Showing posts with label - - - Books - - -. Show all posts
Showing posts with label - - - Books - - -. Show all posts


ABC List Contents

- BACK to the Daruma Museum -

. Legends and Tales from Japan 伝説 - Introduction .


ABC List of Contents - Heian Period (794 to 1185) 平安時代
- - - - - and the periods up to Heian

. Books about the Heian Period .

. Reference online .

. kojiki 古事記 Furukotofumi, the oldest chronicle in Japan .


source :

. Persons of the Heian Period .

. Shrines of the Heian Period 神社 .

. Temples of the Heian Period 寺 .

. Legends and tales 伝説 .


- - - - - Keywords, terms, specialities - - - - -

Anna 安和 era (968 - 970)
- source : wikipedia -
- - - - - . Anna Incident - Heian History .

. aoba no fue 青葉の笛 flute with green leaves .
flute of the monsters 鬼笛 onibue

Architecture in the Heian Period
James T. Ulak
In 784 the emperor Kammu (737–806) relocated the seat of government to Nagaoka. Nagaoka was marred by contention and assassination, however, rendering it an inauspicious location for the capital. Thus, in 794 a site to the east of Nagaoka on a plain sheltered on the west, north, and east by mountains and intersected by ample north-south rivers was judged appropriate by geomancers. Named Heian-kyō (“Capital of Peace and Tranquility”) and later known as Kyōto, this city was modeled on the grid pattern of the Tang Chinese capital at Chang’an. Heian-kyō remained the site of the imperial residence . . . (100 of 10,500 words)
- source : -

. Aristocrats in the Heian Period .

. Ashikaga Gakkoo 足利学校 Ashikaga Gakkō, The Ashikaga School,
The Ashikaga Academy and Ono no Takamura 小野篁 .

. Asuka Kiyomihara Palace 飛鳥 清見原 .

auspicious symbols
- matsukuware tsuru 松くわえ鶴 crane holding a pine branch

. awabi densetsu あわび アワビ 鰒 鮑伝説 abalone legends .

. Ban Dainagon Ekotoba 伴大納言絵詞 picture scroll about the fire of Otemon 大手門 .

. Bandits, Pirates, Robbers - Heian History .

. Binbogami 貧乏神, Kyuuki 窮鬼 Kyuki - God of Poverty .

. Buddhism in Heian Japan .
- - - - - . Developments in Buddhism .

Buddhist sculptors 仏師 busshi - Heian Era
定朝 Jōchō Busshi (Jocho), 円派 Enpa and 院派 Inpa School
Magaibutsu 磨崖仏 cliff carvings
Artwork of the new sects, Tendai 天台 and Shingon 真言.
- source : Mark Schumacher -

. bussokusekika 仏足石歌, "Buddha footprint poems" .

Cleveland Museum pieces
Art of Japan: Masterpieces from the Cleveland Museum of Art / Heian (14 results)
- source : -

Colors of the Heian period
. . . A glimpse of many shades of color at the neck, sleeve and hemline . . .
check : Fujiwara no Teika "Meigetsu-Ki" Bright Moon Diary
. Japanese Colors - Introduction .
- - - - - . The Traditional Colors of Japan / by Sarah W . *

. daidokoro, daibandokoro 台盤所 kitchen .

Daijō-kan, Dajō-kan, Daijookan 太政官 Great Council of State
three ministers— : Daijō-daijin (Chancellor), Sadaijin (Minister of the Left) and Udaijin (Minister of the Right)
- - - More in the WIKIPEDIA !

Dazaifu 大宰府 regional government in Kyushu, "the distant capital"
from the 8th to the 12th centuries.
- - - More in the WIKIPEDIA !

. dengaku mai 田楽舞 Dengaku dance .

. Echizen shikki 越前漆器 Echizen laquer ware .
In 527A.D., when the 26th emperor of Japan was young, he ordered a lacquerware craftsman in Echizen to repair his crown . . .

emaki 絵巻 picture scrolls - tba
Ban Dainagon ekotoba (The Tale of the Courtier Ban Dainagon)
Chōjū giga (Scroll of Frolicking Animals)
Genji Monogatari emaki (The Illustrated Tale of Genji)
Shigisan engi emaki (Legends of Mt. Shigi)
- - Emaki, narrative scrolls from Japan – Miyeko Murase
- - Critical Terms for Art History - Nelson, Shiff
- - The Practices of Painting in Japan - Quitman Phillips

. Food and Drink in the Heian Period .

. Fujiwara regency - Heian History .

. gangu 玩具, omochcha おもちゃ toy, toys .
In the Heian period, it was called “mote (or mochi)- asobimono (mote or mochi means to hold in a hand, and asobimono means something to play with),” or it was referred to as simply “asobimono” in the Tale of Genji.

. Genji Monogatari 源氏物語 The Tale of Genji .
. . . . . Murasaki Shikibu

. Genpei War 源平戦争 - Heian History .
the Minamoto (源) and the Taira (平). The Heian Period ends with the Genpei War.

. gold and silver mines - kinzan 金山 ginzan 銀山 .

. Gold and Silver, Zipangu .

. goryoo, onryoo 御霊、怨霊 vengeful spirits .
Sudo Tenno 崇道天皇 and his son,
Iyo Shinno 伊予親王.
his mother, Fujiwara Fujin, 藤原婦人
Fujiwara Hirotsugu, 藤原広嗣
Tachibana Hayanari, 橘逸勢
Bunya no Miyata Maro 文室宮田麻呂
Kibi no Makibi 吉備真備
Sugawara Michizane 菅原道真

. Gozu Tennō 牛頭天王 Gozu Tenno Deity .

haiku about Heian 俳句と平安


. hamaya 破魔矢 and busha matsuri 歩射祭 or 奉射祭 .
- - - - - New Year ritual archery

. Hanami 花見 "Blossom viewing party" .

. haniwa はにわ【埴輪】“clay cylinder”clay figures .
- and the Hajibe 土師部 clan / mogari funeral rites もがり【殯】

. Hashihime, Hashi Hime 橋姫 / はし姫 "Princess of the Bridge" .
turning into a vengeful Oni demon


. Heian bijin 平安美人 a beauty of the Heian Period, Heian Beauty . *
- - - - - . Aristocrats in the Heian Period - beauty .
- - - - - . The Fair Face of Japanese Beauty
Cosmetics for Japanese Women from the Heian Period to Today.


