Podcasts about Daishi

For the first regular episode of the year (excepting our New Year's recap) we take a look at the New Year Traditions at Temmu's court.  How did the court celebrate the New Year in the late 7th century? For more, check out our blogpost:  https://sengokudaimyo.com/podcast/episode-141 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 141: Temmu's New Year's Traditions   The chill winter air meant that most of the assembled crowd had donned multiple layers of robes.  Men and women had assembled together, upon the open, rock-covered courtyard, both to see and be seen.  To the north and east of the courtyard were the walls and gates of the buildings that made up the royal palace, the rooves of the buildings just visible beyond the gates. The onlookers stood arrayed around the open lanes that had been created for the event—at one end of the rocky field were targets, while at the other were archers, also arrayed in their finest outfits.  While technically they wore hunting robes, cut to allow greater movement in the arm, many of these fabrics had no business being anywhere near a moor or the dirt of open fields.  After all, this wasn't just some hunt:  They were demonstrating their skills in the center of the State.  At the officials' command, the archers let loose their arrows.  The crowd murmured at the soft crack of the bowstring, the faint whisper of arrow as the fletchings cut through the air, and the thud as the arrows struck their targets.  Looking downrange, approval bubbled through the crowd: the targets were well-struck.  Behind the archers on the field, another group awaited their turn. The events of the day would be the talk of the court, from the lowest clerk to the highest prince , for days to come.   Not just the well-placed shot, but also the grace and poise of the one who had let loose an arrow of particular note.  And heaven forbid an arrow miss its target.  Even kicking up stones or scraping the earth could have negative social consequences.  A particularly good showing could inspire poetry, and beyond the prizes being offered to the winner, could also bring notice to those from more obscure backgrounds. The new year had just started, and a good performance might be just what was needed to help put the rest of the year on a good footing.     Welcome back!  This is the first episode of the new year, 2026, and we are still going through the reign of Ohoama, aka Temmu Tenno, covering the period from 672 to 686. Before we get started, though, a quick shout out to Suzuki for supporting us on Patreon.  It means a lot and helps us keep this thing going.  If you would like to support us or our efforts to maintain the website, where we also have the Armor manual, clothing, and a miscellany on various topics, we have information at Sengokudaimyo.com and we will have more information at the end of this and every episode.  Support is appreciated as I really do want to try and minimize ads—I don't put any into the podcast myself, though some platforms may place ads around the podcast, which I cannot always control.  Now we've covered a lot this reign, but this episode we are going to cover three things in particular.  First off, and perhaps a bit of a tangent, we'll talk about some of the issues with the Chronicles when it comes to reading it,especially in translation.  It seems quite clear to me that even the sources that the Chroniclers were using weren't always in agreement with each other on how they spelled certain things or even in properly recording when things happened. After that we'll cover the major topics of this episode, focusing primarily on the New Year traditions of the court—we'll look at the major events of the first month for each year in the reign, allowing us to see some of the similarities, and differences. Finally, we'll look at the last year of Ohoama's reign, particularly as he grew ill, because it can be a fascinating question:  What did people do when disease struck before we had modern medicine?  Here the Chronicles reveal a lot about not only the beliefs of the time, but of their syncretism: how people were willing to reach out to whatever power they could in order to cure disease.  Whether it was Yin-yang divination, beseeching the local kami, or attempting to make merit, all of these things were on the table when it came to illness and mortality. And so, let's get into it. One of the first things I want to talk about is the problem that we have in trying to read the Chronicles, both in the way they are written and then the translation issue on top of that.  Even in Japanese the Chronicles have to be translated out of an ancient form of kanbun—basically a Japanese version of Chinese, using Sinitic characters.  Like any document written by non-native speakers, the Chronicles have their idiosyncrasies that make it different from what someone in Chang'an might be writing at the same time.  There are times and places where it is clear that something is meant to be read in the Japanese pronunciation, which itself was different from modern Japanese.  