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Relevant bibliographies by topics / Shinto shrines in art

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Academic literature on the topic 'Shinto shrines in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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Journal articles on the topic "Shinto shrines in art"

1

Metevelis, Peter. "Shinto Shrines or Shinto Temples?" Asian Folklore Studies 53, no. 2 (1994): 337. http://dx.doi.org/10.2307/1178650.

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Kárpáti, János. "Music of female shamans in Japan." Studia Musicologica 54, no. 3 (September 1, 2013): 225–56. http://dx.doi.org/10.1556/smus.54.2013.3.1.

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There are two basic types of Japanese female shamans, representing two different categories regarding their social position and their musical activities. (1) The medium type shamaness, the itako comes from a stratum of the rural society which lives in relative modesty and whose musical activities belong to folk art. The ceremony takes place in the itako’s house, in front of the house altar, kneeling on tatami. She improvises dialogs with previously living persons who speak through her mouth, or recites stories, ballads to “entertain” the deities. Among her musical instruments, the weapon-like catalpa bow holds an outstanding place. (2) The other type of shamaness, the miko is connected with the functions of shrines, their social position is basically on par with that of priests active in Shintô shrines. The miko’s main musical activity is to perform ceremonial dances in front of the shrine. Their dances are accompanied by chant and/or small instrumental groups (flute, drum). The third, indispensable instrument is the sistrum, held by the dancers themselves. The paper is based on the author’s personal field research conducted in 1988 and 1994.

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Rambelli, Fabio. "Gagaku in Medieval Japanese Religion." Religions 13, no. 7 (June 22, 2022): 582. http://dx.doi.org/10.3390/rel13070582.

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Contrary to the widespread assumption in the study of Japanese religions that Kagura is historically the main genre of performing arts at Shintō festivals, something dating back to the beginning of Japanese history, in this article I focus instead on Gagaku (and its Bugaku dance repertory) as a central component of rituals, ceremonies, and festivals not only at the imperial court but also and especially at many temples and shrines across the country. While Gagaku and Bugaku were deeply rooted in the Kansai area, with guilds of hereditary professional musicians affiliated with, respectively, the imperial court in Kyoto, Kasuga-Kōfukuji in Nara, and Shitennōji in Osaka, and with the most lavish performances being held at temples and shrines in the region, those art forms had already spread to the provinces by the end of the Heian period. This article investigates some of the connections between religious ideas, rituals, and musical performances in relation to Kuroda Toshio’s concept of the exo-esoteric system (kenmitsu taisei) and the creative use of Buddhist canonical sources that such connections originated.

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Choi, Jin Seong. "Distribution and Location of Joseon Shinto Shrines during the Japanese Colonial Period." Institute For Kyeongki Cultural Studies 44, no. 2 (December 31, 2023): 139–86. http://dx.doi.org/10.26426/kcs.2023.44.2.139.

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This article attempts to grasp the distribution and location trends of Joseon Shinto shrines built during the Japanese colonial period. Joseon Shinto shrines are divided into Shinto shrines(神社) and Shinmyeong shrines(神明神祠) according to their hierarchy. 81 Shinto shrines and 865 Shinmyung shrines were identified in the “Joseon Government-General's Gazette” (1915-1945). For them, the period of completion of the official formalization of the Joseon Shinto shrines (1915-1929) and the period of the Hwangminhwa(皇民化) policy (1930-1945) were divided into two periods, and a distribution map was drawn up. This distribution map overlapped with the railway network built during the Japanese colonial period and was used to identify the distribution trend of the Joseon Shinto shrines. As a result, it can be seen that during the period when the Joseon Shinto Shrine was fully publicized, it was very accessible to the railway network. However, during the period of the Hwangminhwa Policy, the Shinmyeong Shrine spread throughout the country, and its connection with the railway network gradually decreased. This is due to the policy of 'One Myeon(面), One Shrineism' implemented in 1936, Shinmyung Shrines were intensively built up to the myeon region regardless of the railway network. This distribution trend is well seen in Jeollanam-do, Hwanghae-do, and Gyeonggi-do, where many Shinmyung shrines have been built. The tendency of the location of Joseon Shinto shrines was examined by dividing them into Shinto shrines and Shinmyeong shrines. To this end, the types of locations were identified at 37 places where symbols and names representing Shinto shrines were displayed in the “Topographic Map of Joseon”. In addition, among them, the visual location of the Shinto shrine was analyzed by selecting 6 places where the location of the Shinto shrine was confirmed by photographs, as well as 6 places of Shinmyeong Shrine found on the “Topographic Map of Joseon”. In the case of Shinto shrines, due to the characteristics of the city where they were built, they were divided into open port cities, transportation cities, and traditional cities. As a result, all of the 12 Joseon Shinto shrines selected as examples are located on hills or in the middle of gentle slopes, securing excellent views. In addition, they were landmarks that could be seen from anywhere in the city, town and myeon because they faced the central place in city, and they were relatively close to Japanese settlements due to their easy access to railway stations. Because of this location, the hill on which the Shinto Shrine was built was designated as a park, and later most of it became a park. This hilly-oriented location of the Joseon Shinto Shrine can be extended to the location tendency of all Joseon Shinto Shrines built during the Japanese colonial period.