Heianjo, Heian Jo 平安城 "The Castle of Heian"
平安城首 / 平安城尾 / 左 青竜 / 右 白虎 / 前 朱雀 / 後 玄武
『都名所図会』で京を巡る Kyo Meisho Zue - Illustrations of the famous places
. 都名所図会 Kyo Meisho Zue . *

Heian Kyoo 平安京 (literally "tranquility and peace capital") HeianKyo, Heian Kyo
was one of several former names for the city now known as Kyoto. It was the capital of Japan for over one thousand years, from 794 to 1868 with an interruption in 1180.
- Including Kadono District (Kadono-gun, Atago 愛宕郡) and Otagi District (Otagi-gun, 愛宕郡) of Yamashiro Province (Yamashiro no kuni, then 山背国)
- - - More in the WIKIPEDIA !
- - - - - .The Ancient Capital Heian Kyo - by Parker .

. Heian matsuri 平安祭 Heian festival - Kyoto .
Jidai matsuri 時代祭 "Festival of the Ages" - October
- - - - - Heian Jinguu 平安神宮 Heian Jingu Shrine

. Heike densetsu 平家伝説 legends about the Heike clan .
The Tale of the Heike 平家物語 Heike Monogatari - 平 Taira - and more

. Heike tanuki 源平狸 papermache doll of a badger .
at Temple Yashima-Ji 屋島寺, Kagawa. The Tanuki believed that his former master was a prince of the Taira clan.

. hinomaru, hi no maru 日の丸 the Japanese Flag .
- - - - - Emperor Monmu used a flag representing the sun in his court in 701.

. hiragana 平仮名 ひらがな writing system .

. Hiraizumi 平泉 in Iwate, the Golden Hall .
Fujiwara no Kiyohira 藤原清衡 and the Hiraizumi Fujiwara clan

. History of the Heian Period .
. . . . . Heian History by dates
- source : #heianhistory -

. Hoogen no ran, Hôgen no ran  保元の乱 Hogen Disturbace - 1156 .

. ikiryō, shōryō, seirei, ikisudama 生霊 Ikiryo, "living ghost" .

Ima Kagami - Fujiwara no Tametsune

. imayoo, imayō 今様 Imayo, popular song, imayoo uta 今様歌 .
Imayo Awase: Song contest in the Heian period

. inbi no gohan 忌火の御飯 "rice on the memorial day" .

. Ise monogatari 伊勢物語 Tales of Ise .
. . . . . and Yatsuhashi 八橋

. ishinago 石子 / イシナゴ / いしなご / 石なご / 石投 / 擲石 toy stone pebbles .
いしなどり / 石な取り ishinadori / いしなごとり ishinagotori / 石投げ ishinage
saigi 賽木、伊勢の賽木(いせのさいぎ)wooden dice from Ise

. Jishin no Ran 壬申の乱 Jishin war - 672 .
Ōama no ōji 大海人皇子 Prince Oama - 天武天皇 Tenmu Tenno

. Kagerō Nikki 陽炎日記 / 蜻蛉日記 Kagero Nikki, The Kagero Diary .
- - - - - The Mayfly Diary, The Gossamer Years, by Michitsuna no Haha (ca. 935-95)

. kaiawase, kai-awase,kai awase 貝合; 貝合わせ shell-matching game .

. kanbun (kambun) 漢文 written Chinese, the official language *

. Kaneuri Kichiji 金売吉次 / 金売り吉次 / 吉次信高 / 橘次末春
Kichiji Nobutaka, Kitsuji Sueharu, Kane-uri Kichiji .

- legendary gold trader of the Heian Period

. kanju manju 干珠満珠 the tide jewels .

kanpaku 関白 Kampaku, regent
first secretary and regent who assists an adult emperor
- - - More in the WIKIPEDIA !

. kaoo, kaō 花押 Kao official signature .

. Kappa 河童 Water Goblin Legends of the Heian period .

. karuta, uta karuta 歌留多 Poetry card game .

. Kawara no In 河原院 Kawara-no-in - Kyoto .
official residence of 源融 Minamoto no Toru (822 - 895)

. kemari 蹴鞠 kick ball .

. Kimigayo 君が代 the Japanese Anthem .

kimono and fashion
- source : History-of-Kimono -
. juuni hitoe 十二単衣 12 layered court robe .

. Kinoshitagoma, 木ノ下駒 horse toy from Sendai .

kinri 禁裏 / 禁中 / 御所 living quarters of the emperor
- kinri sama 禁裏様 Emperor

Kin'yō Wakashū 金葉和歌集 Collection of Golden Leaves
- - - More in the WIKIPEDIA !

. kofun jidai 古墳時代 burial mound period - 250 to 538 .
- Introduction and legends -

Kokin Wakashū 古今和歌集 Waka poetry anthology
- - - More in the WIKIPEDIA !

. Kokushi 国司 Kuni no tsukasa, regional governor .
and the legal system, Ritsuryō 律令 Ritsuryo

Konjaku Monogatari 今昔物語, Konjaku Monogatarishū 今昔物語集 Anthology of Tales from the Past
collection of over one thousand tales written during the late Heian period (794-1185)
- - - More in the WIKIPEDIA !

. Korean heritage 韓国 Kankoku  朝鮮 Chosen - Korea .

. koyomi 暦 Japanese calendars .
introduced in the Joogan 貞観 Jogan period (859 - 877).

. Legends of the Heian Period .

. Literature of the Heian Period 平安時代の文学 .

Makimuku Kofun and Himiko 纒向古墳群 卑弥呼

Makura no Sōshi 枕草子 Makura no Soshi, The Pillow Book
. by Sei Shōnagon 清少納言 Sei Shonagon .

. Manyooshuu, Man'yōshū 万葉集 Manyoshu, Manyo-Shu
Poetry "Collection of Ten Thousand Leaves" .

. Map 平安京オーバレイマップ .

. Masakado's Rebellion - Heian History .
. Taira no Masakado 平将門 (? – 940) .

. Matsuo Basho 松尾芭蕉 in the footsteps of the Heian period .

. Medicine - Honzo Wamyo 本草和名 . *

. Modori-bashi, modoribashi 戻橋 / 戻り橋 'Returning Bridge' . - Kyoto

. mokkoogata, mokko no katachi 木瓜形 four-lobed pattern .
..... "quince pattern", originated in Tang dynasty as a motif on courtiers' clothes and was very popular in the Heian period

. Motives and Symbols in Art .

