Gotowe bibliografie tematyczne / Kōfukuji (Nara)

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Gotowa bibliografia na temat „Kōfukuji (Nara)”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Kōfukuji (Nara)"

1

Giolai, Andrea. "Encounters with the Past". Journal of Religion in Japan 9, nr 1-3 (22.09.2020): 213–47. http://dx.doi.org/10.1163/22118349-00901002.

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Abstract Kasuga Wakamiya Onmatsuri is an important local festival celebrated every winter in Nara. While the festival has been analyzed from the point of view of its relations with religious institutions such as Kasuga Taisha and Kōfukuji, to date less attention has been paid to its historical transformations. Countering linear narratives that tend to portray it as largely unchanged since its inception, this article combines ethnography, historiography, and religious studies to provide a more multivocal analysis of the Onmatsuri. After an overview of its main celebrations, the article revisits the origins of the festival, describes the ontological multiplicity of its deities, and analyzes material elements that concur to its “fractal” features. Showing how these heterogeneous elements generate a diffuse “atmosphere of the past,” this study discusses practitioners’ accounts of ritual participation, as well as the relationship between ideological reconstructions of the past and material embodiments of religious symbols.
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2

Rambelli, Fabio. "Gagaku in Medieval Japanese Religion". Religions 13, nr 7 (22.06.2022): 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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3

Chan, Yen-Yi. "Revealing the Miraculous: Objects Placed inside the Statue of the Kōfukuji Nan’endō Fukūkenjaku Kannon". Japanese Journal of Religious Studies 49, nr 1 (14.11.2022). http://dx.doi.org/10.18874/jjrs.49.1.2022.45-88.

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The use of relics and gorintō (five-element pagodas) as objects placed in Buddhist statues gained currency in the late twelfth century. This article examines the deposits (nōnyūhin) placed by Fujiwara no Kanezane (1149–1207) in 1189 within the statue of Fukūkenjaku Kannon in the Nan’endō at Kōfukuji in Nara, one of the earliest examples to contain both relics and gorintō. The article unravels the intricate relationship between the contents of the inserted objects, the meaning of the statue, and the motives behind the placing of the deposits. On the one hand, the deposits in this statue were carefully selected to manifest Kanezane’s conception of the sacred. On the other, they were intended to evoke a response from Fukūkenjaku Kannon to generate rebirth in Amida’s pure land. The relic deposit was enshrined because of its connection to Pure Land rebirth and was to transform the statue into a shōjinbutsu (living buddha) that assumed an array of meanings: an icon containing relics, a nexus for salvation, and a miraculous manifestation of the deity. It is also suggested that Pure Land belief was a driving force behind the increase in using relics as nōnyūhin in the late twelfth century.
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Książki na temat "Kōfukuji (Nara)"

1

Japan), Kōfukuji (Nara-shi, i Nihon Keizai Shinbunsha, red. Kōfukuji sōken 1300-nen kinen, Kokuhō Kōfukuji Buttō ten. Tōkyō: Nihon Keizai Shinbunsha, 2013.

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1947-, Tagawa Shunʾei, i Kaneko Hiroaki 1947-, red. Kōfukuji no subete: Rekishi oshie bijutsu. Tōkyō: Shōgakukan, 2004.

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Kenkyūjo, Nara Kokuritsu Bunkazai, red. Kōfukuji tenseki monjo mokuroku. Kyōto-shi: Hōzōkan, 1986.

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Japan), Kōfukuji (Nara-shi. Kōfukuji no bijutsu: Tokubetsu chinretsu. [Nara-shi]: Nara Kokuritsu Hakubutsukan, 1992.

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Hakubutsukan, Tōkyō Kokuritsu, red. Kōfukuji kokuhōten: Nanʼendō Heisei daishūri rakkei kinen. [Tokyo]: Geijutsu Kenkyū Shinkō Zaidan, 1997.

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Kotaki, Chihiro. Ashura-zō no himitsu: Kōfukuji Chūkondō rakkei kinen. Tōkyō: Asahi Shinbun Shuppan, 2018.

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7

Tōkyō Geijutsu Daigaku. Daigaku Bijutsukan. i Kōfukuji (Nara-shi Japan), red. Kōfukuji kokuhōten: Kamakura fukkōki no mihotoke. [Tokyo]: Asahi Shinbunsha, 2004.

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8

Giyū, Koizumi, red. 政覺大僧正記. Tōkyō: Zoku Gunsho Ruijū Kanseikai, 1989.

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9

artist, Hatanaka Kōkyō 1947, Tagawa Shun'ei 1947- i Takashimaya Tōkyō Shiten, red. Kōfukuji no jihō to Hatanaka Kōkyō: Kōfukuji Chūkondō saiken, Hossō chū hashirae kansei kinen = Treasures of Kohfukuji Temple and the works of Kokyo Hatanaka : commemorating the reconstruction of the Central Golden Hall and the completion of the Hossō pillar paintings. Kyōto-shi: Seigensha, 2017.

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10

Galeries nationales du Grand Palais (France) i Réunion des musées nationaux (France), red. Nara, trésors bouddhiques du Japon ancien: Le temple de Kōfukuji : [exposition] Galeries nationales du Grand Palais, Paris, 20 septembre-9 décembre 1996. Paris: Réunion des musées nationaux, 1996.

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