Add to this the fact that there are many times that different Sinitic characters sound alike in Japanese—especially in modern Japanese.  So any English translation of the Chronicles which doesn't give the actual characters in the source text can add to the confusion.  This is why I like to consult either the Japanese Historical Text Initiative or an electronic version of the National History series text—though even those have issues at times when the characters used in the text don't exist in modern character sets, though that seems to be less and less of a problem. One example I want to give of the complexities of reading the Chronicles, and the need to dive deeper into the original language and consult multiple versions, is a set of records for Ki no Omi no Abemaro and others.  He is our first mention of a member of the Ki family: on the 9th day of the 8th month of 673, the first year since Ohoama's ascension and one year after the Jinshin no Ran, we are told that Ki no Omi no Abemaro and others were given favors and rewards for their service during the war in Iga province.  Indeed, Ki no Omi no Abemaro is listed prominently in the records of the Jinshin no Ran and appears to have been one of the generals for Ohoama and the Yoshino faction in general.  Less than a year later, on the 28th day of the 2nd month, Ki no Omi no Abemaro died and was posthumously awarded the rank of Daishi, which was 5th from the top in the old system of 26 ranks.  A rather respectable rank, to be sure. Later that same year we get a note that Ki no Omi no KATAmaro—another member of the family, apparently--was appointed, along with a "Prince Mino" as a commissioner for the erection of the Great Temple of Takechi. Two years later, however, we get a record on the 22nd day of the 4th month of 676 that the sovereign, Ohoama, sent an order to the Governor of Mino telling him to let the children of Ki no Omi no Abemaro, resident in the district of Toki, be removed to the East country and become peasants in that country.  On the face of it, this appears to be an incredible fall from grace.  Ki no Omi no Abemaro is basically one of the top generals and heroes of the Jinshin no Ran, but his children are so unruly that they are banished to the East and stripped of their noble status?  There has to be a story there, right? Then in 679, on the 3rd day of the 2nd month, we are told that Ki no Omi no Katamaro died.  For his service in the Jinshin War he received the posthumous rank of Upper Daikin.  That would have been roughly the 7th rank—two below Ki no Abemaro.  So was the Ki family back in the good graces of the court?  What is going on? First off, when we go to the original text, we see that Aston, whose translation of the Nihon Shoki we've been working on Ihas made an apparent error in translation.  Remember, Aston was translating the Chronicles back in 1896, without the aid of modern computers, along with a lot of other research that has happened since then, and I can hardly fault him for missing things here and there.  This is why, if you cannot check the original, you may want to also look at the new translation from John Bentley.  Here we can see that he translates the name not as "Ki no Omi no Abemaro", but rather that of "Ki no Omi no KASAmaro".  And if we compare Ki no Omi no KaSAmaro with the previous entry on Ki no Omi no KaTAmaro we can see that these are actually the exact same names except for a single character.  Which leads us to the question:  Are these the same person, and the scribes simply miswrote one of the characters in the name?  It may not even be on the Chroniclers so much as whatever texts they were, themselves, working on.  This isn't helped by the fact that we later on see another entry for Ki no KATAmaro, but that one uses character for "KATA", meaning "hard", using the kun'yomi, or Japanese reading, rather than using two phonetic characters in the on'yomi reading.  So is this just another way to write "KATAmaro" or is this a different person altogether? Ultimately, we cannot be entirely sure.  It does seem wild that there would be two "Ki no Omi no Katamaro" at court at the same time and nobody otherwise distinguished the two.  The question about KaSAmaro and KaTAmaro, and whose kids were sent into exile, is a bit harder to untangle. And, truth be told, it is ultimately a minor point.  We have only a couple of lines here, and maybe these passages will help illuminate something later in the histories, but for now, they are just fragments of the story of what was happening.  Parts of the tattered tapestry from which the royal history was ripped out and restitched together, the rest of the story largely discarded, unless it made its way to us through other means. The Chronicles may be flawed, but they are still our main source for the period, and while we might challenge individual items, we still get a glimpse at how things operated back at this time.  For instance, if we look at the events happening around the New Year, we can see some common threads. The New Year is an important tradition in many cultures.  