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This is a modified presentation of the religion Shintoism who was once became a state religion of Japan.

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  1. 1. Mr. Re y Be le n PAREF S Outhridg e Afte rno o n S c ho o l
  2. 2. Shintoism • Shinto is the native religion in Japan with its roots stretching back to 500 B.C., and is a poly-theistic one venerating almost any natural objects ranging from mountains, rivers, water, rocks, trees, to dead notables. • To dedicate to those diverse deities, shrines were erected in a sacred spots throughout Japan. Among the natural phenomena, the sun is most appealing to the Japanese and the Sun Goddess is regarded as the principal deity of Shinto, particularly by the Imperial Family.
  3. 3. Ancestor Worship Polytheism Hype Natio r- nalism S hinto Great Creator The W of th orld e kam i Minimize sin & guilt
  4. 4. Amate ras u : S un Go dde s s
  5. 5. • The Japanese mythology relates that there was the goddess of the sun and the ruler of the heaven named Amaterasu {pronounced ah-mah-teh-rah-soo}, who was believed to be the legendary ancestor of the current Imperial Family. • Today's Emperor Akihito {ah-key-he-toh} is said to be the 125th direct descendant of Emperor Jinmu {gin-moo}, Japan's legendary first emperor and a mythical descendent of Amaterasu.
  6. 6. We dde d Ro c ks at Futami no Ura Union of Izanami & Izanagi
  7. 7. Tre e kami s urro unde d by s ac re d bo undarie s
  8. 8. • What all these versions of Shinto have in common is belief in kami, or "divinities"; Shinto itself is a Chinese-derived word which means "the way of the gods" (Shin="gods"; To, from Tao="the way"). What these kami are is hard to pin down. They range from the original creating gods to lesser gods, from the spirits of ancestors to any natural force or aspect of nature which inspires awe.
  9. 9. Torii Gate • The gate to a Shinto shrine (Jinja), the Torii designates holy ground. As Shinto is a religion of worship of nature spirits, or Kami, most Shinto shrines are located outdoors. The Gate marks the gateway between the physical and spiritual worlds, and is often the only ondication that one is entering a shrine. • The Torii is traditionally made in three pieces, three being a sacred number of the Kami. When entering a shrine, a visitor will clap their hands three times, and bow three times to summon the spirits.
  10. 10. To rii Gate , Miyajima Is land
  11. 11. To rii Gate in Winte r
  12. 12. To rii Gate
  13. 13. A Tunne l o f To rii Gate s Inari Mt., Kyo to
  14. 14. To rii Go ng
  15. 15. S hinto Te mple – “wo rs hip hall”
  16. 16. • Shrines to numerous Kami dot the Japanese landscape, and Shinto rituals are usually simple prayers of propitiation or thanksgiving. Common themes are fertility, luck in business or gambling, health, etc. At a shrine, a short prayer, ritual ablution, or bow is made, and offerings including fruit, wine, sweets, or rice. Sometimes a petition or desire is written on a piece of paper left tied to a twig near the shrine. Believers often erect Kami-dana, or personal altars, in their homes. Important personal rituals include baptismal rites and the introduction of children in the temple at the age of three for blessings.
  17. 17. • A full-fledged Shinto shrine is made of two-part structure as represented by the famous Nikko Toshogu Shrine in Tochigi Prefecture: • One is the oratory called Haiden, before which worshipers say a prayer, and the other is the inner sanctum called Honden, the main dwelling of the deity built behind the Haiden. In contrast to Buddhist temples, Honden contains no statues but houses symbolical and sacred objects of worship such as mirrors and swords, in which the spirit of the deity is believed to reside. As its nature of sanctuary shows, the laity can never get access to the sacred Honden. Haiden is more spacious than Honden as it is used for rituals and ceremonies.
  18. 18. S hinto Prie s t
  19. 19. Traditio nal S hinto We dding To day
  20. 20. Praye rs , Tho ug hts , & Wis he s at a S hinto S hrine
  21. 21. • One month after birth (31st day for boys and 32 days for girls, to be exact), parents and grand- parents bring him or her to a shrine, where they express gratitude to the Shinto deities for being given the baby and have shrine priest pray for his or her good health and happiness. • This is called Miyamairi {me-yah-my-re}, or Visit to Shinto Shrine, a Japanese version of infant Baptism. Today, most of Miyamairi is practiced between one month or 100 days after birth. • In famous and busy shrines, the ceremony is held every hour in turn. Naturally, weekends are busy. A group of a dozen or so babies and their families are usually brought in the hall, one group after another. There is no price list for the service. We usually pay 10,000 yen per baby.
  22. 22. • Next chance he or she may visit a shrine to mark the specific life stage is shichi-go-san {she-chee-goh-san} (seven-five-three) festival of November 15 when 3-year-old boys and girls, 5-year-old boys and seven- year-old girls (nominal age based on the calendar. In an extreme case, a baby born on December 31 will be two years old the next day) call on shrine to pray for good health and have blessing by the priest.