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Mun HeaJin. "Diffusion of Shinto Shrines into Colonized Korea." Korean Studies Quarterly 41, no. 2 (June 2018): 131–60. http://dx.doi.org/10.25024/ksq.41.2.201806.131.

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Okuyama, Michiaki. "Rethinking “State Shinto” in the Past and the Present." Numen 66, no. 2-3 (April 10, 2019): 163–84. http://dx.doi.org/10.1163/15685276-12341537.

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AbstractThis article reflects on the meaning of recent arguments concerning “State Shinto” in the contemporary Japanese right-wing and conservative social context. Shimazono Susumu’s recent analyses of State Shinto in postwar Japan have stimulated discussion of the subject. His understanding that State Shinto has survived from the prewar years is based on his analysis of both Imperial House Shinto, which was not affected by the Shinto Directive issued in 1945, and the postwar political activism of the Association of Shinto Shrines and its political arm, the Shinto Association for Spiritual Leadership. The political campaigns of these Shinto groups can be situated in a larger context of the rise of neonationalism in contemporary Japanese society. Given the relationship of Japanese politicians to the Yasukuni Shrine and Ise Jingū (Ise Shrine), and the current interest among the public in the rituals of the emperor and the imperial family, a reconsideration of the concept of State Shinto seems warranted. A critical rethinking of State Shinto may be regarded as a warning against attempts by conservative religio-political movements to revive prewar State Shinto.

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Wu, Peichen. "A Social History of Ise Shrines: Divine Capital. By Mark Teeuwen and John Breen. Bloomsbury Shinto Studies, London: Bloomsbury Academic, 2017. Pp. ix + 302. ISBN 10: 1474272797; ISBN 13: 978-1474272797." International Journal of Asian Studies 15, no. 2 (July 2018): 281–82. http://dx.doi.org/10.1017/s1479591418000177.

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Azegami, Naoki. "Local shrines and the creation of ‘State Shinto’." Religion 42, no. 1 (January 2012): 63–85. http://dx.doi.org/10.1080/0048721x.2012.641806.

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Uda, Takaaki, and Kazuya Sakai. "Survival of Shrines from the 2011 Great Tsunami." Journal of Disaster Research 8, sp (September 1, 2013): 826–34. http://dx.doi.org/10.20965/jdr.2013.p0826.

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A massive magnitude 9.0 earthquake occurring on March 11, 2011, triggered a powerful tsunami that devastated large areas along Japan’s eastern Pacific coast. We investigated tsunami damage using satellite images and aerial photographs, and visited devastated sites, including 27 Shinto shrines, near the coast in 2011 and 2012. We found that all but two of these shrines survived the tsunami, even though tsunami height differed from place to place. As a memorial to those who lost their lives in previous tsunamis, shrines were built in places to which residents could safely evacuate. Many of these shrines were undamaged because their elevation was higher than the tsunami height, and the lives of those who evacuated to them were saved.

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Hansen, Wilburn. "Examining Prewar Tôôgôô Worship in Hawaii Toward Rethinking Hawaiian Shinto as a New Religion in America." Nova Religio 14, no. 1 (August 1, 2010): 67–92. http://dx.doi.org/10.1525/nr.2010.14.1.67.

