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The following terms, insofar as used in the text on the Fushidansekkyo-theme pages of www.hdever.com, shall have the following meanings. I will gradually add more Japanese words to this Glossary given below.
On the Fushidansekkyo-theme pages, I have here and there left Japanese words untranslated into English and just written them down with alphabetizing their pronunciations (in romaji), for I have not yet find good English terms that seem to be exact translations of the Japanese words. I made this Glossary page because I received several inquiries as to such alphabetized (romanized) Japanese words.
If there is, among those Japanese words which are being used on the Fushidansekkyo-theme pages, a Japanese word that you need to know how to write it in Japanese characters, please write a note to me. I will provide an answer regarding the Japanese word. Please let me know whether you could receive a reply containing a Japanese text or not. When a Japanese font is not installed in the system of your personal computer, I will send you that Japanese word as a JPEG image attached to a reply. Alternatively, I can add the Japanese word onto this Glossary page. So, please specify a way of answering to your question. (August 19, 2006 Hitomi) 
About Me
Ritual Visitors - I will try to draw them by hand in imitation of the copies of the pictures (Sanju-ni-ban Shokunin Utaawase appeared presumably in 1494, Shichiju-ichi-ban Shokunin Utaawase 
appeared presumably in 1500, Jinrin Kinmo Zui 
published in 1690, Ehon Otogi Shina-kagami 
written by Hasegawa Mitsunobu in 1730, etc.) in Professor Masahiko Hayashi's "Nihon no Taishu Geino" included in a 50-page material provided by Lecturers of "The World of Popular Performing Arts: Kamishibai, Etoki, and Sekkyo Joruri" at the Meiji University Liberty Academy Hall on the 12th of May, 2007.
When taking on the subjects related to religions indigenous to Japan and Geino 
(also written as 
), especially, Shinji Geino 
(Ritual Performing Arts), and describing them, there often appear the expressions of ancient ideas and beliefs, such as the wording "being possessed by a 'god' (Kami)" and "interacting with the spirit of the dead."
I would like to expect the "Epoche" (suspention of judgement, Enthaltung des Urteils, la suspension du jugement) of yours there.
- To make an off-the-cuff and supportive response in accordance with speaker's phrasing.
- Although Choken who set out the origin that is called Agui ryu propagandism 
and his son Seikaku who perfected Agui school are mentioned whenever the studies touched upon Japanese propagandistic sermon are published, yet it is regarded that there have not still been those which could trace their antecedents in-depth. (See Chapter I. - 2. The Process and Influence of Agui-ism in an English translation of my master's thesis)
(1126-1203) - Choken was the grand master of the genre in Japanese Buddhist sermon, who appeared between the closing days of the Heian period and the earliest-Kamakura period. (See An Abbreviated Chronological Table of Kamakura Period)
who was a councilor of state that was known as Shinzei nyudo 
[Nyudo: "entering the Way"; one who has shaved his head and entered the Buddhist way] as well as a sorcerer (yin-yang diviner) at Imperial court in the Heian period (Onyoke [Onyauke] 
) that played a crucial role in Hogen Disturbance (1156) and Heiji Insurrection (1159). Choken was the seventh son of Michinori.
.
(1167-1235) - Seikaku was referred to as the "Father of Sekkyo Nembutsu Gi (sermon nembutsu doctrine)" or the "founder of homiletics" in Pure Land Buddhism (Jodo Sangoku Busso Den). (See An Abbreviated Chronological Table of Kamakura Period)
of the Chikurin-bo on Mount Hiei and learned the orthodoxy is said to have had superior quality, though he excelled in literary work, especially in sermonic work. Embracing "Preaching is the path to the Pure Land," Seikaku after he had come into Honen's Jodomon 
had a calling to preach, and through preaching established his fame, also in Japanese Buddhist dogmatics.
- One of the eight kinds of suffering (Ku 
), the agony of separation from the loved, the suffering of parting from loved ones and being bereaved of loved ones.
- Love, Affection, Lust. Undefiled love. Attachment to one's existence. Egoistic desire. - Suffering, Pain. Affliction; trial; anxiety; worry; trouble; strain; anguish. (Suffering):
-ku, the pain accompanying one's birth (Sho: birth).
-ku, the pain of getting old (Ro: old age, aging).
-ku, the pain of illness (Byo: sickness).
-ku, the pain of death (Shi: death).
-ku, the suffering of encountering and having to be with those whom one hates and resents.
-ku (Gufutokku), the suffering of not getting what one seeks and wants.
-ku, the suffering of an unremitting agitation and frenzy, whether materially or spiritually, arising from one's being a "living being" with the five aggregates (panca-skandha), namely, (1) matter, or form, (2) sense perception, (3) mental conception, (4) volition, and (5) consciousness.
- Amida Buddha, Amitabha Tathagata 
.
," "Amida Nyorai," "Amitabha (Amit
bha)," "Amitayus (Amityus)," "Mida 
," "Nyorai 
," and "Tathagata (Tathgata)," insofar as used in the text of English translation of my published papers (1998 and 2001) and master's thesis (1996) on the Fushidansekkyo-theme pages of www.hdever.com, refer to Amida Buddha.
- Amida is the name of the Buddha who resides in the Pure Land, from the Sanskrit amita ("infinite"), which stands for Amitabha ("Infinite Light") and Amitayus ("Infinite Life"). According to Dai Muryoju kyo, Amida had been a king. But he met the Buddha Lokesvararaja ("World-sovereign King," Sejizaio 
), and he abdicated his throne and became a mendicant called Dharmakara ("Storehouse of the Dharma," Hozo 
). When Dharmakara was performing the Bodhisattva practices under Lokesvararaja Buddha, he resolved to save all sentient beings and made Forty-eight Vows. After inconceivable kalpas of cultivation and practices, his vows were fulfilled and he became a Buddha by this name. His land is called Sukhavati ("the Land of Ultimate Bliss"), which is also known as the Pure Land, a Paradise in the West. The name Amitabha symbolizes, it is said, his infinite wisdom, while the name Amitayus symbolizes his infinite compassion. - Tathagata, "Thus-come." One of the ten epithets of the Buddha. It is popularly construed as "one who has come from Thusness (Skt. tathata)."
- Settled Heart.
[True Entrusting, Faith, Heart of Faith] is in some contexts called Anjin in Shin Buddhism, as in the case of introducing the conception of Anjin to interpret Shinran's term for Faith, Shinjin.
- A blind biwa-playing minstrel.
of Daikyoku 
(1421-1486 [?]), a Zen Buddhist monk of Gosan [the Five Mountains, the five major temples to serve in the highest position of Rinzai Zen Buddhism in Japan], says that there were five or six hundreds of biwa hoshis in Kyoto. Their art by profession being telling the Tale of the Heike, they were expounding the principle of "Shogyo mujyo (All things are impermanent)," which formed the central theme in their storytelling, with Pure Land Buddhist preaching woven into." by Shogo Watanabe and the section "Moso 
" [Blind Priest] by Kozo Hattori in Shogo Watanabe ed., Geinobunkashi Jiten —Chusei hen [The Dictionary of Performing Artistic and Cultural History —the Medieval Period Volume] (Japan: Meicho Shuppan, 1991).
- The laws of Buddha, the Buddhist law, Buddhist teaching.
(Larger Sukhavativyuha Sutra) - The Sutra on the Buddha of Infinite Life or the Larger Sutra on the Buddha of Immeasurable Life, translated into Chinese assertedly by Sanghavarman (Kosogai 
) of Cao Wei (Former Wei) of the Three Kingdoms period in 252. There were, it is said, twelve versions of translation of the Larger Sutra from Sanskrit, but there are only five versions in classical Chinese that exist now.(0)
, the Triple Pure Land Sutras), in which how Dharmakara Bodhisattva (Hozo Bosatsu 
) attained Buddhahood and became Amida Buddha, and how he saves sentient beings are fully explained. Or Amida's vows and the Pure Land are recounted and the way of salvation through Faith and the Nembutsu is presented. The title of the Sanskrit text is Sukhavativyuha, "Glorious Adornment of Sukhavati (the Land of Bliss)."
(Amitayur Dhyana Sutra or the Meditation on the Buddha of Infinite Life Sutra), translated into Chinese allegedly by Kalayasas (Kyoryoyasha 
) of Liu Song (Southern Sung) around 440 C.E.,(0) which presents the Sixteen Contemplations centering upon Amida Buddha and his land, and Amida kyo 
(Smaller Sukhavativyuha Sutra or the Amida Sutra), translated into Chinese legendarily by Kumarajiva (Kumaraju 
) of Yao Qin (Later Ch'in) around 410 C.E.,(0) which briefly describes pleasurable aspects of Amida's land in terms of "paradise" as a material expression of Buddhist truth (1) and states that innumerable Buddhas of the six directions praise Amida's virtue and testify to the truth of this sutra, and then clarifies that one who holds fast to his Name will be born in his land. - Kumarajiva (344-413), a Buddhist scholar, propagator of Mahayana Buddhism, and Buddhist scripture translator in the Six Dynasties period, is said to have been born to an Indian nobleman who had fled to Kucha and a sister of the Kucha king. He as a boy accompanied his devout Buddhist mother to Jibin (today's Kashmir) where he studied Hinayana Buddhism. Upon becoming exposed to the emerging teachings of Mahayana Buddhism on the way back to Kucha, however, he came to embrace Mahayana Buddhism and to immerse himself in the teachings. Kumarajiva achieved eminence as a Kuchan Mahayanaist and his name became known to Ch'angan, the capital of the Later Ch'in dynasty. He is said to have translated Buddhist texts, amounting to 35 sutras and discourses in more than 300 fascicles, including the Maha-prajna-paramita Sutra, Saddharma-pundarika-sutra (Miao-fa-lien-hua-ching, the Lotus Sutra), Sukuhavativyuha (A-mi-t'o-ching, the Smaller Sutra on Amitayus) and a commentary on the Maha-prajna-paramita Sutra attributed to Nagarjuna (Daichido-ron, Great Wisdom Discourse).
- Saicho 
(767-822), the founder of Japanese Tendai Buddhism.
