-9583-2020-2-77.
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The author reflects about a psychoanalytic interpretation of The Tale of Genji (Genji monogatari), considered by many to be the greatest novel of the ancient Japanese literature. It was composed by Murasaki Shikibu (about 1.000 A.D.), a lady-in-waiting for the Empress Akiko at the imperial court in Heian, now Kyoto. The tale is mostly full of poetical explorations about themes of love, affection, friendship, loyalty, into the social political Heian’s world and in conformity with Buddhist conviction in the vanity of the world. A comprehensive reading of the text including Murasaki’s life and her background, gives us the possibility to catch the human attempt to cure depression through narration. Kirsch et al. in 2002 studied all 47 randomized clinical trials (RCT) submitted by pharmaceutical companies to the U.S. Food and Drug Administration (FDA) for approval of the six most prescribed Selective Serotonin Reuptake Inhibitors (SSRI) antidepressants. The mean difference between drug and placebo was less than 2 points on the 21-item (62-point) Hamilton Depression Scale (which is the version used in many of the these RTCs). This superiority to placebo, although statistically significant, was not clinically significant. Furthermore, 57% of the trials funded by the pharmaceutical industry failed to show a significant difference between drug and placebo. Most of these negative data were not published and were accessible only by gaining access, thanks to the Freedom of Information Act, to FDA documents. This research is discussed in light of the wider problem of the roles of medications and interpersonal relationship in psychiatric practice. The polarity of relatedness and self-definition («anaclitic» and «introjective»), fundamental to the development of psychoanalytic theory and consistent with a number of other approaches to personality theory, provides the basis for articulating aspects of personality development, variations in normal personality organization, the explanation of a wide-range of psychopathology, and aspects of the therapeutic process in both short and long-term treatments. The contributions of this fundamental polarity to these aspects of personality theory speak to the validity of this theoretical model and the importance of the fundamental polarity of relatedness and self-definition. The formulations and findings discussed in this paper indicate that there is much to be gained by going beyond the symptom focus of contemporary diagnostic nosology presented in DSM-III and DSM-IV, and seeking instead to identify underlying principles of personality organization. Empirical evidence shows that empirically supported treatments are helpful for many mental disorders. However, in most countries the great majority of people do not have access to psychological therapies. The English Improving Access to Psychological Therapies (IAPT) program aims to improve the access to psychological therapies by training over 10,500 new therapists in empirically supported treatments and deploying them for the treatment of depression and anxiety disorders. IAPT treats over 560,000 patients per year, obtains clinical outcome data on 98.5% of them, and this information is in the public domain. Around half of these patients recover and about two thirds of them show benefits. The clinical and economic arguments on which IAPT is based are presented, along with details on the service model, how the program is implemented, and findings updated to July 2017. Limitations and future directions are discussed.
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बज्राचार्य Bajracharya, बाबुराजा Baburaja. "सप्तविधानुत्तर पूजा Saptavidhanuttar Puja." Voice of Culture, November 28, 2022, 118–30. http://dx.doi.org/10.3126/voc.v9i1.49885.