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Daijingu Temple of Hawaii, a Shinto shrine founded by Japanese immigrant workers in the early twentieth century is unique among shrines in American territory for holding the only recorded pre-Pacific War worship services for a Japanese war hero. Admiral Tôôgôô Heihachirôô was deified for defeating a Russian naval force in the Battle of the Sea of Japan, and was worshiped at Daijingu in services attended by members of the Japanese Imperial Navy as well as Japanese-Americans from the local community. Although this could suggest that the Japanese-American Shinto community was cheering on the Japanese Imperial navy in their military endeavors, this is not the best explanation for their participation. These rituals benefited the shrine community economically. Furthermore, these activities and the rest of Daijingu Shrine history suggest that Shinto in Hawaii requires consideration as a new American religion rather than as Japanese Shinto in diaspora.

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Dissertations / Theses on the topic "Shinto shrines in art"

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Pak, Ung Kyu. "The significance of Bruce F. Hunt's ministry in Korea and Manchuria (1928-1952) with particular attention to Shinto shrine worship /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.

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Gillespie, H. Gary. "Japan's Ise Shrine and selected Norwegian stave churches an examination of the definition of vernacular architecture /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2179.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains v, 161 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 111-114).

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Teeuwen, Mark. "Watarai Shintô : an intellectual history of the outer shrine in Ise /." Leiden : Research School CNWS, 1996. http://catalogue.bnf.fr/ark:/12148/cb375218331.

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Evans, Marcus. "Shinto: An Experience of Being at Home in the World With Nature and With Others." TopSCHOLAR®, 2014. http://digitalcommons.wku.edu/theses/1343.

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This study discloses Shinto’s experiential and existential significance and aims to articulate Shinto’s sacred objective. It shows that Shinto, by way of experience, communicates being in the world with nature and with others as a sacred objective. This suggests that Shinto, in communicating its objective, appeals to the emotions more so than to the intellect; and that Shinto’s sacred objective does not transcend the natural world of both nature and everyday affairs. This study pursues this goal by showing the experiential and existential dimensions of the three primary features of Shinto: it shows how kami (or kami-ness) is thought of as an awe producing quality of being/s that are mostly associated with the natural world; how Shinto shrines’ aesthetics and atmosphere are thought to evoke a feeling of the natural world’s sacredness; and how festivals are thought to be ecstatic and effervescent occasions that regenerate an affirmation of being in the world with others. Though this study does not employ a strict methodological approach—insofar as the conclusions herein are based primarily on literature review—it was motivated by an existential outlook on the study of religion and assumes that the term “religion” refers primarily to an existential phenomenon that pertains not necessarily to socio-historical institutions but to a way of being in the world.

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DeLoach, Dana Engstrom. "Image and Identity at El Santuario de Chimayo in Chimayo, New Mexico." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278102/.

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El Santuario de Chimayo is a small community shrine that combines both native Tewa Indian and Christian traditions. This study focuses on the interaction between traditions through analysis of the shrine's two major artworks: a crucifix devoted to El Senor de Esquipulas (Christ of Esquipulas) and a statue of the Santo Nino (Holy Child). The shrine and its two primary artworks are expressions of the dynamic interaction between native and European cultures in New Mexico at the beginning of the nineteenth century. They frame the discussion of native and Christian cultural exchange about the relationships between religious images, how they function, and how they are interpreted.

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Dubery, Emma. "Chiho Aoshima, Cyborgs and Yōkai: Recoding the Present Through the Past." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1402.

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My thesis aims to map the art historical, religious and cultural influences in Chiho Aoshima’s work, particularly in her 2015 solo show Rebirth of the World at Seattle Asian Art Museum. I will start with an outline of the artist’s overall oeuvre, focusing specifically on her aesthetic development. This will set up an introduction of the main elements I see in her work (Shinto beliefs, yōkai/ukiyo-e aesthetic references, and references to A Cyborg Manifesto). The thesis will essentially be a case study of Rebirth of the World, using specific mediums as evidence for the presence of these influences in her work. My thesis is essentially Chiho Aoshima’s work is a seamless blend of the history and culture of Japan, while still grounding her practice in critical, contemporary theories of subversion. Her work is a gripping nod to the past but it is very much contemporary and critical, and it is easy to overlook all the threads woven into the fabric of her oeuvre.

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Gerace, Samuel Thomas. "Holding Heaven in their hands : an examination of the functions, materials, and ornament of Insular house-shaped shrines." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28697.