. He became a novice Buddhist monk at age twelve, and when he was ordained into the priesthood at the age of fourteen or fifteen, his name was changed from Hirono to Saicho. In 785, after his acceptance of the precepts at Todai-ji in Nara, he entered into Mount Hiei and built a hut, where he chanted sutras including (focusing on) the Lotus Sutra and studied, in particular, Chinese T'ien-t'ai (Tendai) scriptures. Three years later, he converted the hut into a temple and called it Hieizan-ji, to which he later gave the name "Ichijo Shikan In 
" [A "temple of the One Vehicle and the Tranquility and Contemplation on the truth"].
) and Hsing-man (Gyoman 
) and the transmission of the Niu-tou Chan 
(Niu-tou: Ox-head, Gozu. Chan: Zen, Skt. Dhyana) from Hsiao-jan (Shonen 
). He also went to Yue Zhou (In 1130, its name was changed from Yue Zhou to Shaoxing prefecture) and received Esoteric Initiation (Kanjo 
) from Hsun-hsiao (Jungyo 
). After he returned home with various Tendai-based and Esoteric-based manuscripts and Buddhist implements from China, he began to propagate the Tendai teaching. In 806, Saicho submitted a petition for the approval of including the monk of Tendai among the yearly "ordinands" for the state-sanctioned Buddhist priesthood (Nenbundosha 
) and his petition was granted. This made the Tendai school the state-recognized, established denomination and allowed it to train Tendai priests officially. - The allotted numbered "ordinands" that were entering the state-sanctioned priesthood as "official monks or nuns" for the year. A note: In considering the ways of Buddhist temples and common people in the history of Japanese Buddhism, there is called into question the difference in life between "official Buddhist priests in subordination to the ideology of the Imperial bureaucratic regime and the state system whose activities were based on temples" (Kan-so 
) and "nongovernmental, private Buddhist priests who regarded immersing themselves in the people as one of the best means of missionary work" (Shido-so 
). The state-sanctioned monks (Kan-so) were barred (Soniryo 
) from going out of temples and preaching the teachings of Buddha among the people, while the privately-emancipated monks (Shido-so) got into the people and became closely associated with them. The latter is thought to have brought Buddhism to a personal level where common people could relate to it and made the tenets of Buddhist faith and the basic concepts of Buddhism more accessible, and to have exerted a potent influence upon people's worldview and moral ideas.
A Hachitataki and an antlers-headed stick called Kasezue 
, in imitation of the copy of "Hachitataki" in Shichiju-ichi-ban Shokunin Utaawase appeared presumably in 1500. Hachitataki made a sound by hitting a bowl (Hachi) or a gourd (it is used to resemble a Hachi) and recited the Nembutsu of Kuya (903-972), soliciting contributions for religious purposes. The famous portrait statue "Kuya Shonin Zo" at Rokuharamitsu-ji (a standing image of Priest Kuya, who was called "the sage of the streets" and "Amida saint," with the six Amida Buddhas [the six-character Name] coming out from the mouth, by Kosho, a sculptor of Buddhist images in the Early Kamakura period) holds the Kasezue in his left hand.
A Kanjin Hijiri and a ladle, in imitation of the copy of "Kanjin Hijiri" in Sanju-ni-ban Shokunin Utaawase appeared presumably in 1494. Kanjin Hijiri (a "sage who urges people to do a meritorious act") roamed about soliciting contributions for religious purposes (for building a temple, etc.) in the name of "Establishing a relationship (Kechien)" [with a view to leading living beings to deliverance] and "Doing good (Sazen)." Alms, such as money and rice, were received into the ladle.
- Being united into one with the ocean water of wisdom.
(1399-1488) - Dosai and Zenju 
are the same follower of Rennyo. Dosai was Zenju's initial name.
- Merit-Transference, giving and being given. Transferring merit (Skt. parinama).
- Etoki is audiovisual religious education.
"Etoki" (Lay Etoki Reciter) with the eboshi headgear on his head, the biwa [Japanese lute] in his arms, the pheasant-tail-headed stick, and the horizontal picture scroll in front of himself, in imitation of the copy of "Etoki" in Sanju-ni-ban Shokunin Utaawase (presumably, 1494), in which "Etoki" appears, forming a set with "Senzu Manzai" (a New Year well-wishing, comedic duo).
His garment is drawn with the kimono patter in the copy. But I leave out the pattern in my hand drawing.
- Literally speaking, Preaching with Fushi.
- Tune, Tone, Cadence, Melody, Key (including a certain intonation that is musical enough to have a "key").
- Talking, Telling. A talk; spoken words; a story; a tale; an account.
- Preaching, Sermon.
Fushidansekkyo Audio Video Material
(also expressed as Futaiten 
) - "Not falling back," Non-retrogression." originally referred to the stage reached by very advanced Bodhisattvas that have attained undefiled wisdom or insight and are assured of attaining Buddhahood who will never fall back to an inferior state (a lower spiritual stage). For Shinran and Rennyo, they are the terms used to designate the state of being of aspirants that have awakened to the true faith (that have realized Faith) who have "entered the ocean of the Primal Vow" and so have become assured of Birth in the Pure Land and attainment of Buddhahood.
)" of Amida.
" (Conversion through Amida's Three Vows in Shinran)
)." Having abandoned at once the aspiration for the incomprehensible birth [Nanji Ojo: birth by the self-power or self-striving Nembutsu, relying on the Twentieth Vow], I am now assured of attaining the inconceivable Birth [Nanjigi Ojo: Birth in the Pure Land through the saving grace of the Eighteenth Vow].
- A statement or prayer composed by the organizer of a Buddhist service. (also written as ) - Japanese folk performing arts, Japanese performing arts.
[Japanese Dance, which is Japanese whirling-motion-based dancing as a rough generalization]" (Mai differs from Odori 
[Japanese Dance, which is Japanese stomp-based dancing as a rough generalization]), one theory has it, the bodily movements in the peri-possession by a god or a spirit (as a religious phenomenon), etc., which were non-conscious and spontaneous movements, gradually came to attain a firmness in consciousness and became intentional ones (including imitative acts), and started giving form to a folk performing art in the end. Although there are those which were further developed into "Geijutsu 
(fine art, high performing arts)" from "folk art (folk performing arts)," yet they are not Geino, for Geijutsu lose touch with our real "lives," while Geino correspond to our real "lives."
- Genkoshakusho in thirty-volumes is the work of Kokan Shiren 
(1278-1346). It is accepted that it is the first comprehensive history of Buddhism in Japan, more specifically, it covers a period of about 700 years from the era of Emperor Kinmei (the middle of the 6th century) up until the era of Emperor Godaigo (the early 14th century).
(Tozan Tansho, 1231-1291) who was the patriarch of Sansho-ji, and was ordained at the age of ten.
- See Ofumi 
.
" - "One great issue of the life to come."
- Performing in advance.
- A Journal of Kujo Kanezane 
.
- The Great Bodhisattva Hachiman.
, that is say, the name of his "godship." Hachiman, the god of "bow and arrow," or war,(2) was the first Shinto god that was given the title of Daibosatsu as the protector of Buddhism and the guardian of the nation in Kami-Buddha (Shinto-Buddhism) fusion (or syncretism) in 781, and is also regarded as an incarnation of Amida Buddha.
- A "great Bodhisattva (Bosatsu )"
(668-749). 
priest that was engaged in community work and mission work toward the populace despite the soniryo-enforced ban on preaching Buddhism among the people, was given this title by Emperor Shomu in 749. (Soniryo 
is the Code for the Buddhist monks and nuns stipulated by the Ritsuryo [the Law and Code System of the Nara and Heian periods]. The role of Buddhist monks was the servant in subordination to the ideology of the Imperial bureaucratic regime and the state system under the Ritsuryo and Buddhist monks were barred by Soniryo from going out of temples and preaching among the people.) A note: Emperor Ojin as the god Hachiman, with his mother Empress Jingu, is enshrined at the Hachiman shrines around Japan. The god Hachiman is, however, considered to have originally been a local god in Kyushu, more specifically, the Usa region in Kyushu, who had come to develop the character as a protectorate god of the occurrence and casting when the production of copper in the region had become actively pursued in ancient times. Although the oracle of the god Hachiman in 749 on the erection of the giant statue of Buddha at Todai-ji in Nara is noted for Hachiman's exclusive godship, yet one can argue that it is what suggests a connection between Usa's copper and the casting of the Buddha statue, to put it differently, "Usa Hachiman" and the central regime. Given an oracle in 859, Gyokyo 
(date of birth and death unknown) of Daian-ji (one of the seven big temples in the Southern Capital Nara) invoked the god Hachiman and enshrined the god in a new Hachiman shrine situated on Mount Otoko (Otoko-yama) at the southern skirts of the capital Heian-Kyo in 860. This Hachiman shrine named "Iwashimizu Hachiman" attracted nobles and the people, and, in this early Heian period, the idea that the god Hachiman is Emperor Ojin has, presumably, become the accepted, prevailing belief, probably because Emperor Ojin was born in Kyushu ("Tsukushi no Kuni" by the archaic place-name).
- To insert an interlude, interjection, to barrack for (to make a supportive response).
- the Other Shore.
(Ch. Kuan ching shu, Eng. Commentary on the Meditation Sutra), "that shore" denotes the world of Nirvana. Thus, the term "Higan" refers to "reaching that shore of Nirvana, after leaving this shore of life and death" (Skt. paramita, Jp. tohigan).
," the semiannual Buddhist services held in spring and autumn. Buddhist temples throughout Japan observe Higan-e (Higan Service) of seven days —counting three days, to each of which one of the six paramitas is assigned, at each end of the Autumnal Equinox Day designated as the central day as well as the Vernal Equinox Day. Although the implications of the Higan Service derives from the Buddhist scriptures and commentaries and is Buddhist-scripturally motivated, yet it is said that it is common to look upon the Higan Service as a uniquely developed observance in Japan that has been seen neither in India nor in China.
- An allegorical-causal tale.
- An analogy, an allegory or a parable.
- A cause and a by-cause or "relation."
- 1. The Dharma or Law. Ho is also called Shinri 
(truth) or Shinnyo 
(True Thusness, Skt. tathata). 2. The teachings of the Buddha.
- The True Thusness. Ultimate reality. True suchness. The state of things as they are.
, Obo 
.
- Dharma-Art unity.
- Oneness.
- Dharma Word.
- The seal of the Dharma.
