The Benibana Museum (The Safflower Museum)

This pamphlet is a translation of "The Benebana Musesum" published by Kahoku Town in 1994.\nEnglish translation was prepared by Masanubu Hayakawa, Emertius Professor, Yamagata University.The publisher has permission to translate and publish from copyright owner

Hokusai and the Blue Revolution in Edo Prints

This article introduces new evidence for the spread of the use of the pigment Prussian blue in Japanese woodblock prints (nishiki-e), in the form of a fan print by Keisai Eisen, dated to the year 1829, and now in collection of the Brooklyn Museum. I argue that this must be the fan print of a “Landscape of China” described in a miscellany titled Masaki no kazura by an Edo bookseller Seisōdō Tōho, which identified it as the first in a new genre of aizuri (“blue print”) in which the color blue is printed in several different shades of Prussian blue. Records of the trade in Prussian blue through Nagasaki by both Dutch and Chinese ships are introduced, showing a sudden and steady increase in the volume and drop in the price of the pigment relative to the Dutch product in the years 1824-28. The earlier history of the use of Prussian blue in Japan, both in paintings and prints, is traced, turning finally to its use by Hokusai in his celebrated “Thirty-Six View of Mount Fuji,” proposing that the use of all blue in the earliest prints of the series was directly inspired by the Eisen fan print, and help us to better understand the order in which they appeared. Finally, the various meanings of the color blue in late Tokugawa culture are discussed

The Missouri Miner, January 11, 1957

https://scholarsmine.mst.edu/missouri_miner/2550/thumbnail.jp

The Origin and Development of the Mar Thoma Church of India

The purpose of this study was to make an intensive survey of the origin and develoment of the Mar Thoma Syrian Church of India. The name \u27St. Thomas Christians\u27 came to be known among the Church historians and among several Christian writers much earlier on account of the long standing tradition that St. Thomas, one of the twelve disciples of Christ, brought the Gospel to the South Western coast of India early in the second half of the first century and founded the first seven Churches in South India. The reliability of this tradition has been a matter of much controversy and remains to this day. This group of Christians which traces its beginning back do~m to the first century and boas tingly connects it with St. Thomas has grown to be an independent and indigenous denomination of India today. The question arises in one\u27s mind as to the validity and truth involved in this claim and long cherished heritage of the St. Thomas Christians. This research is directed to a brief survey into the subject

Pennsylvania Folklife Vol. 36, No. 3

• Die Farbarei: Bethlehem\u27s 18th Century Dye House • Daniel Sudermann, Schwenkfelder Hymn Writer • The Pernicious Effects of Witness upon Plain-Worldly Relations • Traditional Slovak Courtship and Wedding Customs • Aldes un Neies / Old & Newhttps://digitalcommons.ursinus.edu/pafolklifemag/1115/thumbnail.jp

Daily Eastern News: November 03, 1989

https://thekeep.eiu.edu/den_1989_nov/1002/thumbnail.jp

Marginalized yet Devoted: Buddhist Paintings Commissioned by Nuns of the Early Joseon Palace Cloisters

This dissertation studies the three extant Buddhist paintings commissioned by Buddhist nuns in the palace cloisters of the sixteenth-century Joseon dynasty. The examination of the theme, iconography, and composition of each painting is incorporated to interpret their religious significance from the perspective of the social status of their patrons. The nun-patrons are identified either as widowed royal concubines who were removed from their residences and the position of influence in the inner quarters to live with fellow concubines in a common royal-residence-turned-cloister on the outskirts of the palace after their royal husbands died or as officially ordained practitioners from non-royal families. These women certainly experienced a multifaceted marginality at the centrum of the patriarchal Confucian polity in the religion, gender, family, and marriage systems. From this perspective, the paintings are presented as a visualization of the salvational aspirations of Buddhist women of the sixteenth-century Joseon court. By replacing the judgment scene above in the usual Ten Kings paintings with the Ksitigarbha assembly scene and combining it with the depiction of retribution in hell below, Ksitigarbha and the Ten Kings of Hell switches the thematic emphasis from "punishment through judgment" to "salvation from punishment," picturing the hope for salvation of the patrons. The Painting of King Sala adds the image of Lady Wonang at the critical moment of salvation, when the literature of the narrative relates only Prince Allakguk taken to the Land of Ultimate Bliss, exhibiting a greater hope for women's "salvation to paradise." The image of a fellow court woman crossing over to paradise in a dragon boat must have reassured nuns in the cloister of their own salvation. The Assembly for Welcoming the Dragon Boat of the Nine Grades of Rebirth in the Western Paradise highlights the scene where Buddha Amitabha ferries in salvific dragon boat the soul of a female devotee, which is the portrayal of the woman to whom the painting was dedicated. It depicts a more personalized prayer for "the salvation of a specific individual." The paintings are visual embodiments of the religious aspirations, patronage, and practice of Buddhist women of the Joseon palace cloisters

Chicora research contribution 280

This survey was done to assess the archaeological significance of the site