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बौद्ध धर्ममा, जहाँ जहाँ गयो त्यहाँ त्यहाँ कै संस्कृति र परम्परा मिसिएर स्थानअनुसारकोस्वरुप पाउँदछौ । जस्तैः चाइनिज, जापानिज, श्रीलंकन, थाइ, ताइवानी, बर्मेली,भुटानी, कोरियन आदि बुद्धधर्म भनी नामाकरण र व्यवहारमा अभ्यासहरु भइ राख्दछ। स्थानीय संस्कृति तथा परम्परासहित भएकाले एक अर्कासँग भिन्नता ठाउँ विशेषका बौद्धमतमा पाइन्छ । नेपालमण्डलको नेवाः बुद्धधर्म बज्रयान परम्पराअनुसार अनुशरण गर्दै अविछिन्न रुपले चल्दै आएको परम्परा हो । यस परम्पराको मूलध्ये भनेकै प्राणीको लागि हित हुने कार्यगरी पारमिता धर्महरु पुरा गर्दै आफूसँग भएको ज्ञेयावरण तथा क्लेशावरणहरुलाई क्रमश: क्षय गर्दै अन्तमा बुद्धत्व प्राप्तगर्नु मानिन्छ । नेपालमण्डलका बौद्ध अनुयायहीरुले विभिन्न प्रकारबाट पूजा गर्नेविधिहरु धेरै छन् । तीमध्ये प्रख्याति सप्तविधानुत्तर पूजा पनि एक हो । नेवाःबुद्धधम सम्यकसम्बुद्धयान हो । सम्यकसम्बुद्धयानलाई नै बुद्धयान अथवा एकयानभनिन्छ । यसअन्तर्गत श्रावकयान, पारमितायान र मन्त्रयानको एकीकृत अभ्यासनेवाः बुद्धधममा हाल त्यो सामाजिक साँस्कृतिक एवम् अनुष्ठानका रुपमा मात्रभइरहेको छ पहिले त्यो अभ्यास आध्यात्मिक वा मानसिक उन्नयनका रुपामापनि गरिन्थ्यो । सामाजिक लोकव्यवहार र पूजाविधि एकयानको सामाजिक सास्कृतिक पक्ष हो भन्न सकिन्छ । यस बज्रयानी बौद्धधर्ममा “सर्वप्रकारजगतहिताय” भन्ने मूल भावना साथ सस्कृति, परम्परा र चाडपर्वका अवसरमा विभिन्न थरीथरीका पूजा क्रियाविधि विधानहरु गर्दै आइरहेको पाइन्छ । यी पूजाक्रियाहरुउपाय कौशल्यको रुपमा प्रत्यक्ष अप्रत्यक्ष विभिन्न पूजाको रुपमा बज्रयानीबौद्ध अभ्यासलाई अ∙ालेको हुन्छ । यसरी वर्षैपिच्छे चाडपर्वको बेला सस्कृतिकैरुपमा गर्दै आएका पूजाहरुमध्ये “सप्तविधानुत्तर” अर्थात् सङ्खवपूजा पनि एकहो । यसमा सप्त भनेको सात र विधान भनेको विधिविधान पूजा गर्ने प्रव्रिmया रअनुत्तर भन्नाले बौद्ध बज्रयानी अभ्यासमा चारतन्त्र बमोजिम क्रियातन्त्र, चर्यातन्त्र,योगतन्त्र र अनुत्तर योगतन्त्र भन्ने बुझिन्छ । श्रुतमयीप्रज्ञा सुनेर, चिन्तनमयीप्रज्ञा चिन्तन मन्न गरेर र भावनामयी प्रज्ञा भावना मनोभावनाद्वारा अनुभव गरेरलाभ गर्ने प्रज्ञा ज्ञान हो । जीवनमा कि पढेर बुझिन्छ कि परेर बुझिन्छ भनेसरी भुक्तभोगी भएर प्रज्ञा ज्ञान लाभ गर्ने पद्धति भन्न सकिन्छ । यस कारणयो सप्तविधानुत्तर पूजालाई नेपालमण्डलमा वाह्य अनुत्तरयोगको लाभ गर्ने एक प्रकारको उच्चतम श्रद्धा र अभ्यास आस्था युक्त पूजा क्रियाको रुपमा लिने गरिन्छ । दुई थरी अनुत्तरयोगमापनि एक बज्रयानी अनुत्तरयोग अभ्यास गुह्य रुपमा समाधि, दिक्षा लगायत गोप्य अभ्यन्तरमा गर्ने अभ्यासतथा अर्को यो बोधिसङ्खवचर्या रुपी बाह्य अनुत्तरयोग अभ्यास मान्न सकिन्छ । बाह्य अनुत्तरयोग अभ्यासकोरुपमा १. बन्दना २. पूजना ३. देशना ४. अनुमोदना ५. अध्येषणा ६. याचना ७. परिणामना पर्दछ । बौद्धबज्रयानी अभ्यासमा केवल मानवलाई मात्रै कल्याण गर्ने उद्देश्य नराखिकन महान विचार वृहत सांच स्वरुप सम्पूर्ण प्राणीलाई नै उद्धार होस् भन्ने भावनाले पूजाक्रियाको सम्पन्न गरिन्छ । यहाँ पनि सङ्खव अर्थात्प्राणी सम्पूर्ण सजीवको उद्धार हुने पूजा स्वरुप सङ्खवपूजा भन्ने गरिएको हो । बौद्ध साहित्यको तेस्रो–चौथो शताव्दीमा पञ्चबुद्धको अवधारणाको प्रारम्भ भएको भन्ने हो । पञ्चबुद्धहरुको ज्ञानको माध्यमबाट समस्ततन्त्रहरुको विभाजित गरिएको छ । यसमा समताज्ञान, सुविशुद्ध धर्मधातुज्ञान, आदर्शज्ञान, प्रत्यवेक्षणा ज्ञानर कृत्यानुष्ठान ज्ञान पर्दछन् पञ्च बुद्धलाई तिनको प्रतिक मानिन्छ ।
{ Buddhism, wherever it goes, there is a mixture of culture and tradition and is recognized as the religion of that place. For example: Chinese, Japanese, Sri Lankan, Taiwanese, Thai, Burmese, Bhutanese, Korean, etc., are named and practiced as religions. These are different from each other because they include local customs and traditions. Newa: Bajrayana Buddhismof Nepalmandal is a tradition that is continuously going on according to Bajrayana tradition.Generally speaking, it is Buddhism of Nepalmandal. By doing this, he gradually erodes his Gyayavarana and Kleshavaran, and finally attains enlightenment. There are many differentways of worshiping by the Buddhist followers of Nepalmandal. One of the famous practicesof Nepalmandal is Saptavidhanuttar Puja. Newa: Buddhism is Samyak Sambuddhayana. Inwhich there is a combined practice of Shravakayana, Paramitayana and Mantrayana. In Neva Buddhism, it is currently being done only as a social cultural and ritual, but earlier it was also done as a spiritual or mental improvement. Social behavior and worship can be said to be the social cultural aspect of Ekayana. In this Bajrayani Buddhism with the basic feeling of benefiting the world in every way, different types of worship rituals are being performed on the occasion of various cultures, traditions and festivals. These worship practices are embraced as a means of direct and indirect various forms of worship. Thus,Saptavidhanuttar or Sattwapuja is one of the worships that have been performed as a culture during Chanda Parva year after year. Kriyatantra, Charyatantra, Yogatantra and Anuttar Yogatantra are understood. It means the knowledge gained by listening to the auditory knowledge, the contemplative knowledge by meditating, and the emotional knowledge by experiencing the emotions. In life, whether you understand it by reading it or by reading it, itcan be said that it is a method of gaining knowledge through suffering. For this reason, this Saptavidhanuttar Puja is considered as a type of highest