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Since the nineteenth century, the provenances, functions, and defining characteristics of a group of Insular portable containers, commonly called house-, tomb-, or church-shaped shrines, have been of interest to a number of disciplines such as History of Art, Archaeology, and Museology. As nearly all Insular house-shaped shrines were found empty or in fragmentary states, their original contents are a continued point of scholarly debate. In response to these examinations and based in part on the seventh-century riddle on the Chrismal found in the Ænigmata of Aldhelm, bishop of Sherborne, this thesis proposes questions such as: what type of container is best categorised as an Insular house-shaped shrine, what were their original contents and functions, and do their forms and materials communicate any specific cultural message(s)? By engaging with the two core concepts of functionality and materiality, which are further informed through direct object handlings of select Insular portable shrines, this thesis examines the forms and materials used in their construction. Taking these questions and the historical conversation into account, this thesis draws on the terminology employed to denote sacral containers in Old Irish and Latin works, which include hagiography and penitentials, discussions on the Temple of Jerusalem within early medieval exegesis, depictions of Insular house-shaped shrines and analogous forms in stonework and other mediums, and antiquarian, archaeological, and anthropological accounts of the discovery of Insular house-shaped shrines to more fully examine the functions of these enigmatic boxes. In doing so, the place of Insular house-shaped shrines within early medieval art, both Continental and Insular, will be more fully outlined. Additionally, a working definition of what can constitute an Insular house-shaped shrine is developed by examining their materiality, form, and prescribed functional terms, such as ‘reliquary’ and ‘chrismal’. Finally, this thesis shows that the functions of Insular house-shaped shrines are best understood in an overlapping and pluralistic sense, namely, that they were containers for a variety of forms of sacral matter and likely were understood as relics themselves only in later periods, which modern antiquarians later used as meaning-making devices in their writings on the spread of the early medieval ‘Celtic’ Church.

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Handa, Haruhisa. "The living artist." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/738.

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"The Living Artist" describes Haruhisa Handa's diverse activities in the arts as analyzed by himself. He investigates why he ventured out to learn both western and eastern styles of art, and researches what it is that truly motivates him to take on such challenging activities. In this thesis, Handa begins with recollections and an evaluation of his own life. At present he is Involved In art from a wide variety of periods and cultures Including calligraphy, painting, tea ceremony, and Noh drama from Japanese culture, oil painting, composition, classical music and ballet from western culture as well as classical Chinese opera. Throughout he questions what It is that drives him into each of these areas, and returns to his elementary and junior high school days to probe for an answer. As he discusses his own history from his childhood to the present, he also analyses his own trail as a man of religion, which underpins all of his artistic ventures. After reflecting on the past, he moves through to the present, and evaluates the Influence of the Shinto religion on his artistic activities. He seeks to justify the reasons for the diverse path he has followed as both a businessman and as an artist through his understanding of Shintoism, a religion that is deeply rooted In the foundation of Japanese culture. He continues his narrative from various points of view, and reveals the methodology through which he engages in his artistic activities as well as In his primary role as a successful businessman. In particular, he evaluates his activities as a businessman and draws comparisons to his business peers and their involvement In the arts. Throughout the study Haruhisa Handa's arts practice is evidenced in his supplementary package of videos, COs and monographs that are appended to this work. Not all of Handa's activities in the arts are traditional performances or paintings; many of his projects creatively integrate religion and business. Indeed, all aspects of his life are tied together by one common factor. In this study he identifies what It is that motivates his wide-ranging artistic ventures, and in so doing reveals a unique approach to arts participation and patronage.

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Massey, Ashley. "Sacred forests and conservation on a landscape scale." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d00bbd06-470c-4872-9a85-574d3c1df33b.

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In the matrix of land uses beyond protected areas, people protect nature in a myriad of ways, and have, in some cases, for millennia. With the growth of global databases of Indigenous and Community Conserved Areas and Territories (ICCAs) and registries of sacred natural sites, opportunities are emerging for conservationists to engage custodians of sacred forests beyond protected areas. As conservation expands beyond protected areas, successful engagement emerges from unities in the perspectives of conservationists and custodians of sacred forests. This thesis aims to identify unities for conservationists' engagement with custodians of sacred forests on a landscape scale. The thesis geolocates sacred forests and assesses the implications for conservation in four diverse landscapes in the Gambia, Ethiopia, Malaysia and Japan. The scale of inquiry varies across the papers, from the sub-district level to a national scale. This research indicates that while sacred forests may be overlooked by conservationists due to their small size and autonomous management, when they are considered in concert on a landscape scale, opportunities for conservation engagement become apparent. This thesis demonstrates that sacred forests can be prevalent in diverse landscapes, persist over time, and provide ecosystem services due to their spatial distribution.