Whether it was a solar or lunar cycle—or some combination—the new year indicated a new cycle, and was often accompanied by associated symbols and rituals.  Today in the US it is often celebrated with fireworks and champagne, followed by making resolutions for the new year.  In Japan, people will often go to their local shrine or temple for an important first visit, and temple bells will ring out 108 times. Another tradition is the osechi-ryori, the  traditional new years foods.  This has grown over time from a tradition of eating a large bowl of rice to various other foods that are seen as auspicious or having special properties, such as the hardening of teeth—a major concern before the era of modern dental hygiene!  Then there are traditions such as the Kagami Biraki, or opening of the mirror, and the creation of special mochi, or rice cakes for the purpose.  Of course all of these traditions started somewhere and have evolved over time, so what do we know about the New Year celebrations during the late 7th century? One caveat: in the Chronicles, we only really see what was happening in the court, and the Yamato court at that.  There may have been local traditions that others were following that, unless we find documentation about them, we likely would never know.  But many of the court traditions were passed down to later generations. These traditions appear to include the giving of gifts; large, celebratory banquets; and the annual archery tournament. Banquets are some of the first and most common things we see.  We see a banquet as Ohoama assumed the throne in 673—which probably was the event that overshadowed anything else they might have done that year.  The following year, 674, there doesn't seem to have been much recorded, and I wonder if they were still pulling everything together after the turmoil of Ohoama's ascension.  And so it is that in the first month of 675 we really get to see the annual new year's events in their full form.  On the second day of that year, from the Royal Princes on down, all of the public functionaries presented their respects to the sovereign.  I suspect that this was a large ceremony, where everyone gathered in the courtyard of the palace together or something similar, not that each person individually went up and presented their respects—I doubt Ohoama would have wanted to sit through all of that.  Also, as we've already seen, there were limits on what parts of the palace different functionaries were allowed to enter.  So some of these well-wishers may have been "outside", others in the courtyard, and others in the palace building itself, depending on their rank and importance in the bureaucratic hierarchy. On the following day, all public functionaries, from the initial rank upwards, presented firewood.  Aston notes that this is the first mention of what would become a yearly practice.  Firewood may not seem like much, but it would have likely been important to keeping things running, especially given how early people were supposed to arrive at the palace and administrative complex each day.  This wasn't firewood for a fireplace—they didn't have those—but probably would have been used either for cooking or, I suspect, for the large braziers that burned with wood and pitch to light the darkness, particularly in the winter months.  Firewood could also be processed into smaller pieces of coal for other uses.  It is interesting that for the first ceremony, the Chronicles describe the court from the Royal Princes on down, while for the giving of firewood the order is from the initial—which is to say the lowest—ranks upwards.  This could indicate the order in which things progressed in these cases. Several days after that, on the 7th day of the first month, a banquet was given at court for the Ministers—so only the higher ranking functionaries.  But ten days later, on the 17th, everyone of rank—the Ministers of State; the Daibu, or high officials; and all of the public functionaries from the initial rank upwards had an archery meeting in the Court of the Western Gate. Archery and archery contests had been important to the Yamato people for ages—and the same on the continent.  Confucius, in his day, suggested that archery was a martial skill that even nobles should cultivate.  I believe we've noted before how archery could be used both for warfare and for just feeding your family.  As such, it was considered a particularly useful skill for just about everyone to have.  It probably also helped that it was a martial skill that noblemen and others could use to show off without actually risking any injury to themselves in the process.  I'm just saying.  And as we described at the top of the episode, this particular archery contest would, for both participants and spectators, likely have been a chance to show off the top of their game, whether in martial prowess, clothing, or behavior. And since we are looking at the new year's celebrations, let's keep this going and look at later years in Ohoama's reign. As I go through these you'll start to see the patterns, where the events I've just described will generally recur year after year, but not identically, sometimes with a shuffle in the schedule. In 676, we see that the Ministers and public functionaries pay their respects on the first day of the new year.  