Narumi Gold Mine in Echigo since the Heian period

nengoo, nengō 年号 Nengo, "year name", era name
- reference source : wikipedia -

. Nihon Ryōiki 日本霊異記 Nihon Ryoiki .
Ghostly Strange Records from Japan
Record of Miraculous Events in Japan
by Kyookai 景戒 (きょうかい/けいかい) Kyokai - Keikai, priest of Yakushi-Ji in the Nara period

. norito 神詞 のりと Shinto chants, incantations and prayers .

. Nue - Yorimasa and the Nue monster (鵺, 鵼, 恠鳥, or 奴延鳥) .

. Ogura Hyakunin Isshu 小倉百人一首 Poetry Collection of 100 Poets .

. onmyoodoo 陰陽道 Onmyo-Do, The Way of Yin and Yang .
Abe no Seimei 安倍晴明 (921 – 1005)

. Onsen - Eight famous old Hot Springs 八古湯 and their legends .
- and other hot springs dating back to the Heian period

Ookagami, Ōkagami 大鏡 Okagami, The Great Mirror - historical tale
- - - More in the WIKIPEDIA !

. plum blossoms 梅花 loved in the Heian period.

. red and white 紅白 kohaku (koohaku) .
and the Battle of Dan-no-Ura 壇ノ浦の合戦

Romance - Forced Affection - Rape as the First Act of Romance in Heian Japan
- source : Stuart Iles -

Ryoounshuu, Ryōunshū 凌雲集 Ryounshu - kanshi poetry anthology
- source : wikipedia -

. samurai 侍 Samurai - servant .
In the early Heian period the word samurai meant servant and it had no military connotation and did not refer to a person of elite status.
. 4 The beginnings of the warrior (bushi) class - Heian History .
- - - - - . Rise of the military class .

. Sarutahiko densetsu 猿田彦伝説 Sarutahiko Legends .

. seko, haishi 背子 light robe or lover-friend .

Senzai Wakashū 千載和歌集 "Collection of a Thousand Years"
- - - More in the WIKIPEDIA !

sesshoo, sesshō 摂政 regent
a title given to a regent who was named to assist either a child emperor before his coming of age, or an empress.
- - - More in the WIKIPEDIA !

Shika Wakashū 詞花和歌集 "Collection of Verbal Flowers"
- - - More in the WIKIPEDIA !

Shinsen Shōjiroku 新撰姓氏録 "New Selection and Record of Hereditary Titles and Family Names")
- - - More in the WIKIPEDIA !

shooen, shōen 荘園 or 庄園 shoen system
. 2 The development of the shoen system - Heian History .
- - - More in the WIKIPEDIA !

sonsho darani, Sonshō darani - Holy and Virtuous Spell
Crown of the Victor Dharani / Bucho Sonsho Darani
darani 陀羅尼 spell against the monsters and demons that haunted the capital in the Heian period.

. soohei, sōhei 僧兵 Sohei, monk-warrior, monk-soldier .

. Sumitomo's Rebellion - Heian History .
Fujiwara no Sumitomo 藤原純友 (? - 941)
. . . . . provincial official and pirate, most famous for his efforts to establish a sort of pirate kingdom for himself in the Inland Sea region between 936 and 941.

. Suzakumon 朱雀門 Suzakumon (Shujakumon) Gate .

. Symbols and Art Motives .

. Taika Reform 大化の改新 Taika no Kaishin - 645 .
Emperor Kōtoku 孝徳天皇 Kotoku Tenno

. Takenouchi Monjo 竹内文書 Takenouchi Documents .
- Takenouchi no Sukune 武内宿禰 / 竹内宿禰 / 建内宿禰 - legendary statesman and Kami
Takeshiuchi no Sukune - Takeshi-Uchi // Takenouchi Skune, Takeuchi Sukune

. Taketori Monogatari 竹取物語 Tale of the Bamboo Cutter (Kaguyahime かぐや姫) .

. temari 鞠(まり)- 手毬(てまり)hand ball, rag ball .

. “Time in Medieval Japan” - symposium 2018 .

. tomoe 巴(ともえ)Tomoe pattern .
This pattern first appeared in the Heian period . . .

. Tosa Nikki 土佐日記 Tosa Diary .
-. . . . . Ki no Tsurayuki 紀貫之 (872-945)

. Tsunami 津波 History since 684 .

. Waka poetry and Buddhism  和歌と仏教 .

. Yamashiro 山城 .
“Yamashiro” was formerly written with the characters meaning “mountain” (山) and “area” (代); in the 7th century, there were things built listing the name of the province with the characters for “mountain” and “ridge”/“back” (山背国). On 4 December 794 (8 Shimotsuki, 13th year of Enryaku), at the time of the christening of Heian-kyō, because of the resultant scenic beauty when Emperor Kammu made his castle utilizing the natural surroundings, the shiro was finally changed to “castle” (山城国).

. yami - Heian no Yami 平安の闇 The Dark Side of the Heian Period .

. yookai, yōkai 妖怪 Yokai monsters, ghosts, spooks .

. Yuge no Miya 弓削の宮 / 弓削宮 - Osaka .
and - Yugi no Miya 由義宮 and the temple 弓削寺 Yugedera


. Newsletter - Latest Additions .


- - - - - Nara 奈良 - - - - -

The Nara Period 奈良時代 Nara Jidai from 710 - 794

. ABC List of Contents - Nara Period 奈良時代 .


. Join the friends on Facebook ! .

- #heianabclist #abclist #korea -




Heian no Yami books

- BACK to the Daruma Museum -
. ABC List of Heian Contents .

Heian no Yami 平安の闇 The Dark Side of the Heian Period

There are books and other material on this dark subject !
Book details are available at


樺島忠夫 Kabashima Tadao (1927 - )

In former times the nights in the capital were dark.
In the darkness were dangers for the human life, robbers and demons and other things not well known, but to be feared.


Welcome to the Dark Side of the Heian Period!

Onmyōji Dokuhon: Heian No Yami Ni, Yōkoso
『陰陽師』読本 ― from the series about Onmyoshi
夢枕獏 Yumemakura Baku

the secrets of Abe no Seimei and Minamoto no Hiromasa

Baku Yumemakura 夢枕 獏 Yumemakura Baku,
(born 1951 in Odawara, Kanagawa) is a Japanese science fiction and adventure writer.
- - - More in the WIKIPEDIA !