(the rank of the Dharma-seal great master)" that is the highest of the three higher ranks of the priesthood which came to be used in 864, corresponding to the older term "Sojo 
" (Archbishop. The highest grade in the Buddhist hierarchy). The other two ranks were "Hogen-kasho-i 
" corresponding to "Sozu 
" (the second highest grade in the Buddhist hierarchy, below Sojo and above Risshi) and "Hokkyo-shonin-i 
" corresponding to "Risshi 
" (Superintendent. The third highest grade in the Buddhist hierarchy, below Sojo and Sozu). 5. Refers to a Buddhist monk who leads an ascetic life in the mountains, such as a Buddhist exorciser or a mountain ascetic, in later times. 6. A title of honor that is given to Buddhist sculptors, painters, poets, etc. in later times.
(1133-1212) - The founder of Jodo Shu of Pure Land Budhism. (See An Abbreviated Chronological Table of Kamakura Period)
. Father of Honen is Uruma Tokikuni 
who was a local official that secured public order in command of the warriors (appointment title: Oryoshi 
).
—"Gen" was derived from the name of Honen's first master Jiho-bo Genko 
in the north valley of the western section of Mount Hiei and "Ku" from the name of Eiku 
.
), and that this sparked a revolution in Buddhist practice in Japan.(4)
(Nanto Hokurei). Specifically, on Mount Hiei, there had been the Nembutsu of the Tendai Pure Land tradition. Genshin 
[the Master of Shuryogon-in] (942-1017) wrote Ojoyoshu 
(the Collection on the Essentials for Birth), which, albeit it clarified the Eighteenth Vow as the special vow of all special vows (5) and shed light on the Nembutsu as Fundamental (the Nembutsu is the essential way of salvation), and laid the foundation for Japanese Pure Land teaching, was from the perspective that the meditative Nembutsu accompanied by visualization of Amida Buddha and the Pure Land came before and was above the Nembutsu consisted in the recitation of the Buddha's Name. In Nara, Yokan 
[Popularly read as Eikan] (1033-1111) wrote Ojojuin 
(the Ten Causes of Birth in the Pure Land), which focused on the recitation of the Nembutsu, resulting in, what one may call, a "shift" towards a reduced predominance of the visualization of Amida Buddha over the recitation of the Name, or an inversion. And Chingai 
[also read as Chinkai] (1092-1152) wrote Ketsujo Ojoshu 
, which presented the recitation of Amida Buddha's Name as the "right act" for Birth. All stressed the Other-Power of Amida Buddha in their Pure Land teachings and urged the practice of the Nembutsu. But the Nembutsu had only secondary meaning as a concomitant to other Pure Land practices (as one of a variety of methods of salvation presented by the Three Pure Land Sutras) in that their understanding of the Nembutsu was that which had retained the emphasis on focusing the mind one-pointedly on an object by the Nembutsu so as to "cut off" the Afflictions and achieve samadhi (Sanmai 
) with invoking the principle of the "Ku 
(Void, Skt. sunya or sunyata)" or the "Shinnyo (True Thusness, Skt. tathata)." Thus, "It was Honen that established the Nembutsu [the recitation of the Name] as an absolutely independent practice" (6) and as the "act of right assurance." A note: The term "Nembutsu 
" is a two-kanji compound word which consists of "nen " and "butsu ." The term "nen" means "concentrating," "recollecting," "aspiring," and "reciting." The term "butsu" indicates the object of "nen" and refers to various Buddhas, which may include Buddha's virtues and name. Thus, "nembutsu" can mean "to concentrate on a Buddha and his virtues," "to recollect the Buddha himself," or "to recite the Buddha's name," and, as just described, can be used to encompass practices as varied as the various type of Nembutsu advocated by many Buddhist masters. But the substantial difference should be observed.
- The Original Vow (Skt. purva pranidhana) of Amitabha Tathagata in Honen and Jodo Shu 
.
- The Primal Vow (Skt. purva pranidhana) of Amitabha Tathagata in Shinran and Shin Shu 
. A note: The term "Hongan (Hongwan) " refers generally to the Forty-eight Vows that Dharmakara Bodhisattva, who became Amida Buddha on their completion, made to save all sentient beings. But, as the most essential vow for the salvation of all sentient beings, the term "Hongan (Hongwan)" refers specifically to the Eighteenth Vow of the Forty-eight Vows. In addition, the Eighteenth Vow can be called "the Vow of Birth (Rebirth) through the Nembutsu" in a comprehensive sense, including both the notion of its upper limit and that of its lower limit (the lifelong Nembutsu practice and a single utterance in the hour of death), as interpreted by the Chinese Pure Land Master Shan-tao (613-681, Zendo 
).
- A style of Invocation or a pronouncement.
- Exclusive Recitation, Single-hearted and exclusive practice of the Nembutsu. - The Pure Land gate, the Pure Land Path, the Pure Land way, as opposed to another path to Enlightenment (Buddhahood), that is, Shodomon 
.
)," in which those of superior potential perform religious practices to attain Buddhahood in this life, including the Bodhisattva practice that involves painstaking effort for a long period of time. Jodomon is a system of practice and Faith for attaining Birth in the Pure Land through the power of Amida's Primal Vow. This "Jodomon" is synonymous with "Easy Practice (Igyo 
)," or "Other-Power (Tariki 
)," in which sentient beings concentrate on recitation of the Names of Buddhas and Bodhisattvas, especially, Amida's Name, with sincere Faith, thereby quickly and equally reaching the stage of Futai (Futaiten, Non-retrogression).
), who is regarded as the fourth Shin Buddhist patriarch (by Shinran), in his An-le chi (Anraku Shu, Collection of Passages on the Land of Peace and Bliss) and that the doctrinal classifications "Easy Practice" and "Difficult Practice" were originally formulated by Nagarjuna (Ryuju 
), who is regarded as the greatest exponent of Mahayana Buddhism around the second or third century, in the "Chapter on Easy Practice" (the ninth chapter of the thirty-five chapters) in his Dasabhumi-vibhasa-sastra (
Shih-chu-p'i-p'o-sha-lun, Jp. Jujubibasha-ron, Eng. Discourse on the Ten Stages [?]).
(An-le chi) - Collection of Passages on the Land of Peace and Bliss. Tao-ch'o's commentary on the Meditation Sutra (Contemplation Sutra). (Shih-chu-p'i-p'o-sha-lun) - Nagarjuna's commentary on the Sutra on the Ten Stages, which is part of the Garland Sutra (Kegon kyo, Skt. Avatamsaka-sutra). has been widely used as one of the canonical texts of Pure Land Buddhism in Japan, for it is recognized that Nagarjuna presents the recitation of the Names of Buddhas and Bodhisattvas as an easy and effective way of reaching the stage of Futai (Futaiten, Non-retrogression) and also professes his devotion to Amida Buddha in this chapter.
- Kagura is a notable example of ritual performing arts (Shinji Geino ) in Japan. Although there are various theories as to the etymology of this word, including a contraction of the term "Kamueragi" and a euphonic change form of the term "kanraku," yet it is considered plausible that the word "kagura" derives from the term "kamukura 
" used for the deity seat to receive a god (See Kami) that is to come and to be present. According to Minzoku Geino Jiten (Kojiro Nakai, Masahiro Nishitsunoi, and Haruo Misumi eds., op. cit., p. 109), in ancient Japanese religious rites, people set up the deity seat to be resided in by a god, and a spiritual medium performed the movements of provoking the god, wearing such a plant (plants) as would be favorable for the descent of the god, as well as holding it (them) in his (or her) hand. The movements principally involved a whirling motion. The spiritual medium kept on whirling round, with most of the assembled barracking for him (or her) and some plucking the strings of instruments, and gradually entered into a possessed state, and then uttered a divine message. This mode is considered to be the archetype of Kagura. Needless to say, the oldest story that describes the belief within Kagura toward the revival or resurgence of life is about the dance performed by a spirit-female named Ame no Uzume in front of a massive rock sealing the entrance to a cave, Ama no Iwato. Uzume danced as a way of aspiring toward the reemergence of the Sun-Godess Amaterasu Omikami (the Heaven Shining Great August Spirit), who was mortified by the rudeness of her brother, an absolutely intractable storm-god, Susano-O-no-Mikoto, and hid herself in the cave.
- A ghost story told by a rakugo performer or the ghost story genre of rakugo. A note: The term "Kaidan" means "Tale about ghosts." Patrick Lafcadio Hearn (1850-1904), also known as "Koizumi Yakumo," spells kaidan k-w-a-i-d-a-n in the title of his book, Kwaidan: Stories And Studies Of Strange Things.
- God or a god, spirit, and deity.
" (literally speaking, "eight million gods").
)" who are deified natural phenomena, 2. "Life Divines (Seikatsu-shin 
)" who are very involved in human life, including occupation gods, and 3. "Man Gods (Ningen-shin 
)" who are deified men, including both male and female gods and both father and mother gods. Japanese have been in awe of everything that gives form to the natural world (and in gratitude for it), and "Nature Deities" are of ubiquity. Ancient people who viewed all the convulsions of nature and calamities as manifestations of the wrath of these gods had worshipped them as a way of escaping danger and attaining family peace and clan prosperity. Agriculture people have prayed and expressed their ardent wish to these gods, including god of sun, god of wind, god of rain and god of field, in order that they might have god's word on good harvests associated in the main with rice farming. "Life Divines" remain concerned in present-day life and may well be closest to us, such as god of wealth and fortune, god of (good) marriage, god of conception and (easy) birth, god of medicine, god of traffic safety, etc. "Man Gods" are, mostly, deified emperors and heroes and men of saintly character and individuals who met a tragic end.
(good god)" by people, and thereby the good god has turned out to be a "jashin 
(evil god)," when a university student. Roughly speaking, there are not a few cases in which the Japanese have posthumously elevated a man bearing a grudge to the status of a "god" (the object of worship) and held a festival in an effort to appease the "curse."
- "Correspondence between the Buddha's power and man's receptivity" or the state where there is "Correspondence between the Buddha's power and man's receptivity."
- Avalokitesvara ("Lord of Beholding [People of the World]").