On the 4th day, the sovereign granted gifts to the higher level officials, from Royal Prince Takechi, down to the high officials, or Daibu, of Shoukin rank.  Their not so secret Santa gifts included robes, hakama, lined garments, obi for their waist, leg straps, and staves, or walking sticks.  We are also told that everyone above the rank of Shoukin also got an armrest thrown in, as well.  Further gifts or grants were given out several days later, on the 7th, to everyone from Shoukin on up, based on their individual circumstances.  Then, on the 15th, we again see all of the functionaries present firewood and then they were all entertained at a court banquet. The following day they held the annual new year's archery contest, with prizes, at the court of the western gate.  Those who hit the target received prizes of different values.  In his recent translation of the Nihon Shoki, Bentley references Kuroita on Article 41 of Miscellaneous Statutes, saying that this archery event was apparently a regular new year's occurrence, and even the prizes were noted as varying over time. The same day they held the archery contest, that year, Ohoama held a banquet at the Shima Palace.  Shima was the name given to the Soga Prime Minister, back in the day, so I assume that this was at or near the site of the old Soga residence? In 677, by comparison, we don't see nearly as much referenced.  There is archery at the South Gate, vice the west gate, but that is it.  The festivities in 678 similarly only talk about the archery at the south gate.  There is also mention of a preparation for worshipping the kami of heaven and earth, for which a purification was held throughout the state.  In addition, an abstinence palace, or saiguu, was erected on the bank of the Kurahashi river.  Kurahashi appears to refer to a tributary of the Ohara river, in Sakurai.  This feels less like a New Year's celebration, however, and more like a sign of merit-making.  The Saiguu would have likely been to prepare for a trip to Ise shrine, and three months later Ohoama was preparing to go to the Saiguu, but that is when Princess Towochi suddenly died, and they scuttled the plans. In 679, the court greeted the New Year with a new decree.  Ohoama declared that Princes, Ministers, and public functionaries—anyone in service to the government, basically, were to refrain from paying respects during New Years or other ceremonies to anyone except relatives of the grade of elder brother, elder sister, and above, or to the senior members of the Houses.  Princes weren't even to pay respects to their own mothers unless they were, themselves, princesses.  Ministers were likewise not to pay respects to their mothers if they were of "mean" rank.  In other words, if they were commoners. These kinds of statutes are interesting.  First of all, you ask yourself why?  In all likelihood, there were various local traditions and individuals paid respects to their parents as well as to others to whom they owed respect for one reason or another.  Here the State is ordering society such that there is a clear hierarchy, at least among the members of the court.   Since women often found advancement by marrying up, it was usual for one's mother to have been born a lower rank in society than oneself.  And so we see them enforcing the social order. That new order was based on Confucian concepts of hierarchy, and this seems to go along with those same ideas. What we don't really see is how this was enforced—if at all.  The day after that, the yearly archery competition took place at the West Gate of the palace. The next year, 680, we see a New Year's Banquet at the Court of the Great Hall.  Ohoama himself occupied the Mukai-kodono, which appears to refer to one of the smaller wings.  Based on the palace layout that we see in the posthole remains, this probably means that he was set up in the smaller wing, likely in a more intimate space, while most of the other guests were in the large hall, maintaining that crucial separation of sovereign and subjects. This New Year's archery event included Princes of the Blood all the way down to the rank of Shouken—the very lowest rank in the court—and it was held at the South Gate. You may be noticing a pattern, that the archery competition is listed as being held at either the south or west gates.  The south gate probably refers to the main gate of the later Okamoto—aka the Kiyomihara—palace.  The West gate refers to the west gate of the Ebinoko enclosure.   We talked about these and the general layout of the palace back in Episode 134, and you can check out that podcast blog post for some images of what things looked like, as well.  These gates were on the north and east sides of a large, rectangular courtyard, which was likely the actual event location.  