. Abe no Seimei 阿倍晴明 (921 - 1005) .
- 陰陽道 Onmyo-Do - The Way of Yin and Yang

. Minamoto no Hiromasa 源博雅 (918 – 980) .
- a 雅楽 Gagaku musician -
and the magical aobabue 青葉笛flute with green bamboo leaves



- reference source : -


. Legends - Heian Period (794 to 1185) - Introduction .

. Japanese legends and tales 伝説 民話 昔話 - Introduction .


. Join the friends on Facebook ! .

- #heiannoyami #yumemakurabaku #darksideofheian -




Manyoshu Poetry Collection

- BACK to the Daruma Museum -
. ABC List of Heian Contents .

Man'yōshū 万葉集 / 萬葉集 Manyoshu Poetry Collection
Collection of Myriad Leaves

Manyoo-Shuu, Manyo-Shu, Manyoo'shuu, Manyōshyū
Gedichtsammlung Manyoshu

- quote -
The Man'yōshū  万葉集, literally "Collection of Ten Thousand Leaves",
(see Name below) is the oldest existing collection of Japanese poetry, compiled sometime after 759 AD during the Nara period. The anthology is one of the most revered of Japan's poetic compilations. The compiler, or the last in a series of compilers, is today widely believed to be Ōtomo no Yakamochi, although numerous other theories have been proposed. The collection contains poems ranging from AD 347 (poems #85–89) through 759 (#4516), the bulk of them representing the period after 600. The precise significance of the title is not known with certainty.

The collection is divided into twenty parts or books; this number was followed in most later collections. The collection contains 265 chōka (long poems), 4,207 tanka (short poems), one tan-renga (short connecting poem), one bussokusekika (poems on the Buddha's footprints at Yakushi-ji in Nara), four kanshi (Chinese poems), and 22 Chinese prose passages. Unlike later collections, such as the Kokin Wakashū, there is no preface.
The Man'yōshū is widely regarded as being a particularly unique Japanese work.
- Translating the Name -
Although the name Man'yōshū literally means "Collection of Ten Thousand Leaves" or "Collection of Myriad Leaves", it has been interpreted variously by scholars. Sengaku, Kamo no Mabuchi and Kada no Azumamaro considered the character 葉 yō to represent koto no ha (words), and so give the meaning of the title as "collection of countless words". Keichū and Kamochi Masazumi (鹿持雅澄) took the middle character to refer to an "era", thus giving "a collection to last ten thousand ages".
The kanbun scholar Okada Masayuki (岡田正之) considered 葉 yō to be a metaphor comparing the massive collection of poems to the leaves on a tree. Another theory is that the name refers to the large number of pages used in the collection.
Of these, "collection to last ten thousand ages" is considered to be the interpretation with the most weight.
- snip snip -
- - - More in the WIKIPEDIA !


- quote - Michael Hoffman
‘It is I who rule’ — Japan’s ‘Manyoshu’ morning

What fun civilization is in its infancy! How bright and fresh the world looks at the dawn of consciousness! Listen:

Your basket, with your pretty basket,
Your trowel, with your little trowel,
Maiden, picking herbs on this hillside,
I would ask you: Where is your home?
Will you not tell me your name?

It was morning in Japan. Night — if night is a fitting metaphor for Neolithic prehistory — had been long, tens of thousands of years long. China, Egypt and Mesopotamia had thousands of years of civilization behind them; classical Greece had come and gone; classical Rome, long past its prime, was dying. Still, Japan slept on.

The pre-agricultural, preliterate, seemingly endless Jomon Period (circa 12,000 B.C. to circa 200 B.C.) evolved at last into the agricultural, still preliterate Yayoi Period (circa 200 B.C. to A.D. 250), without sparking a transformation dramatic enough to be called civilizing. Then, with startling abruptness, nudged by China via Korea, Japan awoke from its primeval slumbers.

The watershed event is the arrival, circa A.D. 405, of a Korean scholar named Wani. He brought to the imperial court the gift of letters — reading and writing. Chinese became the official language. Soon courtiers and nobles were steeped in Confucian and Buddhist learning. In 645, a palace revolution fused a multitude of independent clans into a quasi-Chinese-style state under the Emperor’s divine but tender sovereignty. Its tenderness we gather from the poem just quoted, for its author is the fifth-century Emperor Yuryaku — who proceeds, very tenderly indeed, to introduce himself to the maiden:

It is I who rule
Over this wide land of Yamato (an ancient name for Japan);
It is I who reign over all.

Thus opens the glorious “Manyoshu,” Japan’s first, many say its best, poetry anthology. “Best” — meaning what? Beauty, shimmering beauty; and innocence, a rare innocence — rare because generally a culture that has risen to this level of linguistic mastery has already lost its innocence. Japan, having risen so very fast, hadn’t.

“Manyoshu” (“Collection of Myriad Leaves”) consists of 4,000-odd poems composed over three centuries, Yuryaku’s being among the earliest, the latest dating to roughly 750, the height of Japan’s first great era, the brilliant Nara Period (710-794).

Unlike later Japanese anthologies, the “Manyoshu” was not produced under imperial auspices. The editing process remains something of a mystery. Scholars speak of earlier poem collections that have not survived, so the “Manyoshu” may not have struck its contemporaries, as it does us, as genius bursting naked from a vacuum.

The poems are astonishing in their variety. There are short poems and long poems — a remarkable fact in itself, for the Japanese long poem, the choka, was soon afterwards to die out, leaving the short tanka to reign supreme. There are poems by emperors and courtiers, naturally, but also by ordinary people, the poor, the lowly

Cold and bitter is the night!
As for those poorer than myself . . .
how do you struggle through life?

— people whom later ages would scorn and ignore.

There are poems of joy and poems of grief, of travel and of domesticity, of love in all its myriad aspects and of nature — nature portrayed as only a newly awakened sensibility can portray her

You boatmen that come rowing ...
Ply not too hard your oars...
lest you startle into flight
the birds beloved of my dear husband!

— and we see here an impulse that over time came to seem inseparable from the Japanese consciousness, a reaching out to nature as the ultimate symbol of everything that makes life wonderful; or as the ultimate consolation when life turns sad past bearing

The cloud drifting over the brows
Of the hills of secluded Hatsuse —
Can it, alas, be she?

