Gotowe bibliografie tematyczne / Rengeōin (Temple : Kyoto, Japan)

Gotowa bibliografia na temat „Rengeōin (Temple : Kyoto, Japan)”

Autor: Grafiati

Data publikacji: 25 lipca 2024

Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Rengeōin (Temple : Kyoto, Japan)"

Petrova, Olga. "Japan: Travel notes". ARTISTIC CULTURE. TOPICAL ISSUES, nr 19(1) (13.06.2023): 18–24. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283114.

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The article covers some of the most prominent cultural landmarks of central Japan. Nara, Kyoto, Osaka, and their suburbs and nearest region were the foundation and all the fundamental principles of Japanese architecture and art, in particular the art of calligraphy, ceramics, red lacquer painting, and the famous Japanese weaponry. Nara became Japan’s first permanent capital in 710 (by the order of Empress Gemmei), a 72-year period in Japanese history known as the “Nara Age.” It is noted that Buddhism, and later Zen Buddhism, first came to this territory from China. For twelve centuries, Buddhist art was considered a “Japanese classic.” On the territory of the Nara temple complex, one can observe the organic coexistence of ancient Shintoism and Buddhism adapted to the consciousness of the Japanese. In the central region, a revered archaeological site is the underground structure of Isi-Butai, which dates to the ancient Asuka period (538–645). Despite many years of research of this attraction, the so-called “stone stage”, the water pipe laid in the dungeon, other details remain mysterious (about their origin) and are of keen interest to archaeologists. The paper also provides information about the Horyuji architectural ensemble (607–623). The focus is on the personality and educational role of Prince Shyotoku, who succeeded Empress Hashihito no Anahobe, the prince’s mother. The Chugudi temple (Ikaruga’s old palace) was dedicated by Shōtoku to his mother’s memory. Now there are only a few stones from this temple. Information is provided about the sculptural masterpiece of the Asuka era—the statue (national treasure) Nyoirin Kannon Bosatsu, which is one of the most poetic sculptures in Japanese plastic. Special attention is paid to the embroidered sacred banner Tenjukoku Shūchō Mandala depicting the “Land of Heavenly Longevity.” The fabric is considered the oldest embroidery in Japan.

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Johnson, Norris Brock. "Geomancy, sacred geometry, and the idea of a garden: Tenryu-ji temple, Kyoto, Japan". Journal of Garden History 9, nr 1 (styczeń 1989): 1–19. http://dx.doi.org/10.1080/01445170.1989.10410724.

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Lee, Sun-Yong. "Study on Mantras in the Thousand Buddhas Embroidered in Gold at Seiganji Temple in Kyoto, Japan". Journal of Buddhist Art 27 (30.03.2019): 73–98. http://dx.doi.org/10.36620/bms.2019.27.3.

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Hayes, Matthew. "Faith, Devotion, and Doctrinal Knowledge". Journal of Religion in Japan 7, nr 1 (8.11.2018): 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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GERLINI, Edoardo. "Textual heritage and digital archives – the case of the Hyakugo Archive in Kyoto". Open Research Europe 3 (20.12.2023): 218. http://dx.doi.org/10.12688/openreseurope.16820.1.

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What are the effects and significance of inscribing an archive or group of documents in a heritage list? In light of the positive effects of digital technology on archival science, should all archives and past documents be considered “heritage,” or are some more significant than others? What are the implications and benefits of a heritage archive? Is creating a digital database of a specific archive considered part of heritage conservation? Is the term "heritagization" or "heritage making" a synonym for preservation or conservation? In this article, I will attempt to answer some of these questions from the point of view of premodern literature, drawing on recent researches in heritage studies, specifically in the subfield of "critical heritage studies. After briefly introducing the current state of heritage scholarship, I will present the definition of "textual heritage" that I developed during my most recent project. Secondly, to reflect on how the concept of textual heritage can affect our understanding of historical archives, I will present the case of the Hyakugo Archive of Toji Temple (Kyoto, Japan), a collection of 19,000 documents dating from the eight to the eighteenth century, which was inscribed on the UNESCO Memory of the World List in 2005 and has been fully digitized and made available to the public via the Internet. I will examine a particular historical event that occurred during the 17th century, which can be viewed as a re-birth of this archive as a cultural heritage and reflect on the implications of this event for the survival of the archive itself and its use today.