So it isn't as if these were separate areas, just a difference of where things were set up in what was otherwise the same relative space. The following year, 681, we see similar ceremonies.  We see offerings made to the kami of Heaven and Earth, and we once again see a note about various functionaries paying their respects at court.  Even though this wasn't mentioned every year, it could have been an annual thing and just wasn't always recorded so the Chroniclers just wrote down what they had records for.  There are certainly other things we don't necessarily witness in the records, such as the annual promotions and promulgations.  We see irregular promotions, of course, such as on someone's passing, but the regular administration of the government and promotions of people to new positions is not something we really see regularly documented, since it doesn't really shed much light on the sovereign and the royal household.  And so we sometimes see things if they get mentioned, but otherwise we only see glimpses.  That would change as records became more administrative and the histories were more about simply recording what was happening—though still from a particular angle.  At this point, however, we aren't dealing with a single court record, but rather with numerous records, stories, and recollections.  That same year, 681, we also see another banquet, with Ohoama situated in the Mukai no Kodono, while the Princes of the Blood and non-royal Princes were both introduced into the inner reception chamber.  Ministers attended in the outer reception chamber.  They all received sake and musical performances, and rank advancements were given out.  Kusakabe no Kihi no Ohogata was graduated from the rank of Upper Daisen to Lower Daikin, and given the title of Naniwa no Muraji.  A few days later, Sakahibe no Muraji no Iwazumi was granted a fief with 60 horses and received presents of coarse silk, floss silk, cloth, and one hundred mattocks—the last one being a rather interesting gift, I have to admit.  Of course, in true Chronicles fashion, we have no idea why these gifts were made—we don't even have another reference to Iwazumi around there, but he must have done something. We are later told that there was the annual archery shoot, and then a decree, possibly unrelated to New Years, that the various provinces were ordered to repair the shrines to the kami of heaven and earth. The year 682 is an anomaly.  There is no mention of a banquet, nor of an archery tournament.  I wonder if this may have to do with some of the sad events of that first month.  While it started fine—Toneri no Miyatsuko no Nukamushi was raised from Daisen to Lower Shoukin—we are told that on the 18th, Lady Higami, one of Ohoama's consorts, died in the palace.  The next day there was an earthquake, and she was buried on the 27th.  A prominent illness and death may have put a pall on the ceremonies, and could explain why we don't see any mention of them for that year. It is also possible that some of this New Year tradition had become so routine that people were no longer commenting on it, and therefore the Chroniclers weren't including references to it. The following year, in 683, we again see the functionaries paying their respects.  We also see the presentation of a three legged sparrow by the Viceroy of Tsukushi, Tajihi no Mabito no Shima, along with others.  A three legged sparrow would have been something: it is reminiscent of the three legged crow, often depicted in the sun.  It is unclear if it was still alive, but that wasn't the point.  They invited the Princes of the Blood down to the Ministers to great hall, the Daigokuden, for a banquet, where the three legged sparrow was displayed. .  Later that month, Ohoama issued a decree in regards to all of the auspicious omens and made presents to everyone, from Shouken rank upwards.  There was also a general amnesty—all crimes were pardoned, from capital offenses on down, and all forced labor was remitted, so that people didn't have to provide the normal service.  The phrasing for this particular entry is intriguing.  Ohoama is mentioned as Yamato Neko Sumera no Mikoto and is specifically called a "God Incarnate".  This is one of the rare times that we see the Chronicles explicitly call out the sovereign as a living deity.  Of course, they trace the royal lineage back to Amaterasu, but there isn't a lot suggesting that the sovereign is necessarily a deity. And in reality, this was probably something that was more honorific than anything else.  Heck, at times in Japanese history we would see sovereigns selling their calligraphy to help keep the royal palace funded while warriors went around actually being in charge of things.  However, this divine language did show up in the 19th and 20th century, especially as the Tennou, now called Emperor in English terminology, once again was recognized as the Head of State, and people would actually pray to him.  Not necessarily like praying at a shrine, but out of respect.  And remember, a lot of time the Tennou was kept out of sight of regular people and hidden, much like the way that the kami were treated.  