The poems span the emotional spectrum — or rather, not quite: Where, one wonders, is anger? Was “Manyo man” never angry? That seems unlikely. A better hypothesis is that he (and she, for many of the poets are women) thought anger unworthy of poetry — as was war, for though conscripted frontier guards march gamely to their distant postings

At the bidding of my great Sovereign
I set out as defender of the isle . . .

they sing no paeans to martial glory, lamenting instead the wrenching pain of leaving home

My mother picking up the hem of her skirt,
Stroked me with it and caressed me . .. 

A pity we have space only for snippets. Where to begin?

Today, taking my last sight of the mallards
Crying on the pond of Iware,
Must I vanish into the clouds!
- - - “Composed in tears,”
a marginal note laconically informs us, “when (a certain Prince Otsu) died by Imperial order on the bank of Iware Pond.”

I gather shells and pebbles
For my darling at home,

sings Fujiwara Kamatari, the guiding hand behind the revolution of 645 and founder of the prepotent Fujiwara clan, power behind the throne for centuries to come. And who was his “darling at home?” A palace attendant named Yasumiko. Hear Kamatari’s whoop of exultation when she consented to be his:

O, Yasumiko I have won!
Mine is she whom all men,
they say, have sought in vain.
Yasumiko I have won!”

Ranked among the greatest of the Manyoshu poets is Kakinomoto Hitomaro (late seventh, early eighth centuries):

Like the sea-tangle, swaying in the wave
hither and thither, my wife would cling to me . . .

His wife died:

I journeyed to Karu and searched the market place
where she was wont to go!
… But no voice of her I heard …
Alas, she is no more, whose soul
was bent to mine like the bending seaweed!

Grief makes happiness seem vain — or is it happiness that makes grief seem vain?

Instead of wasting thoughts on unavailing things,
it would seem wiser
to drink a cup of raw sake.

That’s the spirit! It’s one of the famous “Twelve poems in praise of sake” by Otomo Tabito (665-731). Have we room for one more?

Grotesque! When I look upon a man
who drinks no sake, looking wise —
how like an ape he is!”

- source : Japan Times, 2016 -

. Kakinomoto Hitomaro 柿本人麻呂 Hitomaru 人丸) .


Manyo Daisho-Ki 万葉集代匠記 / 萬葉代匠記 Man'yō Daishōki

. Keichuu, Keichū 契沖 阿闍梨 Keichu Ajari .
(1640 - 1701)


- Reference in Japanese 万葉集 -
- Reference in English -

. Legends - Heian Period (794 to 1185) - Introduction .

. Japanese legends and tales 伝説 民話 昔話 - Introduction .


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Peak of Gold Book

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. Books about the Heian Period .

Real and Imagined: The Peak of Gold in Heian Japan
by Heather Blair

- quote -
During the Heian period (794–1185), the sacred mountain Kinpusen, literally the “Peak of Gold,” came to cultural prominence as a pilgrimage destination for the most powerful men in Japan―the Fujiwara regents and the retired emperors. Real and Imagined depicts their one-hundred-kilometer trek from the capital to the rocky summit as well as the imaginative landscape they navigated. Kinpusen was believed to be a realm of immortals, the domain of an unconventional bodhisattva, and the home of an indigenous pantheon of kami. These nominally private journeys to Kinpusen had political implications for both the pilgrims and the mountain.

While members of the aristocracy and royalty used pilgrimage to legitimate themselves and compete with one another, their patronage fed rivalry among religious institutions. Thus, after flourishing under the Fujiwara regents, Kinpusen’s cult and community were rent by violent altercations with the great Nara temple Kōfukuji. The resulting institutional reconfigurations laid the groundwork for Shugendō, a new movement focused on religious mountain practice that emerged around 1300. Using archival sources, archaeological materials, noblemen’s journals, sutras, official histories, and vernacular narratives, this original study sheds new light on Kinpusen, positioning it within the broader religious and political history of the Heian period.

Heather Blair
Specialists in pre-modern Japanese history and religious studies should find the book enlightening, but I think it would also appeal to a broader audience, including advanced undergraduates under professorial guidance. In short, the book is a major contribution to the field. (Janet R. Goodwin Journal of Religion in Japan 2005-11-01)
- source : -


- quote -
Reviewed by Jonathan Stockdale (University of Puget Sound)

Elite Mountain Pilgrimage in Heian Japan
Heather Blair’s Real and Imagined—focusing on elite lay pilgrimage to Kinpusen during the Heian period—represents a superb contribution to the steadily growing body of English-language literature concerning Japanese mountain pilgrimage that has emerged over the last decade.[1] For the same reason that early modern mountain religious sects, such as Shugendō, were proscribed by the Meiji government—because of their inability to fit into a strict binary of either “Shinto” or “Buddhism”— the study of mountain religious activity until recently remained rather opaque, no doubt reflecting our own disciplinary boundaries.[2] The emerging body of literature, however, demonstrates that mountain pilgrimage is if anything a privileged site from which to examine Japanese religion in all of its intersectional complexity. Whereas studies of a particular sect, founder, or doctrine may legitimately hew closely to that sect, founder, or doctrine, studies of mountain pilgrimage demand that a scholar attend to the complex web of religious interaction woven together at a particular site, resulting arguably in a much fuller historical picture of actual religious praxis. In sifting through strands of Daoist inflected longevity practice, Buddhist-inspired sutra copying, offering, and burial, and localized “traces” reflecting kami (indigenous deity) cult idioms, Blair’s study of elite mountain pilgrimage provides one of the finest archaeologies of Heian religious practice and thought in recent years. Further, in her rich analysis of the power-bloc relations that never lay far from the field of religious practice, Blair provides an exemplary model for the study of the religious sphere as inseparable from the overall production and circulation of power within society.

Real and Imagined’s nine chapters (including the epilogue) are further organized into three major parts: “The Mountain Imagined,” “The Real Peak,” and “Changing Landscapes.” In the first chapter, Blair traces the historical development of (Mount) Kinpusen as an important locus of religious activity up through the mid-Heian period. While as early as the seventh century the greater Yoshino area was being depicted as the realm of Daoist immortals, Blair notes that the very presence of religious specialists in the mountains conflicted with the desire of the ritsuryō (centralized bureaucratic) state to bring religious practice everywhere under its supervision. Only with the attenuation of such ritsuryō oppositions, Blair argues, was Kinpusen seen by the mid-Heian period no longer as a site of “illegal retreat” but rather as part of an “increasingly civilized mountainscape,” attractive even to elite members of the court aristocracy (pp. 28, 34). Such changes help to contextualize the actions of Fujiwara no Kaneie (of the Fujiwara regents’ patriline), who in 969 made the earliest lay pilgrimage to Kinpusen on record.