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Iba, Chiemi, Ayumi Ueda i Shuichi Hokoi. "Field survey on frost damage to roof tiles under climatic conditions". Structural Survey 34, nr 2 (9.05.2016): 135–49. http://dx.doi.org/10.1108/ss-07-2015-0033.

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Purpose – Frost damage is well-known as the main cause of roof tile deterioration. The purpose of this paper is to develop an analytical model for predicting the deterioration process under certain climatic conditions. This paper describes the results of a field survey conducted to acquire fundamental information useful to this aim. Design/methodology/approach – A field survey of roof tile damage by freezing was conducted in an old temple precinct in Kyoto, Japan. Using detailed observations and photographic recordings, the damage progress was clarified. To examine the impact of climatic conditions upon the damage characteristics, weather data and roof tile temperatures were measured and logged in the winter season. Findings – The deterioration process was observed under the climatic conditions associated with the measured temperature of the roof tiles. In particular, it was revealed that the orientation has a significant influence on increasing or decreasing the risk of frost damage. For certain distinctive forms of damage, the deterioration mechanisms were estimated from the viewpoint of the moisture flow and temperature distribution in the tile. Originality/value – This study contributes to the elucidation of the mechanism behind frost damage to roof tiles. The findings will guide the construction of a numerical model for frost damage prediction.

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Cho, Seung-mi. "The Other Side of the Tokugawa Shogunate"s Protection about the Temple Loan Business in the Early Modern Japan: the Formation of the Kyoto Shōrenin Myōmoku-kin and its Conditions in the Late 18th Century". Korean Historical Review 250 (30.06.2021): 205–41. http://dx.doi.org/10.16912/tkhr.2021.06.250.205.

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Kim, Ja-hyun. "Studies on Engraving Prints in Eojebijangjeon (including Eojebulbu and Eojejeonwonga) of Nanzenji Temple in Kyoto, Japan". Journal of Korean Association of Art History Education, nr 25 (31.08.2011). http://dx.doi.org/10.14769/jkaahe.2011.08.25.35.

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Küçükyalçın, Erdal. "Ōtani expeditions into Central Asia (1902–1914)". Diogenes, 23.07.2022, 039219212211037. http://dx.doi.org/10.1177/03921921221103719.

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The three Ōtani Expeditions (1902–1914) constitute the first non-Western attempt to carry out systematic research in Central Asia. The mastermind behind these Japanese enterprises was Ōtani Kōzui, the 22nd lord-abbot of the Western Honganji temple in Kyoto and the patriarch of the Honpa Honganji denomination of the Jōdo Shinshū sect, which was and remains the largest Buddhist community in Japan. Kōzui’s position as a monk during the period the expeditions were carried out reveals his religious motivation as the planner and sponsor of these research trips. Inspired by the 7th century traveler-monk Xuanzang, the main purpose of the Ōtani Expeditions was therefore to find the routes through which Buddhism had passed before reaching Japan. This is what makes them unique when compared with other exploration missions.

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Kurata, Y., S. Horiuchi, M. Kojima, K. Watanabe, M. Iwasa i H. Abe. "The utilization of wood samples from xylarium in historical wooden statues: improving the separation accuracy non-destructive measurement for using several algorithms". Journal of Wood Science 70, nr 1 (5.06.2024). http://dx.doi.org/10.1186/s10086-024-02141-5.

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AbstractThere are numerous wooden historical artifacts in Kyoto and other parts of Japan, including Buddhist statues or Shinto deities. The identification of wood species in these historical artifact is desirable for both repair and maintenance purposes. The most common method of identifying wood species involves examining samples taken from the artifacts. However, intentional sampling from old cultural artifacts is prohibited in Japan. As a result, we attempted to determine the wood species of old statues non-destructively using near-infrared spectroscopy (NIRS). In this article, we developed the softwood and hardwood separation model using NIRS to compare the prediction accuracy for few algorithms. The model was created based on wood samples stored in the xylarium of the Forestry and Forest Products Research Institute (TWTw). We then applied this model to old Buddhist statues in order to classify them as either softwood or hardwood. These Buddhist statues were housed in Nazenji temple and are believed to have been carved during the Heian period (8th–12th century). For the near-infrared (NIR) measurements, we collected diffuse reflectance spectra from TWTw sample and Buddhist statues using same spectrometer. Initially, we used the soft independent modeling of class analogy method (SIMCA), partial least squares discriminant analysis (PLS_DA), and support vector machine to analyze the NIR spectra obtained from the TWTw wood samples. Subsequently, we applied the NIR spectra obtained from several Buddhist statues in Nazenji temple to the aforementioned separation model and determined whether spectra data were classified as the softwood or hardwood. Finally, wood specimens detached naturally from the Buddhist statues over time were observed under microscopic analysis to identify the wood species. As comparing the prediction accuracy of few algorithms, SIMCA had a poor result, but PLS_DA had a good result. PLS_DA had better discrimination because it performed calculations to improve regression from both explanatory variables and objective variables.

