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negative) aspects of the self and all existence was a large part of his life, and the paradox of one living organism living at the expense of other lives is another fundamental cause of karmic suff ering and a recurrent theme in Kenji’s literature. This prob- lem of autophagy, where it is the tragedy

In: Miyazawa Kenji and His Illustrators

continent along with many aspects of Chinese civilization. It offered the Japanese superior knowledge of the calendar and a system of divination, both considered indispensable for the correct government of the country. The influence of the onmy{jji ~~~~~iii at court and in social life remained important

In: A Study into the Thought of Kōgyō Daishi Kakuban

enjoy Nobunaga' s support' .508 The undisputed leader of these courtiers was Konoe Sakihisa, a person whose position is vital to a correct understanding of Nobunaga's association with court circles towards the end of his life. Nobunaga used Sakihisa- a former Imperial chancellor- more than the court

In: Japonius Tyrannus

for a living, and even fraternisation with hunters, for example, is frowned upon.9 As discussed in Chapter 6, the issue of au- tophagy (life feeding on life itself) as a fundamental cause of suff ering was a major source of concern to Kenji. No animal should be hunted or killed unnec- essarily

In: Miyazawa Kenji and His Illustrators

sexual freedom of a longed- for original condition” incorporated both chrono- logically and geographically remote sources in the hope of fi nding alternative modes of living, com- municating, and practicing creativity—a phenome- non usually referred to in art as primitivism.2 However, attempting to

In: Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde

been concerned for his family in Edo. It may also be that as he grew older he came to wish for a more settled lifestyle. It is clear that while living in Echigo he had taken on several pupils, as he brought two of them back to Edo with him; one was Furuhashi Rinpei , whom Katei had met when he fi

In: Painting Nature for the Nation

questionable. In most passages Kakuban refers only to the more important events of his life and religious career, but often omits the details and reasons for his actions. The information he supplied in petitions and other official documents28 was written with a certain purpose in mind, and it was probably

In: A Study into the Thought of Kōgyō Daishi Kakuban

. During the last decade of his life Kuniyoshi continued to design prints that built on his previous discoveries and achievements. However, both the volume and quality of his output declined. 16 The artist is believed to have survived a stroke around 1855 and though he recovered and continued to work

In: Heroes of the Grand Pacification

paintings off er no new ideas or tech- nical innovations, viewers would fare better to study original antique works in museums and temples, instead their rehashes… Art is a refl ection of the culture of its era; there is no life in art that is cut off from its own time… It is my belief the two

In: Painting Circles

modality represents lower levels of probability. Like language, pictures and visual images also possess degrees of modality, where part of the interpersonal meta function usu- ally revolves around convincing viewers that the ‘truth value’ of a ‘visual statement’ is intrinsically true-to-life.42 A

In: Miyazawa Kenji and His Illustrators