Blair evokes the rich symbolic worlds pilgrims projected onto and encountered at Kinpusen in chapter 2, where she explores the pantheon of divinities associated with the mountain, most notably Zaō, described variously as a kami, a transformation body of Maitreya, a provisional manifestation of Shakyamuni, a divine treasury king, and/or a dragon. She notes that despite Zaō’s frequent depiction in the style of an esoteric Buddhist divinity, “nowhere in the canon of Buddhist scriptures, ritual manuals, or iconographies” does such a deity appear, and yet this “resolutely local, idiosyncratic cult” continuously attracted the attention of the central elite back in the capital (pp. 63, 61). Blair illuminates the Zaō cult with a lucid explanation of honji suijaku (fushion of buddhas and kami) doctrine, and in presenting her model of “narrative theology” (in the absence of theoretical treatises, the cumulative stories and revelations through which pilgrims disclosed their convictions), she argues persuasively that elite laypersons, as much if not more than ecclesiastical specialists, were at the vanguard of combinatory ideas and practices concerning buddhas and kami.

With chapter 3, Blair shifts her discussion to the power-bloc relations that would prove so calamitous for Kinpusen in the years to come. Invoking Kuroda Toshio’s influential discussion of power blocs associated with the court, religious institutions, and warrior houses, Blair productively extends the discussion with her notion of “ritual regimes” that helped consolidate the power blocs presided over by the regents and retired emperors. Drawing on an attentive reading of courtiers’ diaries, Blair demonstrates that the ritual regimes of Fujiwara regents and retired emperors alike followed a consistent symbolic logic, combining “signature sites, rites, and texts” to link a sacred site in the capital with a related site on the periphery (p. 110). The ritual regime paradigm helpfully illuminates the lavish ritual system that consistently led Fujiwara regents to Kinpusen during the height of their power to mark the mountain as their own; it also helps contextualize retired emperor Shirakawa’s striking pilgrimage to Kinpusen in 1092 as a significant attempt to wrest Kinpusen as a sacred source of cultural capital from the regents.

In part 2, “The Real Peak,” Blair pauses her historical chronology somewhat in order to zoom in on the actual symbolic practices undertaken by elites at Kinpusen, focusing on the routes taken (chapter 4), the ritual offerings conducted at the summit and interred therein (chapter 5), and the personnel (and resulting politics) involved (chapter 6). One highlight here is the fragment from Ōe no Masafusa’s diary that Blair herself unearthed from the archives of the Imperial Household Agency, recording conversations with Shirakawa during their pilgrimage to Kinpusen in 1092. Masafusa’s diary reveals that even in the midst of the rituals he was sponsoring at the peak, Shirakawa was considering how to overwrite the mountain as his own, discussing mid-ceremony his plans to promote priests from outside the Fujiwara client network, while expressing wariness about the strategic implications of such maneuvers.

In retrospect, Shirakawa’s 1092 pilgrimage was both a kind of pinnacle of glory for Kinpusen and the beginning of an end: one year later the mountaintop hall to Zaō was burned to the ground by monks from Kōfukuji, a response in part to Shirakawa’s maneuvering. What follows in the final third of the book is a history of that fallout, detailing the rise of Kōfukuji as a power bloc capable of subsuming such temples as Kinpusen within its network, retired emperors’ migration to other mountain pilgrimage sites (for example, Kumano), and the appearance of new engi (origin narratives) legitimating new organizational affiliations for such sites as Kinpusen. With her epilogue, Blair takes aim at one final target: dismantling once and for all any notion that premodern religious sects such as Shugendō are simply the teleologically natural continuations of mountain-religious practices seen earlier in the Heian period. In place of such timeless narratives, Blair offers instead a historiography well attuned to rupture, upheaval, and violent conflict, as well as to accident, error, and faulty calculation.

In reflecting critically on Real and Imagined, two considerations arise, neither of which significantly detract from the merit of the work as a whole. First, within the emerging literature on mountain pilgrimage, it seems to be normative for scholars to discuss mountains as both physical places and imaginary spaces, two categories that then interact in a kind of dialectical fashion. This is announced in the title of Blair’s book (Real and Imagined), reflected in its organization (“The Mountain Imagined” versus “The Real Peak”), and embedded throughout the narrative. Notwithstanding its prominence, I found this the least satisfying element of the book. In part, this is because I can think of no culturally important example that is not at once real and imagined; yet it would be cumbersome continually to refer to the “real and imagined emperor,” the “real and imagined Ise shrine,” or even the “real and imagined Kamo River.” It is also because almost as soon as these categories arise they tend to dissolve, as in the opening pages of the section titled “The Real Peak,” where we learn of the fascinating ways in which pilgrims envisioned their journey to “the real peak” as, actually, an ascent through the stages of the bodhisattva path.

A second consideration relates to gender. Given that elite Heian pilgrimage to Kinpusen emerged alongside the introduction of prohibitions against women entering the peak (nyonin kekkai), and that Kinpusen remains the only sacred mountain in Japan today that excludes women year-round, a study such as this faces a choice: whether to take up the topic of gender exclusion head on or to stay closer to the historical record, mentioning the few examples of female presence as they arise. Blair’s analysis falls somewhere between the two. She carefully notes the few instances of female presence related to the mountain, including the female kami enshrined at the peak, one or two miko (female spirit mediums) linked to Kinpusen, and the example of a Heian noblewoman who sent prayer offerings with the wish “that I may become male” (p. 89). Analytically, Blair argues that “pilgrimage depended on conceptual binaries in order to retain its significance as a boundary-crossing exercise that yielded special powers,” and that with the lessening of ritsuryō oppositions to mountain religious activity, “the need to maintain Kinpusen as a symbolically other world became more pressing,” resulting in the prohibitions against women (pp. 48, 56, emphasis added). Here, I would simply wish to sharpen the language a bit: exclusion (for the benefit of some, at the expense of others) is of course never a need, though it may be a choice, a strategy, or a desire. All of which is simply to say that for those wishing an extended discussion of gender and mountain religion, Real and Imagined could usefully be paired with other work dealing with mountains in which there is a greater female presence: the final chapter of D. Max Moerman’s Localizing Paradise: Kumano Pilgrimage and the Religious Landscape of Premodern Japan (2005) comes to mind.