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Książki na temat "Rengeōin (Temple : Kyoto, Japan)"

Wakatake, Fuemi. Sanjūsangendō munagi no yurai: 2-maku 3-ba. [Tokyo]: Kokuritsu Gekijō, 2016.

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(Kyoto, Japan) Kōdaiji. Kōdaiji: Kodai-ji Temple. Kyōto-shi: Mitsumura Suiko Shoin, 2018.

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Kusano, Kenshi. Honganji Kyōdan to chū-kinsei shakai: Honganji Temple in medieval and early modern society. Wyd. 8. Kyōto-shi: Hōzōkan, 2020.

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(Kyoto, Japan) Kiyomizudera. Kyōto Kiyomizudera: Kiyomizu-dera temple. [Kyoto]: Kitahossōshū Daihonzan Otowasan Kiyomizudera, 2011.

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Mizuno, Katsuhiko. Jakuchū, gohyaku rakan, Sekihōji: Sekihôji Temple. Wyd. 8. Kyōto-shi: Unsōdō, 2013.

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Hakubutsukan, Tōkyō Kokuritsu. Nanzenji: Kameyama Hōō 700-nen onki kinen = Treasures of a great Zen temple, the Nanzenji. Tōkyō: Tōkyō Kokuritsu Hakubutsukan, 2004.

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Hakubutsukan, Tōkyō Kokuritsu, Kyōto Kokuritsu Hakubutsukan i Asahi Shinbunsha, red. Nanzenji: Kameyama Hōō 700 nen gyoki kinen =Treasures of a great Zen temple, the Nanzenji. [Tokyo]: Asahi Shinbunsha, 2004.

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Tatsuta, Yoshio. Chūsei Tōji-ryō shōen no shihai to zaichi. Tōkyō: Azekura Shobō, 2003.

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Hakubutsukan, Kyūshū Kokuritsu, i Nihon Keizai Shinbunsha, red. Kyōto, Daigoji: Shingon Mikkyō no uchū = Daigoji temple : a Shingon Esoteric Buddhist universe in Kyoto. [Tokyo]: Nihon Keizai Shinbunsha, 2018.

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Hakubutsukan, Tōkyō Kokuritsu. Ninnaji to Omuro-ha no mihotoke: Tenpyō to Shingon Mikkyō no meihō = Treasures from Ninnaji Temple and Omuro. [Tōkyō ]: Yomiuri Shinbunsha, 2018.

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Części książek na temat "Rengeōin (Temple : Kyoto, Japan)"

Fowler, Sherry D. "Painting the Six Kannon". W Accounts and Images of Six Kannon in Japan. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824856229.003.0006.

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A centerpiece of the corpus of extant iconic image sets of Six Kannon painting, of which five originals survive, is the large fourteenth-century set from the Hosomi Museum in Kyoto. Just how unstable the number six can be is demonstrated in the Six Kannon cult by the establishment of the Seven Kannon group, which is a phenomenon where both alternate Kannon types (Fukūkenjaku and Juntei used by Shingon and Tendai respectively) are included in one group. The Kyoto temple called Shichi Kannon’in historically enshrined such an example. Six Kannon joined by one Seishi (Skt. Mahāsthāmaprāpta), commonly misidentified as “Seven Kannon,” were worshipped in the practice of the once popular but now almost unknown Edo-period ritual called Shichiyamachi (Seven nights of waiting). Other paintings of Six Kannon, such as the sixteenth-century set from Kōdaiji that includes paintings of the Six Kannon along with Thirty-three Kannon, served a pivotal role in the transmission and subsequent expansion of the Six Kannon cult.