The concept of the Emperor's divinity was very much tied up in the elevation of the State and the general sense of Nationalism that had gripped Japan in the early half of the 20th century.  And so the allies quite explicitly had Emperor Showa renounce his divinity after Japan  World War II. Those studying Japanese history have probably heard of this concept, and so it is interesting to see evidence of it here, as well as the nature of the royal house, where the sovereign is kept at a distance from those of lower rank, unless they are directly serving him.  But it was not as though the sovereign was a god in the sense of being all powerful.  Even if he were considered a living, visible kami, the kami were not omnipotent, and there was no getting over the fact that our particular sovereign, Ohoama, was getting older.  Only a year or so earlier, he had suffered a rather bad illness, so he clearly was not invincible.  And it is of course possible that this language was simply royal exaggeration, rather than any attempt to define the sovereign as something more than he was.  Still, that concept would continue to play a part throughout Japanese history. The same day in 683 that Ohoama issued the pardons, we are told that there was a special performance at the Woharida Court of dance and music from Goguryeo, Baekje, and Silla—the "Three Countries" of the Korean peninsula, even if only one of them was still going strong.  The Woharida palace is thought to have been north, along the banks of the Asuka River.  It may have been moved over time—there appears to have been a palace in the Furumiya area, near Toyoura, but there is also evidence of a palace by a shared name over by Ikazuchi-no-oka, on the other side of the river.  Excavations at Ikazuchi no oka revealed pottery with the name of the palace, suggesting that this was the site, but even then, that pottery was from the later Tempyo era.  Regardless, it seems that the Asuka valley was just chock full of palaces, new and old, though the older ones were not as regularly used for government functions, one assumes. The following year, 684, we again get told about the annual archery shoot.  It took place in the Eastern court this time, with Ministers in attendance.  Apparently they had men skilled in archery shooting alongside palace attendants and little people—the word used in Japanese is "Shuju" or "Hikihito".  This word is often translated as "dwarf"; it appears to be a derogatory term for anyone considered short of stature, though it is also used to refer more generally to those seen as either lacking wit or to actors and performers. This isn't the first time we see the term.  Back in 675, about 9 years prior, Ohoama had sent orders to a number of regions near the capital, from Awaji to Tamba, to Afumi and to Mino and Wohari, among others, to send as tribute common people who could sing, shuju—or dwarfs—and jugglers.  More generally they seem to be referring to entertainers, and it strikes me that could be what is meant here.  Either way, the entertainment industry was hardly a lucrative one, and we can see that performers are almost more of a commodity, to be "paid" as tribute, rather than a professional who is "hired" to work.  I suspect that, as in many other times and places, individuals who were shorter than average often found work as entertainers in this sense—whether they wished it or not. The year 685 we don't see any mention of archery, though it probably still happened.  Instead the Chronicles focus on the various government officials paying their respects to their sovereign.  The rest of the entries for the month are largely concerned with changes to the rank system as of that year. The year 686, we get the last records of various new years festivals—four months later, the sovereign would grow terribly ill, and he would eventually pass away later that year.  However, for those still celebrating the new year in 686, that was all in the future. The last year of Ohoama's reign started out relatively like others. Ohoama went to the Daigokuden, the Great Hall of Audience, and gave a banquet to the Princes and High Officials.  There he decided to have something of a riddle challenge.  He would ask riddles, and then offer prizes for the correct answer. And no, unfortunately we don't have any of the riddles, at least that I have seen.  Aston calls these "conundrums" and notes that they are specifically nonsensical questions, and provides examples such as "Why does a horse, after a rapid run, listen to the earth? Why does a dog, when he goes slowly, raise his leg?"  Ohoama's son, Prince Takechi, answered correctly, and so did Prince Ise.  Their prizes differed in content, but in both cases were pretty extensive.  The winners received ceremonial robes, brocade or purple hakama, numerous bolts of coarse silk, many pounds of thread, hundreds of pounds of flossed Silk, and hundreds of bolts of cloth. I think that makes it quite a bit more lucrative than any of the quiz nights I've ever been to. Later that month, there was another banquet, this time for nine Buddhist monks of Daikan-daiji. Besides its status as a national temple, this may have also been related to the year before, when Ohoama had fallen ill, and prayers had been offered at Daikandaiji for his recovery.  