devotion and practice faith-based worship that benefits from the external Anuttar Yog in Nepal Mandal. Even in two types of An uttarayog, one Bajrayani Anuttarayog practice can be considered as an inward practiceof samadhi, dekha, etc ., and another is an external Anuttarayog practice in the form of Vodhisattwacharya. In Buddhist Bajrayani practice, the worship is done with the feeling that the great idea should be enlightened to all beings in the form of great truth, without aiming to benefit only human beings. Here too, sattwa, i. e. animals, all living beings are worshiped in the form of worship called sattwapuja. It is mentioned in the Pallavana Paravartitantra book that the concept of the five Buddhas began in the third quarter of the century of Buddhist literature. In this, all the tantras are divided through the knowledge of the five Buddhas.It includes Samatajnana, Suvisuddhadharmadhatujnana, Adarshjnana, Pratyaveksanajnana, and Krityanusthan jnana.}
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Švambarytė, Dalia. "On the Chinese Concept of “Wild Words and Fancy Language” and its Interpretation in Japan." Acta Orientalia Vilnensia 5 (December 1, 2004). http://dx.doi.org/10.15388/aov.2004.18234.
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The Japanese concept of the term “kyōgen kigo” or “kyōgen kigyo”, which in English means “wild words and fancy language”, has influenced Japanese literary thought to a considerable degree. The originally Buddhist term that became popular in China and then in Japan was coined by the Tang dynasty’s poet Bai Juyi, who first spoke disapprovingly and then contemptuously about novels or any kind of fiction from both the Buddhist and the Confucian standpoints. This article is a discussion of the metamorphosis in the meaning of this term “kyōgen kigo” in Japan.By kyōgen kigo Bai Juyi meant to criticize secular poetry, particularly for its unforgivable vanity hidden beneath cascades of elaborate words. In Japan waka poetry remained untainted by such pretensions, and the effect of waka verses on its readers has been said to be similar to the effect that dhāranī, the mystic verses of India, have on their reader. However, in other Japanese literature, kyōgen kigo flourishes were abundant and expanded from literature to music and to the arts in general. In the course of time the conflict between the duties of Buddhism and the pleasure derived from art was transformed into a justification of the latter and even into promotion of art as a means to religious fulfilment. This paper follows the shift in the connotations of kyōgen kigo in Japan,as represented in Buddhist-influenced medieval literature that in spite of the religious moralizing also reflects kyōgen kigo flourishes.
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Mecsi, Beatrix. "Celibacy or Marriage? Dilemmas for Buddhist Monks in Korea." Távol-keleti Tanulmányok 13, no. 2021/1 (December 15, 2021). http://dx.doi.org/10.38144/tkt.2021.1.3.
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Following the Confucian period of the Chosŏn era, which overshadowed Buddhists and confined them to the margins of society, at the beginning of Japanese colonial rule the possibility of monastic marriage typical of Japanese practice emerged as a viable alternative for Korean Buddhists in the early twentieth century. While the repressive memory of Japanese colonial heritage often appears in the relevant literature about clerical marriage today as the main reason for Korean Buddhists to get married, an analysis of contemporary documents presents us with a much more complex picture. Most notably among Korean intellectuals, one of the most significant personalities of the era, Manhae Han Young’un’s (1879−1944) systematically urged the reform of Korean Buddhism, Chosŏn Pulgyo yusinnon 朝鮮 佛 敎 維新 論 (Treatise on the Restoration of Korean Buddhism). In connection with the presentation and circumstances of the thirteenth point formulated to allow polemics and the practice of priestly marriage, we can see that his Confucian education, personality, and life play as important a part in his reasoning as the ideologies of the era, social Darwinism and modernism, and democracy. But primary sources revealing the daily lives and circumstances of the monks also show that thewillingness to marry was also greatly influenced by the new inheritance rules introduced in the Japanese colonial system.