("One Who Observes the Sound of the World" [one who hears the cries of the sufferers]); also Kanjizai 
("One Who Can Observe Freely"), Kanzejizai, Koseon (Kozeon) 
, etc. According to Butsuzo Zuten by Ryuken Sawa, Ryusho Tamura [Takateru Tamura], Takashi Hamada, and Shoichi Uehara, although the name "Kannon" refers to "Sho Kannon 
[Sacred Kannon]" (Skt. Arya-avolokitesvara) in Japan, which is the most usual of the six forms of Kannon, when generally used, yet, called "Kanzeon" or "Koseon" in the old translation of scriptures and "Kanjizai" in the new translation of scriptures in the Tang period (618-907) in China, the name "Sho Kannon" with which the Japanese are familiar is not used to refer to it. As Hsuan-tsang [Genjo 
, Xuan-zang] (600-664) says in the third volume of his Saiikiki [Hsi-yu-chi, Record of the Western Regions] that "Avalokita is translated as Kan . Isvara is translated as Jizai . Those which are being translated as Koseon or Kanzeon in the old translation are all incorrect," it is contemplated that Kanjizai is the most semantically correct, for it signifies a being who can observe all sentient beings and save them freely as with his observing () all the laws freely and without hindrance (
).(7)
- Observing, looking upon, beholding, regarding. - Freely, at will, with complete control. Being able to do as one desires. - Without hindrance, non-obstruction. Being free from all restrictions. A note: There is a tradition concerning the six kinds of Kannon who save living beings in the six samsaric realms (See Rokudo), in accordance with the exposition in Makashikan 
(Discourse on Mahayana Meditation and Contemplation) by Chigi 
(538-597, Ch. Chih-i) in China [who is the third patriarch of the T'ien-t'ai school, popularly known as Master T'ien-t'ai or Master Chih-che, and is regarded as the founder of the T'ien-t'ai school due to his great contribution to the systematization of its teachings] that assigns the six Kannons with their abstract names to the six realms. The tradition includes variations.
Kannon (Arya Avalokitesvara), with the word "Sho" (Arya, "Sacred") prefixed to the name in order to distinguish this inherent, untransformed Kannon from other incarnated (transformed) Kannons ⇒ 1. the first (undermost) realm, or the realm of hell.
(Sahasrabhuja, "Thousand-hand") ⇒ 2. the realm of hungry spirits.
(Hayagriva, "Horse-crowned") ⇒ 3. the realm of animals.
(Ekadasamukha, "Eleven-faced") ⇒ 4. the realm of demi-gods of sorts, asuras.
(Amoghapasa, "Unfailing Fishing Line") as shown in Asabasho selected and compiled by Shocho (1205-1282) in Japan or (2) Jundei 
(also read as Juntei. Cundi, Candi) —In Japanese Esoteric Shingon Buddhism, Jundei is classified into the category of Kannon, whereas in Japanese Esoteric Tendai Buddhism, she is classified into the category of Nyorai as the "Mother Buddha" or the "mother of the Buddhas" (Cundibhagavati or Saptakotibuddhamatr) ⇒ 5. the realm of humans.
(Cintamani-cakra, "Wish-fulfilling Wheel") ⇒ 6. the realm of heavenly beings.
("Great Compassion").
("Great Mercy").
("Fearless Lion").
("Universal Illumination of Great Light").
("Hero among Gods and Men").
("Great Sacred, Deep Voice").
- "Katarimono" is a generic name of oral literary arts (storytellings) introduced by Japanese scholars and researchers that study folk performing arts and traditional performing arts who look at them divided between the "katarimono" and "utaimono" genres. "Utaimono 
" is a generic name of recitational singing arts. "Katarimono" attaches importance to the epical story lines, while "utaimono" has the lyrical contents and is melody-oriented.
[an oracle, a divine message] and the voice of spirit's thoughts called Kuchiyose 
[through raising a spirit or the spirit of the dead and giving voice to that spirit's thoughts] and that it can be traced back to the words from the mouth of a person who acted as a spiritual medium. It is difficult, however, to say that these words of the revelation in themselves are Katarimono. It is considered more appropriate to suggest that what was transcribed from the style of delivery was the primordial form of Katarimono. The examples of the Shinto ritualistic oracle-style or medium-style katarimono which still exist in Japan, including Izanagi ryu saimon 
performed in Monobeson (Monobe Village) in Kochi Prefecture and Saimon performed on Hachijo Island and Aoga Island (of the Izu chain of islands) located south of Tokyo, are not refined enough to be performing arts in that they are with their fragmentary or ambiguous story lines stemming from a background where the words were originally uttered by a religious medium in a state of possession by a god. In contrast, as performing arts, one of representative examples of Katarimono is Heikyoku 
, which is the recitation of the Tale of the Heike to the biwa accompaniment. (See Biwa Hoshi) Heikyoku is in the nature of epic that is the essence of Katarimono, for the content is a war chronicle.(11) In addition, the text of the Tale of the Heike was written as a literary work. However, to cite another example, though sublimed eventually in a Buddhist perspective as an appeasing concept as in the Tale of the Heike, the Tale of the Soga is considered as having based its core material on folk traditions, specifically, mediumistic intercessions carried on by a group of blind priestesses whose major function was to tell the living what the spirit of the dead wished to speak of (mostly, the course of events before one's death, how he died and what regrets or resentment, if any, he had, etc.) and their oral tardition. Akira Fukuda says "It should come as no surprise to us that the recitative structure of the Tale of the Soga is in conformity to the style of delivery of these mediums." (12)
- The dormant nature or dormant being. Also, it refers to "man" (a generic term for man as opposed to the Dharma or a Buddha or Bodhisattva).
- An inter-sympathetic response in a religious phenomenal or religious existential experience.
, a mendicant Zen priest of the Fuke sect, wearing a sedge hood and playing a shakuhachi. Boro 
(also written as 
), an itinerant monk of sorts that later came to be called "Komuso." A note: According to Minoru Shibata, although those who were called "Boro (also written as )" in the Kamakura and Muromachi periods appear in Boro-boro no Soshi left purportedly by Myoe 
(1173-1232) of Kegon Buddhism 
, the description of which says that they practice the Zen sitting meditation (Zazen) at night, and in Tsurezuregusa written by Kenko (1283-1350), the description of which says that they assemble on a dry riverbed and practice the recitation of the Nembutsu in nine different tones (Kuhon Nembutsu),(a) yet "Shakuhachi" with ties to "Boro" does not find mention neither in the former nor in the latter. The first verifiable mention (appearance) of "Shakuhachi" linked with "Boro" in literature would be an illustration of a Boro with a rod-like thing at his side, though it appears, controversially, to be both a short sword and a vertical flute, included in Shichiju-ichi-ban Shokunin Utaawase (presumably, 1500).(b)
) tradition was the Boro of the Kamakura and Muromachi periods.
[Kokushi: a "state master"] Shinchi Kakushin 
(1207-1298) who has been looked up to as the founder of the Fuke 
sect was a priest of Rinzai Zen, but he had deep religious ties with Nembutsu practitioners on Mt. Koya called "Koya Hijiri 
[Sages on Mt. Koya]," more specifically, with Kaya-do Hijiri 
["Sages at Kaya-do"] on Mt. Koya, in that a state of selflessness in Zen Buddhism and a mental state of the Nembutsu samadhi bordered upon one another, as seen in an explanation of the origin and history of Kakushin being the father of the Kaya-do Hijiri recorded in the regional gazetteer entitled "Kii Shoku Fudoki" (vol. 45) compiled by the fief of Kii (Kii han) in 1893.
Mendicant priests called "Komoso" or "Komuso" (earlier, called "Boro" or "Boro-boro" or "Boronji" and, later, minglingly called "Boro" again) who present themselves as Zen priests of the Fuke Shu, playing the five-holed Japanese vertical bamboo flutes called "Shakuhachi," in imitation of the copy of "Shakuhachi" in Jinrin Kinmo Zui published in 1690.
The fence is drawn as a backdrop in the copy. But I leave out the fence.
- A calling and response. Or acting in concert and a concord.
- The power of words, the magic of words, and the numen of the words. Strictly speaking, the power of "words that are being uttered."
- A "raised seat." A dais, pulpit. - Void, Emptiness. Sunya or sunyata. The absence of substantiality of the self and all phenomena (Skt. dharmas). The opposite of U 
(Being, Existence, as opposed to Non-existence).
, Skt. pratitya-samutpada, the law of causality). Through direct insight into emptiness, it is said, enlightened Sages are liberated from their attachment to "self" and dharmas, and are thus attaining prajna (Hannya 
, transcendental wisdom, knowledge of the supreme reality). The principle of Universal Emptiness is fully expounded in Hannya kyo (the Prajnaparamita literature).
- I. Being, Existence, as opposed to Non-existence (Mu 
or Ku ).
(avidya), basic ignorance, spiritual ignorance, (2) Gyo 
(samskara), blind volition, (3) Shiki 
(vijnana), consciousness, (4) Myoshiki 
(nama-rupa), name and form, for example, mental functions and the formation of physical elements, (5) Rokunyu 
(sad-ayatana), the six sense-organs, the six sense bases, (6) Shoku 
(sparsa), contact with the external sense objects, (7) Ju 
(vedana), sensations, (8) Ai (trsna), desire for pleasure or craving, (9) Shu 
(upadana), grasping what one desire or clinging, (10) U (bhava), existence, the state of existing, (11) Sho (jati), birth, and (12) Roshi (jara-marana), old age and death. (1149-1207) - A court noble in the early-Kamakura period.
(1155-1225) who was a priest that became the Master of the Seat of Tendai Buddhism (the head of Tendai Buddhism order) as often as four times is Kanezane's brother. Although Kanezane had held prominent positions such as Regent and Chief Adviser to the Emperor, he fell from power in confrontation with Tsuchimikado Michichika (1149-1202) who was a court noble, and renounced the world and entered Honen's Pure Land path. It was Kanezane who requested Honen to write a book about the Nembutsu, which became Honen's magnum opus, the Senchaku Hongan Nembutsu Shu.
- A "Buddhist priestess" of Kumano.
("the religious educator bikuni") and were also referred to as Etoki bikuni 
("the explainer with pictures bikuni") or Uta bikuni 
("the singer bikuni").(9) One commonly accepted theory is that Kumano bikuni's original strengths were in fund-raising for the reconstruction or restoration and erection of the structures of three Kumano grand shrines called "Kumano Sanzan," namely, Kumano Hongu Taisha and Kumano Hayatama Taisha and Kumano Nachi Taisha, and as a way of fund-raising, they performed Etoki. Though called "Kumano bikuni" (Bikuni: Skt. bhiksuni, a Buddhist nun), they are viewed as women who were in the garb of Buddhist nuns but had not been through the ceremony of accepting the Buddhist precepts.