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Sahban, Ilham. "Sanctuaires shintō et spatialité : l’omniprésence de l’espace des kami." Electronic Thesis or Diss., Paris 8, 2023. http://www.theses.fr/2023PA080003.

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Le culte shintō, pourtant fondamental dans la culture japonaise, est paradoxalement mal connu hors des frontières de l’archipel. Le terme jinja, traduit par « sanctuaire shintō », a un sens très large et n’est pas aisé à définir. Ce terme englobe une multiplicité de formes d’espaces dédiés au culte des kami, depuis les montagnes et forêts considérés comme des sites sacrés jusqu’aux formes architecturées les plus élaborées. Autant en milieu urbanisé que rural, les rituels shintō se règlent sur le calendrier agraire, particulièrement les périodes des semailles et des moissons ; à ces dates cruciales, les processions saisonnières participent à renouveler la vitalité du kami, pour assurer abondance et prospérité à la communauté.Ensuite, les divers usages à l’intérieur des limites du sanctuaire, usages cérémoniels mais aussi festifs voire marchands, mettent en évidence l’interpénétration entre espace sacré et profane dans l’enceinte des jinja. Enfin, la configuration architecturale des sanctuaires shintō n’est pas le propos principal de notre développement. En revanche la tradition de la reproduction architecturale à échelle réduite est une particularité qui peut expliquer l’influence de grands sanctuaires dans leur région voire à l’échelle nationale.Ce travail de recherche se place dans le domaine de l’anthropologie spatiale ; dans une approche transdisciplinaire, nous nous basons sur des ouvrages théoriques en langues occidentales et en langue japonaise, ainsi que sur nos observations personnelles directes, ethnographiques de rituels dans des sanctuaires d’échelles graduées, de sanctuaires de quartier aux grands sanctuaires d’Ise jingū et Izumo taisha
The Shinto cult, though fundamental in Japanese culture, is paradoxically poorly known outside the boarders of the archipelago. The term jinja, commonly translated by “Shinto shrine”, has a very broad meaning and is not easy to define. This term encompasses a multiplicity of forms of spaces dedicated to the kami cult, from mountains and forests considered sacred sites to the most elaborate constructed forms. Both in urbanized or rural environment, Shinto rituals are regulated by the agrarian calendar, particularly the periods of sowing and harvesting; on these crucial dates, the seasonal processions contribute to renewing the vitality of the kami, thereby assure abundance and prosperity to the community.Next, the multiple uses within the limits of the Shrine, ceremonial uses but also festive or even commercial uses, highlight the interpenetration between sacred and profane space within the enclosure of the jinja. Finally, the architectural configuration of Shinto shrines is not the main subject of our development, but the tradition of the architectural replication on a reduced scale is a particularity which can explain the influence of main Shrines over their province or even on a national scale.This research belongs to the field of spatial anthropology; in a transdisciplinary approach, we base our work on theoretical works in Western languages and Japanese language, and also on our ethnographic observations of rituals in Shrines of various scales, from neighborhood Shrines to the main national Shrines of Ise jingū and Izumo taisha

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Books on the topic "Shinto shrines in art"

1

Kokuritsu Rekishi Minzoku Hakubutsukan (Japan), ed. Nihon no kamigami to matsuri: Jinja to wa nani ka? = Japanese shrines : what is a shrine. Sakura-shi: Kokuritsu Rekishi Minzoku Hakubutsukan, 2006.

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Hakubutsukan, Tōkyō Kokuritsu. Kokuhō dai jinja ten: Grand exhibition of sacred treasures from Shinto shrines. [Tokyo]: NHK, 2013.

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Paula, Swart, and Art Gallery of Greater Victoria., eds. The Japanese Shinto shrine at the Art Gallery of Greater Victoria. Victoria, BC, Canada: Art Gallery of Greater Victoria, 1987.