Such minor hesitations do nothing to detract from the superb contribution Blair has made here. In giving us a micro-history of Heian religious practices at Kinpusen within a macro-history of early and medieval Japanese mountain religion, Blair has produced a magnificent work, one deserving a wide readership among those interested not only in mountain religion but more broadly in premodern Japanese religion, history, and politics as well.

- - - - - Notes
Major English-language studies since 2005 include D. Max Moerman, Localizing Paradise: Kumano Pilgrimage and the Religious Landscape of Premodern Japan (Cambridge, MA: Harvard University Asia Center, 2005); Sarah Thal, Rearranging the Landscape of the Gods: The Politics of a Pilgrimage Site in Japan, 1573-1912 (Chicago, IL: University of Chicago Press, 2005); and Barbara Ambros, Emplacing a Pilgrimage: The Ōyama Cult and Regional Religion in Early Modern Japan (Cambridge, MA: Harvard University Asia Center, 2008). On pilgrimage more generally, see Ian Reader, Making Pilgrimages: Meaning and Practice in Shikoku (Honolulu: University of Hawai’i Press, 2005).

Earlier English-language work includes H. Byron Earhart, A Religious Study of the Mount Haguro Sect of Shugendō: An Example of Japanese Mountain Religion (Tokyo: Sophia University Press, 1970); Paul Swanson, “Shugendō and the Yoshino-Kumano Pilgrimage: An Example of Mountain Pilgrimage,” Monumenta Nipponica 36, no. 1 (1981): 55-84; and Allan Grapard, “Flying Mountains and Walkers of Emptiness: Toward a Definition of Sacred Space in Japanese Religions,” History of Religions 21, no. 3 (1982): 195-221. See also the translations of work by Miyake Hitoshi: Shugendō: Essays on the Structure of Japanese Folk Religion, ed. H. Byron Earhart (Ann Arbor, MI: Center for Japanese Studies, 2001), and
The Mandala of the Mountain: Shugendō and Folk Religion, ed. Gaynor Sekimori (Tokyo: Keiō University Press, 2005).
- source : -


Kinpusenji Yoshino 金峯山寺 吉野山

. Zaodoo 蔵王堂 Zaodo Hall for Zao Gongen .
The Statues of Zao Gongen

- quote -
Zaō Gongen 蔵王権現 Zao Gongen
Zaō Gongen (also spelled Zao) is one of the most important mountain deities of Japan's syncretic Shugendō sects, a diverse tradition of mountain ascetic practices associated with Shintō beliefs, Taoism, magic, supernatural powers, and Esoteric (Tantric) Buddhism. After the arrival of Buddhism to Japan in the mid-6th century, the native Shintō kami (deities) were soon considered manifestations of the imported Buddhist divinities. Zao serves as the protector deity of sacred Mt. Kimpusen (Mt. Kinpu) 金峰山 in Japan's Nara prefecture and is considered the local Japanese Shintō manifestation (avatar = gongen 権現) of three Buddhist divinities -- the Historical Buddha, Kannon Bodhisattva, and Miroku Buddha, who serve respectively as the Buddhas of the Past, Present, and Future. This makes Zao perhaps the most powerful local divinity of religious mountain worship (Sangaku Shūkyō 山岳宗教) in Japan.

Zao is widely venerated in the entire mountain range stretching from Yoshino to Kumano (the cradle of Shugendō practice), but also venerated at numerous remote mountain shrines and temples throughout the country. Despite Zao's Tantric appearance, the deity is generally thought to be of Japanese origin (see caveats below). Zao's cult spread throughout Japan from the 11th century onward.
Kinpusenji Temple 金峯山寺
- source : Mark Schumacher -


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Wamyo Ruijusho Book

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. ABC List of Heian Contents .

Wamyō Ruijushō 倭名類聚抄 Dictionary

- quote -
"Japanese names [for things], classified and annotated") is a 938 CE
Japanese dictionary of Chinese characters.
The Heian Period scholar Minamoto no Shitagō (源順, 911-983 CE) began compilation in 934, at the request of Emperor Daigo's daughter. This Wamyō ruijushō title is abbreviated as Wamyōshō, and has graphic variants of 和名類聚抄 with wa 和 "harmony; Japan" for wa 倭 "dwarf; Japan" and 倭名類聚鈔 with shō 鈔 "copy; summarize" for shō 抄 "copy; annotate".

The Wamyō ruijushō is the oldest extant Japanese dictionary organized into semantic headings, analogous to a Western language thesaurus. This ancient lexicographical collation system was developed in Chinese dictionaries like the Erya, Xiao Erya, and Shiming. The Wamyōshō categorizes kanji vocabulary, primarily nouns, into main headings (bu 部) divided into subheadings (rui 類). For instance, the tenchi (天地 "heaven and earth") heading includes eight semantic divisions like seishuku (星宿 "stars and constellations"), un'u (雲雨 "clouds and rain"), and fūsetsu (風雪 "wind and snow").

Each dictionary entry gives the Chinese character, sources cited, Chinese pronunciations (with either a homonym or fanqie spelling), definitions, and corresponding Japanese readings (in the ancient Man'yōgana system using K5anji to represent Japanese pronunciation). It cites over 290 sources, both Chinese (for example, the Shuowen Jiezi) and Japanese (the Man'yōshū).

The Wamyō ruijushō, survives in both a 10-volume edition (十巻本) and a 20-volume edition (二十巻本). The larger one was published in 1617 with a commentary by Nawa Dōen (那波道円, 1595-1648) and was used in the Edo Period until the 1883 publication of the 10-volume edition annotated by Kariya Ekisai (狩谷棭齋, 1775-1835), also known as the Senchū Wamyō ruijushō (箋注倭名類聚抄 "Annotated commentary to the Wamyō ruijushō"). The 10-volume edition has 24 main headings divided into a total of 128 subheadings, while the 20-volume version has 32 and 249, respectively.