The courthad likewise provided gifts to the temple in the last month of the previous year, and then, at the banquet, gave to the attending monks silk and cloth, based on their rank. But that wasn't the end of the gifts.  The following day the Princes and High Officials all received upper garments and hakama—likely referring to official garments—each getting one suit, each. Then, on the 13th day of the new year, the court invited 20 exceptional individuals to a banquet.  These were talented people, professors, divination specialists, and physicians.  They were also wined and dined and presented various gifts. On the 16th day, the Princes and High Officials were then invited to a banquet in the Daigokuden.  They were given gifts of silk and cloth, based on their rank.  Then they held another riddle competition, with correct answers rewarded with gifts of coarse and flossed silk. This was only a short time after disaster had struck, though a bit removed—two days earlier, in the evening, the royal storehouse at Naniwa had caught fire, eventually burning the entire Toyosaki palace complex to the ground.  Some claimed that it was actually started at a private residence,  that of Ato no Muraji no Kusuri, and then spread to the Palace.  In the end, only the military storehouse was spared. This would have been quite the tragedy for the government, but it did not halt the festivities happening down in Asuka.  The Naniwa Palace appears to have been a major government center for the administration of the state, but it was not the royal court which had been in Asuka for over a decade.  Indeed, I imagine that the news probably reached Asuka around the time of the Banquet itself. And yet, rather than putting a damper on the festivities, they continued another couple of days – presumably everything was already prepared and there was no point in canceling.  On the 17th, the court sponsored a banquet in the rear palace, presumably for the Queen and members of the imperial family.  Then the following day there was a great revel at the palace.  Ohoama took his place in front of the royal muro and made presents to performers, as well as to the singers.  As before everything varied according to rank. Asuka wasn't the only place to get in on the festivities.  The same month, the court also sponsored a banquet for the Silla envoys in Tsukushi, sending Prince Kawachi and others. Regrettably, that would be the last new year that Ohoama would see.  In the fifth month, he grew ill, and what we see in the Chronicles after that is an interesting look into how people of the time dealt with sickness. First, the court had the Sutra of Yakushi expounded at Kawaradera and held a Buddhist retreat in the palace, inviting monks to come and expound Buddhist teachings.  Yakushi, or Yakushi Nyorai—Bhaisajyaguru in Sanskrit—was known as the Medicine Buddha, and his name in Sinitic characters was basically "Master of Medicine".  It is said that he was responsible for the Eastern Pure Land, and that, as a Bodhisattva, he had made 12 great vows to cure the illnesses of all living beings in the world.  For that reason, Yakushi Nyorai was often called upon to cure illness.  In fact, six years earlier, when the Queen, Uno no Sarara Hime, had taken ill, Ohoama erected an entire temple to Yakushi Nyorai, known as Yakushiji.  He then had 100 people take vows as priests, and they attributed her recovery to this effort. In this case, however, it seems that it didn't have quite such an effect, and Ohoama remained under the weather.  We are also told that the court sent Palace Attendants, the Oho-toneri, to clean the pagodas of various temples and that a general amnesty was announced for all under heaven, emptying the prisons.  All of this points to the idea of making merit in the hope of bringing good karma, and thus healing. But the following month, Ohoama was still ill.  Divination was performed by the Onmyoji, the court diviners, and they claimed that there was a curse from Kusanagi, the sword that is considered one of the three main royal symbols.  This is the sword that was said to have been found by Susanowo in the tale of Yamata no Worochi, and which gained its name, Kusanagi, when used by Yamato Takeru, cutting down the grass to save him when his enemies tried to catch him by setting fire to the field where he was hunting.  For more on that, check out Episodes 34 and 35. Given the importance of Kusanagi, I suspect that the idea of destroying it to remove the curse was out of the question, and so it was sent to Atsuta Shrine, where it was enshrined and would largely stay except when needed for enthronement ceremonies.  And yet, even after the sword was taken away, the illness remained.  Six days later, on the 16th day of the 6th month, the court sent Prince Ise and officials to Asukadera and asked the monks there to make and oath with the Buddha to make Ohoama whole through the power of the Three Treasures of Buddhism.   