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Hakubutsukan, Ōsaka Shiritsu. Sumiyoshi-san: Shahō to shinkō. Ōsaka-shi: Ōsaka Shiritsu Hakubutsukan, 1985.

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Hakubutsukan, Hyōgo Kenritsu Rekishi, ed. Mita no bunkazai: Hotoke, kami, hito : tokubetsuten. [Himeji-shi]: Hyōgo Kenritsu Rekishi Hakubutsukan, 1988.

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Hakubutsukan, Nara Kokuritsu, and Asahi Shinbunsha, eds. Hatsuse ni masu wa Yoki no kamigaki: Yoki Tenman Jinja no hihō to shinzō. Nara-shi: Nara Kokuritsu Hakubutsukan, 2011.

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Bijutsukan, Nezu, ed. Nachi no Taki: Kumano no shizen to shinkō no zōkei. Tōkyō: Nezu Bijutsukan, 1991.

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Kokuritsu Rekishi Minzoku Hakubutsukan (Japan), ed. Kami to hotoke no iru fūkei: Shaji ezu o yomitoku : Rekihaku Fōramu. Tōkyō: Yamakawa Shuppansha, 2003.

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Kokuritsu Rekishi Minzoku Hakubutsukan (Japan), ed. Nani ga wakaru ka, shaji keidaizu. Sakura-shi: Kokuritsu Rekishi Minzoku Hakubutsukan, 2001.

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Kanrika, Hiroshima-shi Kyōiku Iinkai, ed. Jisha jūmotsu chōsa hōkoku. Hiroshima-shi: Hiroshima-shi Kyōiku Iinkai, 1987.

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Book chapters on the topic "Shinto shrines in art"

1

Kam, Liza Wing Man. "Liberating Architecture from “Chineseness”: Colonial Shinto Shrines and Post-colonial Martyrs’ Shrines in Post-war Taiwan." In Contesting Chineseness, 59–81. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6096-9_4.

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Snehi, Yogesh. "Popular art, circulation and visualization of space." In Spatializing Popular Sufi Shrines in Punjab, 177–227. 1 [edition]. | New York : Taylor & Francis Group, 2019.: Routledge India, 2019. http://dx.doi.org/10.4324/9780429203794-5.

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Cocco, Christelle, Zhargalma Dandarova-Robert, and Pierre-Yves Brandt. "Automated Colour Identification and Quantification in Children’s Drawings of God." In When Children Draw Gods, 191–212. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_8.

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AbstractColour is still a relatively neglected aspect in the study both of religious art and of children’s artistic expression of the divine. Our research addresses this important gap and adds to psychological research on religious representations and conceptualization of the divine. From drawings collected in four different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian-Slavic (Christian Orthodoxy) and French-speaking Swiss (Catholic and reformed Christianity) we show that children often imagine and depict god using the same colours: primarily yellow and blue. Apparently, god is often imagined by children as light or in light (yellow) and dwelling in the sky (blue). These results parallel historical and religious studies showing that the light enjoys prominent and most powerful symbolism and association with the divine. Complementary analysis of possible effect of child’s age, gender, and schooling (religious or regular) did not affect the main result. This research also introduced a novel approach to data analysis by using computer vision in psychological studies of children’s drawings. The automated colour identification method was developed to extract colours from scans of drawings. Despite some difficulties, this new methodology opens an interesting avenue for future research in children’s drawings and visual art.

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Dandarova-Robert, Zhargalma, Christelle Cocco, Grégory Dessart, and Pierre-Yves Brandt. "Where Gods Dwell? Part II: Embodied Cognition Approach and Children’s Drawings of Gods." In When Children Draw Gods, 171–87. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_7.

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AbstractEmpirical demonstrations of the embodied and grounded cognition approach, involving diverse areas and phenomena, have increased exponentially in recent years. However, little research has been done in the religious domain. To the best of our knowledge, no study based on this theoretical framework has explored spatial dimension in pictorial representation of the divine in children’s drawings or in religious art in general. The present study represents the very first attempt to investigate if and how spatiality is involved in the way children depict the divine in their drawings. Drawings collected from four groups of participants (n = 1156, ages 6–15) characterized by different cultural and religious environments: Japanese (Buddhism and Shinto), Russian-Buryat (Buddhism, Shamanism), Russian Slavic (Christian Orthodoxy), and French-speaking Swiss (Catholic and reformed Christianity) were annotated using the Gauntlet annotation tool and then analysed. The main result indicates that children from all four groups generally depict god (the centre of the annotated representation) in the upper part of their drawings. Further testing indicates that the type of composition (for instance, god depicted alone or as standing on the ground where the sky is also depicted) did not serve as a major influence on the child’s placement of god.