- A Dragon King. 
(Kurika 
, Skt. Kulikah) Ryuo is a transformed body of the fierce spirit (Skt. vidya-raja) Fudo (Immovable, Skt. Acalanatha, or simply Acala). Fudo is a messenger of Dainichi ("Great illumination," Skt. Mahavairocana) who is the embodiment of the reality of the universe. Fudo assumes a frightful form, holding a sword in his right hand and a silk rope in his left. The sword of Fudo is called "Ri-ken 
" and is the symbol of the force, which cuts evil passions and destroys devils. According to the exposition included in To-ji no Myooh-zo (Japan: To-ji Treasure Museum, 1988), Kulikah that was originally a Dragon King has become considered to be a transformed body of the fierce spirit Fudo in a perspective based on the belief that through the efficacy of an invocation of Fudo, this Dragon King would come and provide protection for the invoker. A sword of Fudo with Kurikara Ryuo twined around it is called "Kurikara-ken" and is a Sanmayagyo 
—the Samaya form (symbol), referring to attributes held in the hands of divinities or their manual signs called Ingei 
— of Fudo, or a symbol of Fudo, which presents the four meanings given in Esoteric Buddhism, that is, "Equality (Byodo 
)," "the Original Vow (Honzei 
)" of the Buddha, "Removing hindrances (Josho 
)," and "Awakening (Kyokaku 
)." It is said that Kurikara Ryuo has seven spines on his back and a single horn on his forehead and his momentum is like thunder and lightning and enwinds a sword with his four legs and writes Aji 
(the first sound, "A," in the Sanskrit alphabet, that is believed to embody the mystic truth in Esoteric Buddhism) on the sword.
- Ritual Visitors called Manzai who form a comedic duo and go about from door to door. A New Year well-wishing duo.
A New Year well-wishing duo called "Manzai," in imitation of the copy of "Manzai" in Jinrin Kinmo Zui published in 1690, in which the duo who appear to be Tayu and Saizo are drawn as shown. Manzai forms a comedic duo and goes about from door to door.
Their garments are drawn with loud patterns and two persons in braided hats are depicted beside the duo (on the observers' left) against a background of a grove or trees in the copy. But I leave out the patterns and the persons and the background.
- Japanese Festival. is and argue over human actions ("behavioral traditions") in Matsuri, in his "Shimotsuki Matsuri —Kamigami ga Tsukuru 'Toki' to 'Jiku'—" ["Shimotsuki Festival: 'Time' and 'Space' that Gods Create"] in Shizen to Bunka 21 —Kodai Saishi no Jiku— [Nature and Culture 21: The Time-Space of the Ancient Festivals], as follows: and interaction with it. The space of Matsuri is a place for an invisible spirit and visible man to come into contact with one another and exchange amenities. With a view to realizing the encounter of the two, people got a spiritual medium who had an extraordinary sensitivity and imaginative faculty to act as a go-between and had him fall into a trance and possessed by the spirit, and thereby tried to see a state of the unity of spirit and man with their own eyes. (end quote/tr.)
[Assimilation (Transforming) Acts]," and, as I have also said, "Mogi Kodo 
[Simulation Acts]" which express the desire for what one wishes to see actualized and which reproduce the god's deeds and divine vestiges that had made the glory of one's land or a page in the history of his land and family, "Juto Kodo 
[Invocation Acts]" which demonstrate the art of prayer and incantation [as magical intercessions] and of divination, and "Kyogi Kodo 
[Competition Acts]" which involve telling fortunes by vying between individuals or groups over their skills. I should add that the first assimilation acts are those which are seen in the medium's Waza 
[Art, Skill] of being possessed by a god as previously mentioned. And in the second simulation acts, the reenactments of divine deeds and events are Sakanbe's Winter Festival [at Suwa Shrine in Sakanbe, Tenryu Village, Nagano Prefecture] and Mayunganashi 
[an embodiment of one of the "Raiho-shin 
" (Visiting Gods) appeared in the areas around Mount Omoto on Ishigaki Island, including Kabira and Nakasuji, in Okinawa Prefecture]. (end quote/tr.)
- A Journal of Fujiwara no Teika [Fujiwara Sadaie] 
(1162-1241).
- The thought of the Original Vow of Amida.
- Hearing, that is, Entrusting.
and Shin 
are in extremis combined (united) with one another.
- Hearing the Dharma. Heeding the Buddhist teaching. (See "Mon Po" or "Mon" of Shinran)
- Impermanence (Skt. anitya) or Transience.
(1184-1251) - One of the Twenty-four Followers of Shinran. He is the founder of Jogu-ji in Hitachi.
- Literary speaking, a "wondrous, excellent person."
- The Name (Myogo 
). [dormant nature or dormant being] of entrusting in Amida Buddha, and the Dharma of saving all sentient beings. The Name is also the command of the summoning from Tathagata (the beckoning command of the Primal Vow) and the figure of Shinjin [True Entrusting] that is opened up, having heard the command. - The southern capital and the northern mountain. Nara and Mount Hiei. Refers to temples in Nara and Enryaku-ji on Mt. Hiei.
(also read as Eisai), Dogen 
, Honen, Shinran, and Nichiren 
, originally studied Buddhism there. A note: There are two theories. (1) The Nara period was end in 784 when the transfer (relocation) of the national capital from Nara (the Heijo Palace) to Nagaoka in the southern region of Kyoto (the Nagaoka Palace) was done. (2) The Nara period was end in 794 when the transfer of the national capital to Kyoto (the Heian Palace) was done.
- A Journal of Shirakawa Narisukeo 
(1184-1224) who was the head of the supreme body for the rites and ceremonies performed at Court and matters of Shinto shrines in the Ritsuryo system.
- "Two Rivers and a White Path." A parable by Chinese Pure Land master Shan-tao (Zendo), which appears in his Kangyo sho (Ch. Kuan ching shu 
, Eng. Commentary on the Meditation Sutra).
(greed)" and "shinni 
(anger)" being strong, they are likened to water (surging waves of water) and fire (raging flames of fire). The white path between the two rivers corresponds to the awakening of the pure mind that desires Rebirth even in the midst of our evil passions and afflictions. The good mind being delicate, it is like the white path, which is perpetually submerged by water and seared by fire. Surging waves of water that always lave the white path are like the covetousness that constantly arises to defile our good hearts. Raging flames of fire that ceaselessly burn the white path is like our hearts of hatred and anger that devour the Dharma treasure of merit and virtues. Favored by Sakyamuni Buddha who kindly urges the traveler and turns him in the direction of the West, and blessed with Amida Buddha's compassionate heart which calls out and invites him, the traveler trusts in the intent of the Two Honorable Ones, with taking no notice of the two rivers of water and of fire and remembering without lapse that all sentient beings will unfailingly be saved through the Original Vow, and takes the path of the Vow's power.
- A long rakugo story, the central aim of appreciation of which is realistic delineation of the characters and the ways of the world, or the human-interest story genre of rakugo.
which was a short story with the punch line effect came to be constructed as the continuity of a narrative which held a plot and embraced literary elements, while catered to popular tastes, in the wake of the gradual shift from the single goal of making laughter to the objective of reflecting current social conditions, and customs and manners, concentrating on the description of characters, or the subtleties of human nature. Basically, one could argue that so-called Otoshibanashi which began with Anrakuan Sakuden during the period from the Azuchi-Momoyama period to the early Edo period takes the form of having the twist (punch line) at the end of a story as the most important thing, whereas Ninjobanashi captures audience's imagination not so much by the charm of the twist (punch line) at the end as by the attractions of the plot itself and unexpected plot twists and turns. This ninjobanashi was already the highroad of rakugo and was considered to be the highest state of rakugo in the late Edo period. Accordingly, rakugo performers whose rakugo stories were dominated by the comical otoshibanashi were never called "Dai Shinuchi" [great full-fledged master of storytelling], even though very popular.
- Exposition.
- "Thus have I heard."
- The laws of a king.. - Rennyo's letter (letters) for Shin Buddhist people that is (are) also called Gobunsho .
" (Jogai:1), in which the cause of Faith and the "heart" of the recitation of the Nembutsu unfold, and that in such a precise and simple way of phrasing as anyone could make out by ear and learn from what one hears.
- Companions and fellow practitioners or practicers ("practicers" is the expression in Shojun Bando & Harold Stewart trs., Tannisho: Passages Deploring Deviations of Faith and Ann T. Rogers & Minor L. Rogers trs., Rennyo Shonin Ofumi: The Letters of Rennyo).
- A brother of the same Shin (Faith). Brethren of the same Shin. Companions - A fellow-practitioner. Fellow-practitioners. Fellow practicers. A note: Bando & Stewart trs., Tannisho and Rogers & Rogers trs., Rennyo Shonin Ofumi are put into one volume, but they each have independent pagination, not continuous pagination.
([?]-1278) - Shinran's disciple (Although, as is well known, Shinran refused to recognize any disciples, he had many an ardent follower).
family, which was a family of a long line of Hongwanji's armed retainers with swords. Renni's lay name is "Hyogo no kami" Munesige. He is said to be a great-great-grandson of "Gen sanmi" Yorimasa (Minamoto no Yorimasa) who is known for the anecdote about his slaying of an eerie bird called Nue 
(which was often described as a fabulous bird that has the head of a monkey, the body of a raccoon dog, a tiger's feet, and a snake's tail) at the Hall for State Ceremonies (Tale of the Heike).
(1415-1499) - Hongwanji's eighth abbot who is considered the "second founder" of Shin Budhism.
. Father of Rennyo is Hongwanji's seventh abbot Zonnyo 
.
" ["Master Rennyo"] is a sentiment of the people, which is attended with a feeling of reality of living together. Although Rennyo whose bilateral character of his deeds and works has been controversial among many scholars and researchers, yet Rennyo who was consigned to "Oral Tradition" is still "Rennyo-san" of the populace.
- Rennyo's interpretation of the six-character Name as the relationship between the practitioner and the Dharma." had transformed the relation between Tathagata and all sentient beings into a personality relationship [personality-on-personality relationship] and brought about a dialogue between the two, and the coalescence of that renovated Rokuji Shaku with Kiho Ittai 
[denoting the Ki of sentient beings' entrusting themselves to Amida Buddha (Shin, Faith) and the Ho of Amida's saving all sentient beings (Myogo, the Name), in a word, Oneness of the Receiver and the Dharma] made the relationship of the two more dynamic.