The table below illustrates how words are semantically categorized in the 10-volume edition.
- - - - - Rōmaji -- Kanji -- Translation -- Subjects
1 Tenchi 天地 Universe constellations, weather, gods, earth, topography
2 Jinrin 人倫 Humans gender, kinship, family, marriage
3 Keitai 形体 Body body parts, sense organs, internal organs
4 Shippei 疾病 Sickness diseases, wounds
5 Jutsugei 術藝 Arts martial arts, fine arts, skills
6 Kyosho 居處 Architecture houses, walls, doors, roads
7 Sensha 舟車 Vehicles boats, carts, carriages
8 Chinpō 珍寶 Treasures precious metals, jewels
9 Fuhaku 布帛 Textiles embroidery, silks, woven fabrics
10 Shōzoku 装束 Clothing hats, clothes, belts, shoes
11 Inshoku 飲食 Foods and Drinks liquors, beverages, cooked grains, fruits, meats
12 Kibei 器皿 Utensils objects of metal, lacquer, wood, tile, and bamboo
13 Tōka 燈火 Illumination lamps, lights, lighting
14 Chōdo 調度 Things and Supplies implements, tools, weapons, utensils, furnishings
15 Uzoku 羽族 Birds birds, feathers, ornithology
16 Mōgun 毛群 Wild Animals wild animals, body parts
17 Gyūsha 牛馬 Domestic Animals cattle, horses, sheep, body parts, diseases
18 Ryōgo 龍魚 Aquatic animals dragons, fish, reptiles, amphibians
19 Kibai 龜貝 Shellfishes turtles, shellfish
20 Chūchi 蟲豸 Miscellaneous Animals insects, worms, small reptiles
21 Tōkoku 稲穀 Grains rices, cereals
22 Saiso 菜蔬 Vegetables tubers, seaweeds, edible plants
23 Kayu 果蓏 Fruits fruits, melons
24 Sōmoku 草木 Plants grasses, mosses, vines, flowers, trees

The broadly inclusive Wamyō ruijushō dictionary was an antecedent for Japanese encyclopedias. In the present day, it provides linguists and historians with an invaluable record of the Japanese language over 1000 years ago. For more details, see Bailey (1960:4-6, 18-19) in English and Okimori (1996:287-288) in Japanese.



- source : wikipedia -


. Binbogami 貧乏神 - 窮鬼(きゅうき) Kyuki - Bimbogami, Deity of Poverty .


- Reference in Japanese -

- Reference in English -

. Legends - Heian Period (794 to 1185) - Introduction .

. Japanese legends and tales 伝説 民話 昔話 - Introduction .


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Books about the Heian Period

- BACK to the Daruma Museum -
. ABC List of Contents .

Books about the Heian Period (794 to 1185)

- - - - - Featured in the facebook group
. Japanese Literature .

. Reference online .


Three very long entries in wikibooks:

Japanese History/The Early Heian Period
- source : -

Japanese History/The Middle Heian Period
- source : -

Japanese History/The Late Heian Period
- source : -


. Heian no Yami 平安の闇 The Dark Side of the Heian Period - books .
- 樺島忠夫 Kabashima Tadao (1927 - )
- 夢枕獏 Yumemakura Baku (1951 - )

- - - - - check amazon com for comments

Adolphson, Mikael S.; Commons, Anne;
Lovable Losers: The Heike in Action and Memory

Ambros Barbara Ambros
Pilgrimages of Noblewomen in Mid-Heian Japan

Bargen, Doris G.
Mapping Courtship and Kinship in Classical Japan
The original Japanese word for “peeping tomism” is kaimami (“looking through a gap in the fence”).
- comment by Hiroaki Sato - Japan Times 2016

Bentley John R. Bentley
ABC Dictionary of Ancient Japanese Phonograms / dictionary of man'yogana.

Blair Heather Blair
. Real and Imagined: The Peak of Gold in Heian Japan .
Kinpusen 金峯山

Broma-Smenda Karolina Broma-Smenda
How to Create a Legend?
An Analysis of Constructed Representations of Ono no Komachi in Japanese Medieval Literature

Fukayama Toshio Fukuyama (Author), Ronald K Jones (Translator)
Heian Temples: Byodo-In and Chuson-Ji

Herail Francine Herail (Author), Wendy Cobcroft (Translator)
Emperor and Aristocracy in Heian Japan: 10th and 11th centuries

Izumi Shikibu / Ono no Komachi
The Ink Dark Moon (tr. Hirschfeld and Aratani)

Keller Kimbrough
Preachers, Poets, Women, and the Way
Izumi Shikibu and the Buddhist Literature of Medieval Japan

Laffin Christina
Rewriting Medieval Japanese Women:
Politics, Personality, and Literary Production in the Life of Nun Abutsu

Pandey Rajyashree Pandey
Perfumed Sleeves and Tangled Hair:
Body, Woman, and Desire in Medieval Japanese Narratives

Sango Asuka
The Halo of Golden Light: Imperial Authority and Buddhist Ritual in Heian Japan

Sen Sōshitsu Sen
Tea in the Heian Era
The Japanese Way of Tea: From Its Origins in China to Sen Rikyu
- source : -


Steiniger, Brian Steiniger
Chinese Literary Forms in Heian Japan - Poetics and Practice

- quote -
Written Chinese served as a prestigious, cosmopolitan script across medieval East Asia, from as far west as the Tarim Basin to the eastern kingdom of Heian period Japan (794–1185). In this book, Brian Steininger revisits the mid-Heian court of the Tale of Genji and the Pillow Book, where literary Chinese was not only the basis of official administration, but also a medium for political protest, sermons of mourning, and poems of celebration.

Chinese Literary Forms in Heian Japan reconstructs the lived practice of Chinese poetic and prose genres among Heian officials, analyzing the material exchanges by which documents were commissioned, the local reinterpretations of Tang aesthetic principles, and the ritual venues in which literary Chinese texts were performed in Japanese vocalization. Even as state ideology and educational institutions proclaimed the Chinese script’s embodiment of timeless cosmological patterns, everyday practice in this far-flung periphery subjected classical models to a string of improvised exceptions. Through careful comparison of literary and documentary sources, this book provides a vivid case study of one society’s negotiation of literature’s position—both within a hierarchy of authority and between the incommensurable realms of script and speech.
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Stockdale Jonathan
Imagining Exile in Heian Japan: Banishment in Law, Literature, and Cult

Suzuki Yui
Medicine Master Buddha: The Iconic Worship of Yakushi in Heian Japan


Colors and Heian Court Literature
色彩から見た王朝文学 と『源氏物語』の色

Music in Heian literature - Ongaku
源氏物語の音楽 - ─平安・鎌倉時代の雅楽はこんな曲
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Waka no Rule 和歌のルール / 渡部泰明編 (Rules about Waka poetry)
「枕詞まくらことば」「掛詞かけことば」「本歌取り」. . .

. Wamyō Ruijushō 倭名類聚抄 Dictionary of Chinese Characters .


Heian-kyo (Kyoto) overlay map using the present Google map

- source : -


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