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Bird, Isabella L. "The Beauties of Nikkô—The Burial of Iyéyasu—The Approach to the Great Shrines — The Yomei Gate —Gorgeous Decorations—Simplicity of the Mausoleum—The Shrine of Iyémitsu—Religious Art of Japan and India —An Earthquake—Beauties of Wood-carving." In Unbeaten Tracks in Japan, 54–61. (Isabella Lucy), 1831–1904-Correspondence 3.Japan- Description and travel 4.Japan-: Routledge, 2019. http://dx.doi.org/10.4324/9781315788715-9.

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Tomoko, Iwasawa. "Buddhist-Shinto Syncretization at the Medieval Suwa Shrine." In Exploring Shinto, 121–35. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.39486.

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Suwa Shrine in central Japan is famous for its Great Pillar Festival (Onbashira-sai 御柱祭) held every six years. Some 20,000 active participants are joined by more than a million viewer-participants in the celebration of the festival. Sixteen specially selected fir trees are cut down in the mountains and their gigantic trunks are dragged over miles of rough terrain to the villages around Lake Suwa, where they are erected in the courtyards of the four shrines that constitute the Suwa Shrine. Some scholars interpret this unique Onbashira festival as symbolizing the ancient nature worship characteristic of native Shinto thought. A historical analysis, however, shows that the meaning of the kami (divinities) enshrined there was transformed in various modes, especially under the strong influence of esoteric Buddhism in medieval times. This essay examines such multiple faces of the kami of Suwa that were uniquely developed through the interaction of Buddhist and Shinto traditions in the medieval period.

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Moerman, D. Max. "Underground Buddhism at the Ise Shrines." In Exploring Shinto, 136–50. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.39487.

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The Ise Shrines (Ise Jingū 伊勢神宮), which venerate the tutelary deities of the imperial lineage, are today presented as sites of an enduring and immutable native tradition. However, the image of Ise as the homeland of an indigenous religion untouched by Buddhism is one created by eighteenth- and nineteenth-century Nativists, promulgated by the Japanese government until the end of the Pacific War, and promoted by the Ise Shrines until today. The Separation Edicts of 1868, which segregated religious deities, clergy, institutions, and images, into the mutually exclusive categories of Buddhist or Shinto, was one of the most radical events in the history of Japanese religion and one that forever changed the status, structure, and administration of Ise. But for the previous thousand years, Buddhist practices, texts, deities, and beliefs were an integral part of Ise’s religious and institutional culture. Yet the relationship between the gods and the buddhas at Ise is neither simple nor self-evident. This article seeks to excavate one piece of that complex history.

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Rhodes, Robert. "Why does Shin Buddhism Reject the Worship of the Kami?" In Exploring Shinto, 186–98. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.39490.

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It is well known that most Japanese people possess multiple religious identities, stereotypically praying at Shinto shrines on New Year’s Day, getting married at a Christian church and holding funerals at Buddhist temples. Several Japanese religions however, notably Shin Buddhism, have rejected this pluralistic stance. Here the reasons for Shin Buddhism’s formal rejection of kami worship, a position known in as jingi fuhai 神祇不拝, are considered. Second a more conciliatory position towards the Japanese kami is considered, which arose under the influence of Zonkaku存覺 (1290-1373) and Rennyo 蓮如 (1415-1499). Third, two stories in Gōzei’s仰誓 (1721-1794) Myōkōnin-den 妙好人伝 (Biographies of the Myōkōnin) from the late Edo period are explored to see how he sought to promote the normative Shin Buddhist position towards the kami, even while presenting evidence that it was not always strictly observed in practice.

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Pye, Michael. "Buddhist-style Pilgrimage with Shinto Meanings." In Exploring Shinto, 173–85. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.39489.

