In Mountain Mandalas Allan G. Grapard provides a thought-provoking history of one aspect of the Japanese Shugendo tradition in Kyushu, by focusing on three cultic systems: Mount Hiko, Usa-Hachiman, and the Kunisaki Peninsula. Grapard draws from a rich range of theorists from the disciplines of geography, history, anthropology, sociology, and humanistic geography and situates the historical terrain of his research within a much larger context. This book includes detailed analyses of the geography of sacred sites, translations from many original texts, and discussions on rituals and social practices. Grapard studies Mount Hiko and the Kunisaki Peninsula, which was very influential in Japanese cultural and religious history throughout the ages. We are introduced to important information on archaic social structures and their religious traditions; the development of the cult to the deity Hachiman; a history of the interactions between Buddhism and local cults in Japan; a history of the Shugendo tradition of mountain religious ascetics, and much more. Mountain Mandalas sheds light on important aspects of Japan's religion and culture, and will be of interest to all scholars of Shinto and Japanese religion. Extensive translations of source material can be found on the book's webpage.

This Is A New Release Of The Original 1911 Edition.

In the mid-20th century, Korea was dubbed the last custodian of Confucianism, but it is now very hard to even call the country a truly Confucian society. Following this argument, Quo Vadis Korea? explores critically how some five decades of breakneck industrialization and unbridled modernization could ineluctably change the nation so fundamentally that their repercussions now sharply negate many basic principles of Confucianism in one way to another. This study is a critical overview of the politico-economic as well as socio-cultural characteristics of modern Korea from a rather different perspective. It discusses why many key objectives of industrialization and economic development projects were not really delivered as they were initially promised to the nation. They all had, consequently, significant ramifications for the entire Korean society, the way it functions now, and its peculiar reactions to strangers both inside and outside the peninsula. Shaped largely by academic studies, constant observation, and personal experiences, this book is tantamount to a detailed survey of lengthy and protracted fieldwork in which the author explains with rare candid clarity an appreciable chasm between the Korea he knew before landing on the peninsula and the one he studied incessantly and practically as a detached investigator in the place. By engaging this book, many unbiased and unprejudiced readers would have to acknowledge that the modern Korea is not all about certain brands or economic statistics that we often hear, but there are also many other social and cultural developments which the modernity project has imposed, somewhat arbitrarily, upon the nation.

The most important classical text of Chinese Medicine, The Yellow Emperor's Classic of Chinese Medicine is often seen as daunting by students who are faced with a variety of different translations, of which some may not be reliable. This introductory guide makes it accessible to all, providing a summary of each chapter which emphasises the clinical relevance of the text. The author draws out how the text can be used to inform and improve clinical practice. It avoids overly scholarly discussions, and does not dwell on the minutiae of translation, making this book an easy and enlightening read.

Bringing the rich Japanese Shinto artistic tradition to life, this handsome volume explores the significance of calligraphy, painting, sculpture, and the decorative arts within traditional kami veneration ceremonies A central feature of Japanese culture for many centuries, the veneration of kami deities-a practice often referred to as Shinto-has been a driving force behind a broad swath of visual art. Focusing on the Heian period (795-1185) through the Edo period (1615-1868), this generously illustrated volume brings the rich Shinto artistic tradition to life through works of calligraphy, painting, sculpture, and the decorative arts. Thematic essays authored by both American and Japanese scholars explore different dimensions of kami veneration and examine the significance of these objects-many of which have never been seen outside of Japan-in Shinto ceremonies.

This Is A New Release Of The Original 1911 Edition.