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Baffelli, Erica. "The Android and the Fax: Robots, AI and Buddhism in Japan". W Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-527-8/012.

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In March 2019, a temple in Kyoto, Kōdaiji, unveiled to the public ‘Mindar’, a robot developed in collaboration with Ishiguro Hiroshi, a well-known robotics professor at Osaka University. The android is presented as the manifestation of Kannon, the bodhisattva of compassion. It can move, speak, and record what it sees. Mindar delivers sermons based on the Heart Sutra and, according to the temple’s priest, it will keep evolving and its knowledge will become endless. Mindar has received mixed responses from visitors, from those who cry during the sermons to those who feel it inappropriate for a robot to preach in a temple. Media coverage has mainly focused on the potential for Mindar to change the image of Buddhism in Japan, a tradition often portrayed as antiquated and mainly focused on funerary rituals. By examining the declarations of Mindar’s creators and varied responses of its visitors, and drawing on observation of Mindar’s practice, this chapter explores the interaction between AI, robotics, and Buddhism in contemporary Japan. It highlights the affective potentialities and possibilities of AI, in particular as they relate to emotional connections between humans and robots, and the implications for Buddhism in contemporary Japan.

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"Did the Silk Road(s) Extend from Dunhuang, Mount Wutai, and Chang’an to Kyoto, Japan? A Reassessment Based on Material Culture from the Temple Gate Tendai Tradition of Miidera". W Buddhism in Central Asia II, 17–67. BRILL, 2022. http://dx.doi.org/10.1163/9789004508446_003.

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Streszczenia konferencji na temat "Rengeōin (Temple : Kyoto, Japan)"

Hiramatsu, Yuko. "Creativity: The Writer as Transmitter and the Recipient as Reconstructor -The Dual Structure and the Imagination that Bridges the Gap between Them". W 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004689.

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This study examines creation by information recipients by the linguistic landscape survey in Nikko, a World Heritage Site in Japan. Linguistic landscape refers to the language signs along public roads. We can see traditional Japanese ways there. Old Japanese sometimes used a part of the ancient poems as a common culture in their poem, and from there, they created a double emotion of their own compositions and the ancient poems. This is a proactive and creative method in which the recipient adds a new vision to the one created by the creator/sender of the information. It is said Japanese language has a strong recipient-responsibility tendency, in which the recipient should take the initiative in grasping the meaning. A world-famous example is the stone garden at Ryoanji Temple in Kyoto. The stones and sand remind the viewers of large natural bodies of water and mountains. The creator assumed that those who see it will be actively involved and imagine. This tradition remains in Nikko roadside. For example, "Akebono(dawn)" is written on the board, as a name of a confectionery. When Japanese people look at the word "Akebono”, they remember the beginning of the Pillow Book, "Spring is Dawn (is best)”. Strawberry sweet reminds them of the beautiful dawn of spring. This is a double structure and is one of the manifestations in the Japanese culture of "Mitate". The pedestrians who walk along the road, are reminded of their cultural backgrounds, and there they pause to think and savor the double structure. It is the creation by the recipient that bridges the gap between the two. The uniqueness is not created by the creator, but rather the shared one is used to expand the imagination and share the senses. Considering tourism information application, it is not enough for such a creation. Applications provide as much detailed information as possible. Such information may be useful before the trip. However, when tourists stand in front of some stores, do they need detailed information about inside by smartphone? What is needed is for tourists to stop in front of the store. It is important that they are actively interested. Rather, it is also effective to leave the information incomplete (Zeigarnik effect). Novelty is required in tourism.However, in traditional Japanese cultural areas such as Nikko, where foreign tourists are increasing, the recipients do not have the same cultural background as senders of information. A major challenge is how to have a creative space for those who do not make common knowledge. There are three possibilities.Standardization is underway in the global. There is a possibility of new "Mitate" based on the commonality of the standardized parts.Foreign tourists will know the Japanese way of seeing things as repeaters.The "Mitate" will not be established. However, each visitor will create something new from what he/she has obtained. (Horizon of Expectation)Any or more of these are possible. Creation is in the hands of both the creator and the recipient.

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