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Circulatory pilgrimage to multiple sites (o-meguri お巡り) was first developed in Japan in the context of Buddhist devotions, notably at 33 sites in western Japan dedicated to the Bodhisattva Kannon. In Japanese Buddhist Pilgrimage (Pye 2015) it was shown how the idea of o-meguri was transferred to the context of Shintō, partly due to the popularity of the intermediate Seven Gods of Good Fortune. In this paper two leading cases of circulatory pilgrimage within the Shinto world are explored: one around 25 places where reverence is paid to the god of learning, Sugawara Michizane, concluding with Kitano Tenmangū in Kyoto, and the other which includes no less than 125 sites at Ise. Neither of these pilgrimages bears any Buddhist meaning. The Michizane shrines provide a religious focusing of scholastic or academic ambition. At Ise the main point lies in the purification of the individual’s heart or mind, and in the strengthening of one’s identity in a shared national orientation. The older idea of o-Ise-mairi remains relevant in so far as visits to these many sites are all regarded as referring to one single goal, the Jingū.

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Jelesijevic, Dunja. "Shinto Spaces and Shinbutsu Interaction in the Noh." In Exploring Shinto, 151–72. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.39488.

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Drawing on religious, ritual, and literary origins, the Noh theatre developed as a unique performance art and literary genre, incorporating Shintō-related mythology and Buddhist spirituality. In this paper two Noh plays, Yamamba and Nonomiya, are analyzed as case studies for how performative, literary, geographical, and ritual space overlap in mutual re-inscriptions of Buddhist and Shintō cosmologies. These two plays are particularly useful for such inquiry as they exemplify, respectively, two most prominent ways in which Shintō space is materialized: a distinguished shrine and its surroundings, and an open natural space (a mountain) understood to be residence of kami, while their shite (the leading protagonists) are an extension and embodiment of this space, eventually themselves becoming sites for the religious interplay taking place.

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Conference papers on the topic "Shinto shrines in art"

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Carcavilla, Adriano Cebrián, and Wael Zaki. "Derivation of Loading Surfaces for a Nitinol Triply Periodic Minimal Surface Unit Cell Subjected to Cyclic Loading." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-71534.

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Abstract This paper intends to describe the process of derivation of loading surfaces with respect to phase transformation, when a structure is subjected to cyclic loading. This structure is realized as a Schwarz Primitive unit cell, for which only 1/16th part is considered, due to the symmetry conditions. Displacement boundary conditions are applied to realize the periodicity of the unit cell, thus simulating the presence of adjacent unit cells. A homogenization of the stress fields is done, so as to obtain volume-averaged values that represent the whole domain. One limitation of the employed constitutive model is not considering plasticity. The large stresses observed in the results would be alleviate in a real application by plastic deformation. Another limitation of the model is not considering a thermomechanical coupling. Therefore, the heat that would be generated depending on the frequency employed is not taken into account. Thus, the frequency of the applied displacements only plays a role in the simulation time. One hypothesis is that the curves in a stress space will shrink as more cycles are performed, due to a higher martensite volume fraction. This is a consequence of functional fatigue. The curves are indeed observed to shrink in an axisymmetric way, due to the lack of phenomena to shift the curves along any of the axis.

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Ikeda, Takashi, and Raouf A. Ibrahim. "Random Excitation of a Structure Interacting With Liquid Sloshing Dynamics." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-32934.

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The nonlinear random interaction of an elastic structure with liquid sloshing dynamics in a cylindrical tank is investigated in the neighborhood of 1:2 internal resonance. Such internal resonance takes place when the natural frequency of the elastic structure is close to twice the natural frequency of the antisymmetric sloshing mode (1,1). The excitation is generated from the response of a linear shaping filter subjected to a Gaussian white noise. The analytical model involves three sloshing modes; (1,1), (0,1) and (2,1). The system response statistics and stability boundaries are numerically estimated using Monte Carlo simulation. The influence of the excitation center frequency, its bandwidth, and the liquid level on the system responses is studied. It is found that there is an irregular energy exchange between the structure and the liquid free surface motion when the center frequency is close to the structure natural frequency. Depending on the excitation power spectral density, the liquid free surface experiences zero motion, uncertain motion (intermittency), partially developed motion, and fully developed random motion. The structure response probability density function is almost Gaussian, while the liquid elevation deviates from normality. The unstable region, where the liquid motion occurs, becomes wider as the excitation intensity increases or as the bandwidth decreases. As the liquid depth decreases, the region of nonlinear interaction shrinks which is associated with a shift of the peak of the structure mean square response toward the left side of the frequency axis.

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