- A "hexagonal hall." Rokkakudo is a popular name for Choho-ji in Kyoto.
("World-saving") Kannon on the 95th day, which led to his resolve to take the Pure Land teaching.
- The six lower (samsaric) states of existence into which sentient beings may transmigrate. They are:
-do, the realm of hell.
-do, the realm of hungry spirits as karmic retribution for one's greed.
-do, the realm of animals.
-do, the realm of demi-gods of sorts, asuras, who are constantly engaged in fights and wars. Asura (Ashura) had been a kind of evil, fearsome spirit warring constantly against the Hindu god Indra. But, in Buddhism, they became one of the eight kinds of gods and demi-gods (the eight supernatural and superhuman beings) called Hachibushu 
that protect Buddhism.
-do, the realm of men.
-do, the realm of heavenly beings possessed of some transcendent power, devas, who still flounder in the waves of desires and sink in the sea of suffering as with other lower states. The term "deva" is commonly used to refer to a Hindu deity. But, in Buddhism, they became one of Hachibushu that protect Buddhism. (the Collection on the Essentials for Birth), it says that the first (undermost) realm, hell, is octamerous. They are:
[Equally reviving] hell. Tokatsu is for those who committed the sin of Taking life (Sessho 
, Killing living beings).
[Black rope] hell. Kokujo for the sins of Sessho and Stealing (Chuto 
).
[Uniting] hell. Shugo for the sins of Sessho and Chuto and Adultery (Jain 
, sexual misconduct).
[Shrieking] hell. Kyokan for the sins of Sessho and Chuto and Jain and Ingesting intoxicants (Onju 
).
).
[Scorching heat] hell. Shonetsu is for the foregoing five sins [corresponding to the violation of the five precepts (Gokai) for laypeople] and the sin of Wrong views (Jaken 
).
[Without intermission] hell, Avici (Abi) hell, that is the most painful of these. Muken is for those who rejected the law of causality and constantly performed the ten evil acts and committed any of the five rebellious sins (Gogyakuzai) of Buddhist followers —patricide, matricide, killing an arhat, maliciously causing blood to flow from the body of a Buddha, including destroying stupas, and causing disharmony in the Buddhist order— and the four major sins (Shijuzai) for Buddhist monks —having sexual intercourse, stealing, killing a person, and telling a lie about his spiritual attainment— and the sin of abuse of the true Dharma —distorting the Law and the Way, slandering the teaching of the Great Vehicle (Ojoyoshu) or of the three vehicles (Kyogyoshinsho), inculcating one's wrong doctrine in others and misleading them, etc. Of these evils, the act of abusing the true Dharma, or the Buddha-Dharma, is viewed as the gravest.
- Way, Style, and School.
(also written as 
) - A dragon god who governs the rain. (See Kurikara Ryuo, as to a Dragon King that is a transformed body of the fierce spirit Fudo)
), Water God (Suijin 
. In general, a snake, mighty snake called Orochi 
, dragon and giant fish are regarded as incarnations of Water God) and Sea God (Kaijin 
). "Ryujin" was, it is accepted, originated in India and was diffused into China where it became "Hachidai Ryuo" who protected the Law of Buddha and, through countries in the Korean Peninsula, was introduced in Japan.
(also written as 
) - The "Eight Great Dragon Kings" mentioned in the Lotus Sutra:
(Nanda)
(Upananda)
(Shagara)
(Vasuki)
(Taksaka)
(Anavatapta)
(Manasvin)
(Utpalaka)
- "Saruhiki" is used to refer to a Ritual Visitor or Strolling Player called Saruhiki who puts on a monkey show (monkey performances). It might be used to refer to the monkey show itself.
A Saruhiki and a monkey, in imitation of the copy of "Saruhiki" in Ehon Otogi Shina-kagami written by Mitsunobu Hasegawa in 1730. Saruhiki puts on a monkey show.
Their upper garments are drawn with the kimono patters (Monkey's garment with a large, auspicious pattern and Saruhiki's with a plain, waffle pattern) and two child spectators are depicted as a background (on the observers' right) in the copy. But I leave out the patterns and the background.
- The collection of amusing stories in eight volumes compiled by Anrakuan Sakuden 
(1554-1642).
- Another name for Sekkyo Joruri 
. and Fushidansekkyo of Japanese Buddhism as the same thing, for that they use the same Japanese kanji character words, namely, fushi and sekkyo and that Sekkyobushi is a derivational performing art directly from preaching as a side branch. But Sekkyobushi and Fushidansekkyo are not in the same family. Sekkyobushi belongs to a "katarimono" genre (See Katarimono, as to Katarimono and Utaimono) in the popular performing art world, whereas Fushidansekkyo belongs to a distinct "oral art" genre in the religious preaching world.
"Kado-sekkyo" (those who tell Sekkyobushi) in braided hats with the sasara [Japanese idiophone], the shamisen [three-stringed lute], and the kokyu [Chinese fiddle], in imitation of the copy of "Kado-sekkyo" in Jinrin Kinmo Zui (1690). Sasara is considered as a particular kind of magic instrument. cf. Kojiro Nakai, Masahiro Nishitsunoi, and Haruo Misumi eds., op. cit.
Their garments are drawn with the kimono patters and, behind the trio as a background, a wall and an entrance having a rope curtain are depicted in the copy. But I leave out the patterns and the background in my hand drawing.
- The way the title, Passages on the Selection of the Nembutsu in the Original Vow of Honen, is read in Jodo Shu of Pure Land Buddhism.) that was selected by Amida Buddha., the Meditation Sutra , and the Amida Sutra ) as well as from Shan-tao's Commentary on the Meditation Sutra , which are interspersed with Honen's comments.
- The way the title, A Collection of Passages on the Nembutsu Chosen in the Original Vow (Passages on the Selection of the Nembutsu in the Original Vow) of Honen, is read in Shin Shu (Shin Buddhism).
- A (folding) fan.
- Four Universal Vows which all Bodhisattvas make at the outset of their spiritual careers.
I vow to save boundless numbers of sentient beings.
I vow to extinguish innumerable evil passions.
I vow to know all the inexhaustible Buddhist teachings.
I vow to realize the supreme enlightenment. I vow to save boundless numbers of sentient beings. I vow to extinguish innumerable evil passions.
I vow to study all the inexhaustible Buddhist teachings.
I vow to attain the supreme Buddha Way. - (True) Entrusting, Faith. is often translated as Faith with a capitalized first letter to indicate the Faith called forth by Amida Buddha, and to distinguish this pure Faith from the impure faith that still involves some degree of self-effort. - Heart of Faith, (True) Entrusting, Faith.
(1173-1262) - The founder of Shin Buddhism. (See An Abbreviated Chronological Table of Kamakura Period)
who was an officer of the Palace of the Empress that served the Empress Dowager (appointment title: Kotaigo-taijo or -taishin 
). - Master.
- Saint. A "holy man." for Buddhist high priests.
- The genealogical tree of the families in Japan.
(1340-1399), a court noble in the Nanbokucho era, in the early Muromachi period, serves as a reliable historical source, and it is regarded as the most trusted genealogical tree of the Japanese families, such as the Taira (Heishi), the Minamoto (Genji), the Fujiwara, the Sugawara and others, among several genealogical tables in existence.
- The mountaineering asceticism. A school of Japanese Buddhism, the followers of which perform ascetic practices deep in the mountains for attaining mystic powers.
, a legendary ascetic, is the founder of Shugendo. The article on the incident which occurred on the 24th of May (the fifth month) of the third year of Emperor Monmu in Shoku Nihongi 
[A Continuation of Chronicles of Japan] gives an outline of his origins and supernatural powers and reports that Ozune was slandered by Karakuni no Muraji Hirotari (who is said to have been a sorcerer specializing in treatment, prolongation of human life, and longevity that had become a disciple of Ozune and who was appointed as Director of Court physicians [Tenyaku no Kami] in 732) and charged with deluding people by sorcery, and banished to O Island of the Izu Island chain in 699. As this Shoku Nihongi in forty-volumes compiled by Imperial command was completed in 797 after a series of processes of revising and restructuring, it is inferable that he had already been placed on a pedestal as a person with preternatural powers through the Court in the Nara period (710-784 or 794). And many a legend has it that his magical powers and spells were mighty. However, one theory holds that little more was known than that En no Ozune was a sorcerer with Mount Katsuragi as the base of activities in the Nara period, and it was only after his name was promoted as the precursor of "Practicing mystical rites (Shugen )" by mountain ascetics in the Esoteric Buddhism-oriented Heian period that he became regarded as the founder of Shugendo. It is purported that his honor was vindicated later on. In fact, in 1799, the year which marked the 1100th year anniversary of Ozune, he was posthumously conferred the title "Jinben Daibosatsu" by Emperor Kokaku ("An Imperial Letter from Emperor Kokaku" in the possession of Shogo In, the head temple of Honzan Shugen Sect, in Kyoto, which is designated as important cultural property).
) and mountain priests (yamabushi 
), who serve unique gods and Buddhas and possess the wonder-working, mystic power, as formed with Japanese Esoteric Buddhism and Lotus Sutra faith that were incorporated into Mountain Religion rooted in indigenous folk religion (for example, by the fusion of the notion of the mountains being the abode of gods and spirits in the ancient folk religion and the idea of the mountains being the hallowed ground in Esoteric Buddhism, such as Ryojusen 
[the mountain called Grdhrakuta, Holy Mountain, Ryozen Jodo] from the Lotus Sutra) which had come to include the Way of Yin and Yang and Taoist immortality thought (for example, the [mountain] abode of a Taoist divine hermit of longevity). In terms of rites and rituals, they make a burnt offering (goma 
) to a deity in Esoteric Buddhism and perform an esoteric ritual based on the chanting of a darani (Skt. dharani) [a mystic phrase believed to possess some supernatural power], while they perform incantations (to bind, to protect, to heal, etc.) that originate from the Way of Yin and Yang intertwined with esoteric Taoism, though Japanized. Borrowing a provisional definition provided by Kesao Miyamoto in his "Shugyosha toshiteno Soryo" [Buddhist Priests as Ascetics] in Bukkyo, no. 2 [1988.1] (Japan: Hozokan, 1988), Shugendo is a religion that comes to the rescue of ordinary people in affliction through the supernaturally miraculous powers which were attained by ascetic practices deep in the mountains.