  23. 23. • The third time they are taken care of by Shinto priests will probably be wedding. • Ceremony usually takes place at hotels or gorgeous ceremony halls specifically designed for wedding with makeshift shrine altars. • Here again, a Shinto priest with whom the hotel or hall has contract presides the wedding rituals reciting prayer or norito. • Unique in wedding ceremony under Shinto is the practice called san-san-kudo {san-san-koo-doh} (three-three and nine times) or three-time exchange of nuptial cups. Three flat cups, almost like dishes with small, medium and large size, in which sake is powered and the gloom first sips it three times. Then, the bride follows him. The moment the ritual is finished, the couple officially become wedded under Shinto
  24. 24. Me mo rials fo r the Unbo rn
  25. 25. Jizo Stones
  26. 26. • Jizo was originally Bosatsu (Bodhisattva) of Buddhism who stood between the world of reality and the world of the dead and saved those who were on their way to the netherworld. Jizo was entrusted with the task of saving the people after the death of Buddha until such a time when the second Buddha would appear. so in Buddhism he had an important position, and coming to Japan he has been popularized, and has become the protector of the people. • Jizo is thought to be a mild, gentle and kind Bosatsu - Jizo-gao (Jizo-face) means a gentle, smiling face. • A Jizo-bosatsu helps relieve people who are suffering from distress. • Dosojin is a roadside icon usually placed at a street corner or at the foot of a bridge to protect pedestrians.
  27. 27. S hinto S ubway S hrine
  28. 28. • For a Shinto worshiper, purification is essential before offering a prayer and it is performed through exorcism called Harai {ha-rah-e}, cleaning one's body with water. It is called Misogi {me-soh-ghe}, and abstention from defilement or Imi {e-me}. In a large shrine, there is a stone wash-basin and visitors are required to rinse their mouth and hands for Misogi before approaching the deity. • Komainu {koh-mah-e-noo}, or guard dogs In front of shrines, there are a pair of dog-statues facing each other. They are guardian dogs and identical to Deva of Buddhist temples, one on the right always has its mouth open and as if to say 'ah' while the other has its mouth closed and looks like saying 'um.
  29. 29. Ho t S and Bath at Take g awara Ons e n , Be ppu Origins in the Nara Period (710-794)
  30. 30. Japane s e Baths Grandma & her grandson
  31. 31. Noh The ate r : 8-man c ho rus
  32. 32. Noh The ate r The Play Aoi no Ue
  33. 33. • is a major form of classic Japanese musical drama that has been performed since the 14th century (Ashikaga). Together with the closely-related kyōgen farce, it evolved from various popular, folk and aristocratic art forms. • By tradition, Noh actors and musicians never rehearse for performances together. Instead, each actor, musician, and choral chanter practices his or her fundamental movements, songs, and dances independently or under the tutelage of a senior member of the school.
  34. 34. Noh The ate r Woman Heavenly-being Demonness Traditional Weeping Gesture  Old Man Warrior Demon God
  35. 35. Kabuki The ate r An interior of a Kabuki theater.
  36. 36. • Kabuki is a traditional Japanese form of theater with its origins in the Edo period. Kabuki, in contrast to the older surviving Japanese art forms such as No, was the popular culture of the townspeople and not of the higher social classes. • Kabuki plays are about historical events, moral conflicts in love relationships and the like. The actors use an old fashioned language which is difficult to understand even for some Japanese people. They speak in a monotonous voice and are accompanied by traditional Japanese instruments.
  37. 37. • In the early years, both, men and women acted in Kabuki plays. Later during the Edo period, the Tokugawa shogunate forbade the acting to women, a restriction that survives to the present day. Several male kabuki actors are, therefore, specialized in playing female roles (onnagata).
  38. 38. Bunraku Puppe ts
  39. 39. Bunraku Puppe ts
  40. 40. • One of the three major classical theaters of Japan, with kabuki and noh drama, bunraku is a sophisticated puppet theater written and performed for adult audiences with cultivated sensibilities. It reached its peak in the late 17th and early 18th centuries, and at one time even eclipsed kabuki in popularity. • The puppets are one-half to full life-size. Each major character is jointly manipulated by three puppeteers, who appear on stage in full view of the audience. The main puppeteer generally appears bare-faced, while the others are "invisible" in black hoods. The main puppeteer manipulates the eyelids, eyeballs, eyebrows, mouth, and the right arm. A first assistant operates the left arm only, and a second assistant the legs. Puppet heads and costumes represent character types rather than individual characters.
  41. 41. • Sitting to the right of the stage on a slightly elevated platform are a chanter (tayu) who is the voice of all the puppets - men, women, and children - and a shamisen player, who provides musical punctuation for the drama. The art of bunraku lies in achieving perfect synchronization of these three elements - puppets, chanter and shamisen - for intense dramatic effect. There is much to interest the audience in a bunraku play - not just the action on stage, but also the masterful performances of the chanter and the shamisen player.
  42. 42. Chanoyu : Te a Ce re mo ny
  43. 43. Te a Ce re mo ny Equipme nt Green Tea
  44. 44. A Japane s e Te a Mas te r
  45. 45. A Japane s e Te a Ho us e
  46. 46. A Te a Ho us e Inte rio r
  47. 47. Origami : The Art o f Japane s e Pape r Fo lding
  48. 48. Origami : Mo de rn Adaptatio ns
  49. 49. Callig raphy
  50. 50. Callig raphy
  51. 51. Haiku : 17-s yllable po e m Spring departs. Birds cry Fishes' eyes are filled with tears. Matsuo Basho, Master of Haiku
  52. 52. Ikebana : The Art o f Japane s e Flo we r Arrang ing ˆ Tallest  Heaven ˆ Middle  Man ˆ Smallest  Earth
  53. 53. Bonzai : A Unique Me tho d o f Me ditatio n
  54. 54. Japane s e Garde n fo r Me ditatio n
  55. 55. Japane s e Ze n Garde n
  56. 56. Japane s e S and Garde n
  57. 57. Miniature Ro c k/S and Garde n
  58. 58. S hinto in Mo de rn Furniture Simplicity!
  59. 59. ARIGATO!