As Japan enters the 21st century with a new emperor, this title continues to be an indispensable guide through often enigmatic and historical idiosyncrasies of Japanese culture and politics that are often confusing to the outsider. This title includes information on the latest social developments, customs, rituals, business culture, medicine and arts.
Written by one of the leading scholars of Japanese religion, The Fluid Pantheon is the first installment of a multivolume project that promises to be a milestone in our understanding of the mythico-ritual system of esoteric Buddhism—specifically the nature and roles of deities in the religious world of medieval Japan and beyond. Bernard Faure introduces readers to medieval Japanese religiosity and shows the centrality of the gods in religious discourse and ritual; in doing so he moves away from the usual textual, historical, and sociological approaches that constitute the “method” of current religious studies. The approach considers the gods (including buddhas and demons) as meaningful and powerful interlocutors and not merely as cyphers for social groups or projections of the human mind. Throughout he engages insights drawn from structuralism, post-structuralism, and Actor-network theory to retrieve the “implicit pantheon” (as opposed to the “explicit orthodox pantheon”) of esoteric Japanese Buddhism (Mikkyō). Through a number of case studies, Faure describes and analyzes the impressive mythological and ritual efflorescence that marked the medieval period, not only in the religious domain, but also in the political, artistic, and literary spheres. He displays vast knowledge of his subject and presents his research—much of it in largely unstudied material—with theoretical sophistication. His arguments and analyses assume the centrality of the iconographic record, and so he has brought together in this volume a rich and rare collection of more than 180 color and black-and-white images. This emphasis on iconography and the ways in which it complements, supplements, or deconstructs textual orthodoxy is critical to a fuller comprehension of a set of medieval Japanese beliefs and practices. It also offers a corrective to the traditional division of the field into religious studies, which typically ignores the images, and art history, which oftentimes overlooks their ritual and religious meaning. The Fluid Pantheon and its companion volumes should persuade readers that the gods constituted a central part of medieval Japanese religion and that the latter cannot be reduced to a simplistic confrontation, parallelism, or complementarity between some monolithic teachings known as “Buddhism” and “Shinto.” Once these reductionist labels and categories are discarded, a new and fascinating religious landscape begins to unfold.
This book represents volume one of the writings of David Sissons, who for most of his career pioneered research on the history of relations between Australia and Japan. Much of what he wrote remained unpublished at the time of his death in 2006, and so the editors have included a selection of his hitherto unpublished work along with some of his published writings. Breaking Japanese Diplomatic Codes, edited by Desmond Ball and Keiko Tamura, was published in 2013 and forms a part of the series that reproduces many of Sissons’ writings. In the current volume, the topics covered are wide. They range from contacts between the two countries as far back as the early 19th century, Japanese pearl divers in northern Australia, Japanese prostitutes in Australia, the wool trade, the notorious ‘trade diversion episode’ of 1936, and a study of the Japan historian James Murdoch. Sissons was an extraordinarily meticulous researcher, leaving no stone unturned in his search for accuracy and completeness of understanding, and should be considered one of Australia’s major historians. His writings deal with not only diplomatic negotiations and decision-making, but also the lives of ordinary and often nameless people and their engagements with their host society. His warm humanity in recording ordinary people’s lives as well as his balanced examination of historical incidents and issues from both Australian and Japanese perspectives are a hallmark of his scholarship.
If the Way of the warrior is the soul of Japan, their magnificent swords were the tools utilized to form the nation and forge their spirit. You’ll find an abundance of information in this special anthology in support of this thesis. Kimberley Taylor wrote four chapters, the first being an interview with 7th-dan Matsuo Haruna. Haruna offers great advice for practitioners based on his first-hand experience. Taylor’s two highly researched chapters give overviews of two major iaido schools. Excellent photos and descriptions of katas accompany the text. Taylor’s finale is a short piece describing two of his favorite techniques, while Deborah Klens-Bigman’s chapter deals with two of her favorite techniques. Another top ranking swordsman, Nicklaus Suino, gets to the finicky details of sword-drawing techniques as performed by masters. From his two chapters, we learn how to watch for telltale signs of expertise and come to a greater appreciation of the art of drawing the sword. Jonathan Seckler’s chapter translates and comments on an essay written by Chozanshi Shissai in 1729. He argues that Neo-Confucianism rather than Zen became the foundation of swordsmanship, and illustrates how the sword arts began to be appreciated for their use for self-development. Andrew Bryant’s chapter focuses on poems passed down within the Muso Jikiden Eishin-ryu School of Iaido. These poems correspond to techniques contained within the system created in the 17th century. The author presents each poem and offers provides textual descriptions of their corresponding applications with each sword technique illustrated. Joseph Svinth’s research presents the earliest kendo clubs to form in Canada. The socio-cultural settings add much flavor to this chapter. Information is provided regarding notable instructors, training, and competitions. Another way to better understand a martial tradition of one country is to compare it with another. Matthew Galas compares and contrasts sword arts in Germany with the Japanese traditions. The focus is on general principles and combat philosophy. Devotees to sword practice are well award that scabbards get damaged. Michael Babin’s chapter shows “how to” build a serviceable scabbard according talents of anyone moderately handy with tools. The twelve chapters described above should inspire further research and practice in the Japanese sword arts, plus bring a greater appreciation for their unique place in world history and culture.