" - "I entrust in Amitabha Tathagata to save me."
," which means "to lean on," "to rely on," and "to trust in the power of the other" in a way completely apart from "tanomu 
" used often for "to ask," "to request," and "to implore the other" that are not getting out of the self-power, has been a tradition since Shinran. According to Jitsuen Kakehashi, however, it was Rennyo who first brought the term "tasuke tamae (tasuke tamahe)" ["save me"] into Hongwanji (Shin Buddhism) as a term that was expressive of Faith, in a manner forming a pair with the term "tanomu," and initiated the use of the phrase in around 1473 in the sense of a specific phase of Faith that one resigns himself into the hands of Tathagata, having responded "Yes, save me" amenably to Tathagata's prior calling "I'll save you." (16)Kakehashi first takes the most obvious instance of the term "tasuke tamahe (save me)" being denied by Rennyo in his early-period letters.
"tatohi Myogo wo tonafuru tomo, Hotoke (Butsu) tasuke tamahe to ha omofu bekarazu" (Jogai:1, Fude hajime no Ofumi, the 3rd month of the 2nd year of Kansho 2 [1461], Age 47.)
Do not ever think, "Buddha, save me" in saying the Name.
and gives an example illustrative of the beginning of Rennyo's positive expressivity with the term "tasuke tamahe"
"tasuke mashimase to omofu kokoro no ichinen no Shin" (I:3 On Hunting and Fishing, the 18th of the 12th month, Bunmei 3 [1471].)
The one thought-moment of believing [wholeheartedly] that "He shall save us."
from among the extant letters the exact dates of which are determinable.
"tasuke tamahe to omofu kokoro no ichinen" (I:7 A Discussion about Yoshizaki, the 12th of the 8th month, Bunmei 5 [1473].)
The one thought-moment of responding "[I can hear You calling me,] yes, save me."
A note: Kansho is an imperial era name for the period from 1460 to 1465. Bunmei is also an imperial era name for the period from 1469 to 1486 under Emperor Gotsuchimikado (Ruled: 1465-1500). Additionally, Japanese imperial era names had been changed very many times, not only because of the accession of new Emperors, but also because of events of any concerns to them, including the frequent occurrence of earthquake, the unseasonable weather, hundreds of footprints of dogs (973), waterfowls gathering on a cherry tree (985), and the like. According to Shuichi Murayama, the last change in era name in celebration of an auspicious sign was in 877, and the commonness of the attitude toward trivial matters which turned them into unforeseen, abnormal issues from the ninth century onward followed by the prevalence of the change in era name in response to natural calamity and accident. Murayama says that those regimes which have most frequently changed their era names are the reign of Emperor Horikawa (Ruled: 1087-1107) —seven times during his twenty years on the throne— in the period of the Rule of Cloistered Emperors and the reign of Emperor Shijo (Ruled: 1232-1242) —six times during his ten years on the throne— in the Kamakura period. (18) Also, those imperial era names are, I should add, sometimes confusable. For example, as seen on the Notes and Bibliography page, both "April of the third year of Genkyu (1206)" and "April of the first year of Kenei (1206)" can be written down, for the imperial era name was changed from Genkyu to Kenei on April 27, 1206.
- Interjectional or responsorial Nembutsu from the congregation. Additional Audio Material U - An example of Uke nembutsu
Additional audio material U AIFF - An example of Uke nembutsu (Kind: AIFF Audio, Data Size: 396.2 K, Data Rate: 14.3 K bytes/sec, Duration: 00:00:27.18)
Additional audio material U MP3 - An example of Uke nembutsu (Kind: MP3 Audio, Data Size: 538.3 K, Data Rate: 19.4 K bytes/sec, Duration: 00:00:27.19)
- The classical Japanese hymns of Shinran.
[the Hymn of True Faith] to Sanjo Wasan 
[three major collections of wasan], that it became pervasive. That Shoshinge Wasan 
(what is compiled as one copy into which the foregoing "four fascicles" were put together) is supplemented with the tune score called "Fushihakase 
." When Wasan is being recited from the score and is carefully being intoned, there comes to appear "Shin Buddism's traditional sound." On that, Seiya Fukunaga expounds fully.
or 
- A "bottom-up praise" or "upward blessing" among ritual prayers in ancient religions indigenous to Japan.
" was given is Yogoto. Yogoto had been developed as the words of "bottom-up praise." The primordial belief of this "upward blessing" was, it is considered, to give utterer's tutelary anima to a superior being who was the object of praise. In doing so, the utterer could pledge his allegiance and obedience to the superior being, and became increasingly able to receive the "aid and grace" from that superior being.(19) In Shibata's view on Yogoto, however, Yogoto is aggressively involved. Briefly, the utterer did not so much invoke divine aid and favor upon the person who was the object of his praise, but rather looked to and believed in that his wills and wishes could directly be realized and fulfilled by uttering the yogoto in which they were expressed. That is a belief in the working of Yogoto in itself and its power, which corresponds to Kotodama belief.(20) (See an English translation of the paragraphs of Orikuchi and Shibata)
- The Yuzu-nembutsu ("Fusing and penetrating" Nembutsu or "Circulating" Nembutsu) denomination. (dating from the Nara period), Kegon (from the Nara period), Ritsu 
(from the Nara period), Tendai (dating from the Heian period), Shingon 
(from the Heian period), Yuzu-nembutsu (Yuzu-nenbutsu) (dating from the Late Heian period, but there was a 139-year break of this denomination's "Hoto [Lamp of the Dharma]" or "Kechimyaku," that is, the lineage of transmission of the teaching), Rinzai 
(dating from the Kamakura period), Soto 
(from the Kamakura period), Jodo (from the Kamakura period), Jodoshin (from the Kamakura period), Nichiren (from the Kamakura period), Ji 
(from the Kamakura period), and Obaku 
(dating from the Early Edo period). (See An Abbreviated Chronological Table of Kamakura Period as to Japanese Kamakura Buddhism related events.)
(1072 or 1073-1132) in 1117 and based on the verse of inspiration that Ryonin received from Amida Buddha, "One man (permeates) all other men, all other men, one man. one practice (penetrates) all other practices, all other practices, one practice" [One man is all people, all people are one man, one practice is all other practices, all other practices are one practice (in the mutual interconnection between all things)]. This denomination, with the Garland Sutra (Kegon kyo, Skt. Avatamsaka-sutra) and the Lotus Sutra (Hoke kyo: an abbreviation of Myohorenge kyo) as its principal cannons and the Triple Pure Land Sutras (Jodo Sanbukyo ) as the secondary ones, teaches that one's merit from the Nembutsu permeates others and that of others permeates oneself, that the merit of the Nembutsu and other practices "penetrate" and "fuse (merge)" with each other, and that thus Birth in Amida's Pure Land is attainable by all beings, and urges followers to perform daily practice of the Nembutsu.
[also written as 
] (794-864) who became the third "Master of the highest seat (Zasu)" of Enryaku-ji on Mt. Hiei, which is called "Gyozan Shomyo 
." (See an anecdotal explanation of the origin and history, "What Gyozan Shomyo is").
- Master of the (highest) Seat. The head of a religious order of Japanese Buddhism. The head priest of a temple. (613-681) - Shan-tao, a Chinese Pure Land master and Tao-cho's successor. The Third of the Five Pure Land Masters and the Fifth of the Seven Patriarchs of Shin Buddhism., one of the Pure Land Patriarchs in China) who wrote the Collection of Passages on the Land of Peace and Bliss in which the important distinction between the two paths to Enlightenment, the Holy Path (Path of Sages) and the Pure Land Path, was first made. Shan-tao was the first explicit advocate of the recitation of the Nembutsu, as opposed to earlier forms of "Nembutsu" practices involving meditating on Amida Buddha or visualizing Him. Shan-tao's principal work, Kangyo sho (Ch. Kuan ching shu , Eng. Commentary on the Meditation Sutra) in four volumes, has played a vital role in disseminating the Pure Land teaching in China and Japan. In his deep reflection about people's capacities (powerlessness, weakness) and the times, Shan-tao interprets that Contemplative and Distractive Good practices were expounded in order to lead practitioners to the Nembutsu practice and that Sakyamuni Buddha's intent in transmitting only the Nembutsu samadhi to Ananda is, when seen in terms of the meaning of the Original Vow, to have all sentient beings single-mindedly and exclusively utter the Name of Amida Buddha. Shan-tao is considered to be the spiritual master of Honen, for it was Shan-tao's text, "On the Meaning of Non-Meditative Good" in Kangyo sho (the last part of this four-fascicle commentary), which finally revealed to Honen the way of universal salvation.
cf. Senchaku Hongan Nembutsu Shu in Shunno Ohashi nn., Honen Zenshu Dai 2 Kan, Gyakushu Seppo ["Pre-emptive Funeral" Sermons] and Senchaku Hongan Nembutsu Shu [Passages on the Selection of the Nembutsu in the Original Vow], one volume, Second Printing (Japan: Shunju Sha, 1992).
cf. Morris J. Augustine and Tessho Kondo trs., Senchaku Hongan Nembutsu Shu: A Collection of Passages on the Nembutsu Chosen in the Original Vow, Copytext: Taisho, Volume 83, Number 2608 (Berkeley, California: Numata Center for Buddhist Translation and Research, 1997).
cf. Kyogyoshinsho in Genpo Hoshino, Mitsuyuki Ishida, and Saburo Ienaga nns., Shinran Kyogyoshinsho, Genten Nihonbukkyo no Shiso 6 (Japan: Iwanami Shoten, 1990).
cf. Hisao Inagaki tr., Kyogyoshinsho: On Teaching, Practice, Faith, And Enlightenment, Copytext: Taisho, Volume 83, Number 2646 (Berkeley, California: Numata Center for Buddhist Translation and Research, 2003).
cf. Tannisho in Mizumaro Ishida nn., Shinran Zenshu, Separate Volume, Tannisho, Shujisho [A Tract on Holding Fast to the Name], Kudensho [Notes on Oral Transmission], Gaijasho [Correcting Wrong Views], and Eshinni Shosoku [Letters of the Nun Eshinni], one volume (Japan: Shunju Sha, 1987).
cf. Shojun Bando & Harold Stewart trs., Tannisho: Passages Deploring Deviations of Faith, Copytext: Taisho, Volume 83, Number 2661, and Ann T. Rogers & Minor L. Rogers trs., Rennyo Shonin Ofumi: The Letters of Rennyo, Copytext: Taisho, Volume 74, Number 2668, one volume (Berkeley, California: Numata Center for Buddhist Translation and Research, 1996).
cf. Ofumi in Shinei Takamatsu nn., Ofumi-sama (Higashi Honganji, Shinshu Otani-ha Shumusho, 1996).
------
cf. Akira Fukuda, Chusei Katarimo no Bungei —Sono Keifu to Tenkai— [Medieval Katarimono Literature: Its Genealogy and Development], Miyai Sensho 8 (Japan: Miyai Shoten, 1984).
cf. Chojun Otani, Rennyo Ofumi Dokuhon (Japan: Kawade Shobo Shinsha, 1991).
cf. Eishi Kikkawa, "'Katarimono' nitsuite," Nohon Ongaku no Nagare [The Current of Japanese Music], Nihon Ongaku Sosho 9 (Japan: Ongaku no tomo Sha, 1990).
cf. Haruo Misumi, "Shimotsuki Matsuri —Kamigami ga Tsukuru 'Toki' to 'Jiku'—" ["Shimotsuki Festival: 'Time' and 'Space' that Gods Create"], Shizen to Bunka 21 —Kodai Saishi no Jiku— [Nature and Culture 21: The Time-Space of the Ancient Festivals] (Nihon National Trust, summer, 1988).
cf. Hisao Inagaki and P. G. O'Neill, A Dictionary Of Japanese Buddhist Terms: Based on References in Japanese Literature, First American Edition (Union City, California: Heian International, Inc., 1989).
cf. Jitsuen Kakehashi, "7 'Tasuke tamahe' nitsuite" ["7 On 'Tasuke tamahe'"], Jodo Shin Shu Kyogaku Kenkyujo, Rennyo Shonin —Sono Oshie to Shogai ni Manabu— [Rennyo Shonin: Learning from His Teaching and His Life], Sixth Printing (Japan: Hongwanji Shuppan Sha, 1997).
cf. The Jodo Shu Research Institute, Jodo Shu, A Daily Reference (Japan: Jodo Shu Press, 1999).
cf. Jonathan Watts and Yoshiharu Tomatsu eds., Traveling the Pure Land Path A Lifetime of Encounters with Honen Shonin (Japan: Jodo Shu Press, 2005).
cf. Joseph Campbell, The Mask Of God: Oriental Mythology (New York: Arkana, Penguin Books USA Inc., 1991).
cf. Kazuo Sekiyama, Sekkyo no Rekishiteki Kenkyu [The Historical Study of Preaching] (Japan: Hozokan, 1973).
cf. Kesao Miyamoto, "Shugyosha toshiteno Soryo" [Buddhist Priests as Ascetics], Bukkyo, no. 2 [1988.1] (Japan: Hozokan, 1988).
cf. Kojiro Nakai, Masahiro Nishitsunoi, and Haruo Misumi eds., Minzoku Geino Jiten [Fork Performing Arts Dictionary] (Japan: Tokyodo Shuppan, 1981).
cf. Kunio Toyoda, Nihonjin no Kotodama Shinko [Japanese Traditional Belief in the Power of Words] (Japan: Kodansha Gakujutsubunko, 1980).
cf. Kunio Yanagita, "Minyo no Ima to Mukashi" [Ballads of Times Now Past], Yanagita Kunio Zenshu 18 (Japan: Chikumabunko, 1990).
cf. Kunio Yanagita comp. and ed., Minzokugaku Jiten [The Dictionary of Folklore] (Japan: Tokyodo Shuppan, 1951).
cf. Masahide Sato, "Hisohizoku wo Megutte [Centering on "Being neither a priest nor a layman"]," Bukkyo, Independent Volume 1 [1988.11], feature issue: Shinran (Japan: Hozokan).
cf. Masahiko Hayashi ed., Etoki Mangekyo (Japan: San-Ichi Shobo, 1993).
cf. Masahiko Hayashi, "Nihon no Etoki," Etoki Kenkyu, II (1984.9).
cf. Masamichi Abe comp. and ed., Nihon no Kami-sama wo Shiru Jiten [Dictionary of Learning Japanese Gods] (Japan: Nihonbungei Sha, 1993).
cf. Masao Fujii, Kaimyo no Hanashi (Japan: Yoshikawa-Kobunkan, 2006).
cf. Minoru Shibata, "Kodai no Yogoto" [Yogoto of the Ancients], Nihon Shomin Shinkoshi Shinto Hen, Shibata Minoru Collected Edition 3, (Japan: Hozokan, 1984).
cf. Orikuchi Shinobu, "Kotodama Shinko" [The Belief in the Power of Words], Orikuchi Shinobu Zenshu Dai 20 Kan, Volume of Shinto Religion (Japan: Chukobunko, 1976).
cf. Orikuchi Shinobu, "Yamatojidai no Bungaku" [The Literary of Yamato Period], Orikuchi Shinobu Zenshu Dai 8 Kan (Japan: Chukobunko, 1976).
cf. Orikuchi Shinobu Zenshu Dai 12 Kan (Japan: Chukobunko, 1976).
cf. Orikuchi Shinobu Zenshu Dai 15 Kan (Japan: Chukobunko, 1976).
cf. Orikuchi Shinobu Zenshu 21 Nihon Geino-shi Rokko [The Collected Papers of Shinobu Orikuchi Vol. 21 The Six Lectures on the History of Japanese Performing Arts] (Japan: Chuokoron Sha, 1996).
cf. Ryoen Minamoto, "Koki Rennyo to Myokonin Akao no Doshu" ["Rennyo in His Late Stage and a Myokonin, Doshu in Akao"], Otanidaigaku Shin Shu Sogokenkyujuo, Rennyo no Sekai: Rennyo Shonin Gohyakunenki Kinen Ronshu [The World of Rennyo: the Collected Papers for The 500th Anniversary of Rennyo's Death] (Japan: Buneido, 1998).
cf. Ryuji Yoneyama, "Ketsumyaku no Shumon —Shinran-oyako no Ketsumyaku no Ronri— [The Denomination of the Lineage: The Lineage Logic of Shinran and Son]," Bukkyo, Independent Volume 1 [1988.11], feature issue: Shinran (Japan: Hozokan).
cf. Ryuken Sawa ed., Butsuzo Zuten [The Iconographical Dictionary of Images of Buddhas], Enlarged Edition (Japan: Yoshikawa Kobunkan, 1990).
cf. Seiya Fukunaga, Jodo Shin Shu Densho On no Kenkyu —Muromachi jidai Onin Shiryo toshite [The Study on the Traditional Sound of the Jodo Shin Denomination: As a Phonological Material of the Muromachi Period] (Japan: Kazama Shobo, 1963).
cf. Shigeyoshi Murakami, Nihon Shukyo Jiten [Encyclopaedia of Religions of Japan] (Japan: Kodan Sha, 1988).
cf. Shogo Watanabe ed., Geinobunkashi Jiten —Chusei hen [The Dictionary of Performing Artistic and Cultural History —the Medieval Period Volume] (Japan: Meicho Shuppan, 1991).
cf. Shoji Yoshikawa, "Shinran no Kyoketeki Shisei," Konanjoshidaigaku Kiyo, soritsu jussyunen kinengo ["The Edificational Attitude of Shinran" in The Journal of Konan Women's University, the commemoration number on the occasion of the 10th anniversary] (Konan Women's University, 1975).
cf. Shojun Bando, Mina wo Tonaeru —Kirisutokyo to Bukkyo no Shomyo [The Invocation of the Name: Shomyo in Christianity and Buddhism] (Japan: Nomburu, 1988).
cf. Sho-on Hattori, A Raft From the Other Shore: Honen and the way of Pure Land Buddhism (Japan: Jodo Shu Press, 2000).
cf. Shunsho Terakawa, Shinran Shonin: Gutoku to nanotta Bussha [Shinran Shonin: A Buddhist calling himself "Short-haired, ignorant person"] (Japan: Shin Shu Otani-ha Shumusho Shuppanbu, 1980).
cf. Shuyu Kanaoka, Koyu Tamura, and Akira Suganuma, "Bukkyo [Buddhism]" (the "Bukkyo" section) in Sekai no Shukyo to Kyoten • Sokaisetsu [The Religions of the World and the Canons •The total exegesis] (Japan: Jiyukokumin Sha, 1993).
cf. Susumu Yamamoto, Epitafu The 6th "Ensho" (Japan: Heibon Sha, 1990).
cf. The 1977 facsimile edition of Tetsuo Inoue ed., Shin Shu Somei Jiten [Biographical Dictionary of Shin Shu Priests] (Ryukoku University Shuppanbu, 1926).
cf. Tetsuo Yamaori, Nihon Bukkyoshiso no Genryu [The origins of the Japanese Buddhistic thought] (Japan: Kodan Sha, 1987).
cf. Toshihide Akamatsu, "Kamakura Bunka," Iwanami Koza Nihon Rekishi 5 Chusei 1 (Japan: Iwanami Shoten, 1967).
cf. Toshihide Akamatsu, "Shinran to Sono Jidai," Tanjo 800nen Kinen 'Shinran Shonin Ten' [The "Shinran Shonin Exhibition" to commemorate the 800th Anniversary of Shinran's birth] (Japan: Asahi Shinbun Sha, 1973).
cf. Yanagita Kunio Zenshu 13 Senzo no Hanashi Nihon no Matsuri Shinto to Minzokugaku hoka [The Collected Papers of Kunio Yanagita Vol. 13 Talk on the Ancestry, Japanese Festival, Shinto and Folklore, etc.] (Japan: Chikumabunko, 1990).
cf. Zenno Ishigami comp. and ed., Taisho University, Bukkyo no Ningengaku (Japan: Suzuki Shuppan, 1991).
 I removed 1. "Imperial era names in the Kamakura period" and 2. "Simplified border maps of the old provinces" from this Glossary page and placed them onto a newly created page titled "An Abbreviated Chronological Table of Kamakura Period" on November 18, 2007.URL: http://www.hdever.com/achronologicaltable.html |
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