For their work, the three Buddhist Officers, the Master of the Law, and the Upadhyaya and temple directors, as well as those monks with the rank of "master" each received a donation of one robe and one cover, or "Ohi". Three days later, the court ordered the hundred officials to go to Kawaradera and perfom the ceremony of lighting lanterns and giving offerings to Buddha.  Then they held a great feast and offered repentance for their transgressions.  All of this sounds like a continued attempt to make merit for the state, and thus for Ohoama. We then see the court granting the monks Hounin and Gishou 30 stipend-households to provide for them in their old age, which may be more merit-making, or possibly was related to some of the many other activities so far.  There are a few issues with this entry, and Aston and Bentley don't seem to agree on the actual date.  Bentley has it on the 28th, but that seems odd as it comes before the entry for the 22nd of the same month.  Aston has it as the 20th, but then claimes that there is something odd about the date of the 22nd. On the 22nd, we are simply told that the district kitchen of Nabari caught fire.  Aston notes that this would have been the official government arm in the district gathering food to supply the royal household—rather than being a kitchen in terms of a place to prepare food. Merit-making continued into the 7th month.  We see the Soujou and Soudzu, the primary and secondary prelates of the Asukadera, performing ritual repentance.  The following day there is another general amnesty, and Aston specifically mentions performing a Oho-harai, or cleansing. The day after taxes were halved from the provinces and corvee labor with local conscripted labor was exempted for the year.  Then we see the court presenting paper offerings to the Kunikasu Kami in Ki provinces, as well as the four shrines in Asuka and the Great Suminoe—aka Sumiyoshi—shrine. On the 8th day of the 7th month, 100 monks were invited to the court to read the Golden Light Sutra—Konkoymyou kyou.  And on the 15th there was another court issued amnesty. Despite all of these attempts to make merit and intercede with the Buddha or with various kami, Ohoama's illness continued.  We see that the court issued a decree that all things that should occur, great or small, should be reported to the queen and the crown prince—presumably because Ohoama was no longer in a state to be able to do so. Continuing with their efforts, the court declared that destitute commoners who had been forced to borrow rice seed or money before the 12th month of the previous year would be exempted from repayment.  And then the court changed the name of the year to Akami-tori, or Shuuchou.  They also renamed the palace in Asuka to "Kiyomihara"—again, go check Episode 134 for more on the palace.  "Shuuchou" is the Red Bird, likely referring to Suzaku, though Aston also points out that "Asuka" here is given as "flying bird", as well, and there had been numerous bird-related omens reported throughout the reign. Although these names would not have been used prior to this point—the 7th month of the final year of the reign—the Chroniclers applied the nengo, Shuuchou, to all of the entries for this year, and the name of the palace is often given as "Kiyomihara" is given to distinguish it from the Later Okamoto Palace, even though it was simply the latter palace with the addition of the Ebinoko enclosure. The changing of the era name was likely another attempt to change the seemingly inauspicious year, along with all of the merit-making that the court had been undergoing. And yet they kept going. The court selected 70 people who were diligent in keeping Buddhist laws and had them take the tonsure, and they sponsored a feast—or festival—in the Royal Muro of the Palace. At the same time the various princes had a statue of the Boddhisatva of Compassion, Kannon, made for the sovereign and had the Lotus sutra—the sutra where Kannon is first mentioned—read out at Daikandaiji. Kannon, or Avalokitesvara, was originally seen as a male Boddhisatva, but is often depicted as a woman.  They are also known as Guanyin, from which we get Kannon in Japanese.  Guanyin is also seen as Goddess of Mercy, and is one of the most popular figures across multiple sects of Buddhism and even outside of the Buddhist faith, where she is still seen as a goddess.  In this case, however, it seems clear that the princes were seeking compassion to relieve the sovereign of his affliction. And yet it persisted. They had 80 more people take the tonsure, and then 100 more men and women, placed 100 statues of the Boddhisatva, Kannon, in the palace, and then read out 200 volumes of the Lotus Sutra. And then they made prayers to the kami of Heaven and Earth.  And they dispatched Hata no Imiki no Iwakatsu to present paper offerings to the Tosa great shrine.  Nothing seemed to be working. In the 9th month, we see the royal princes and others, down to the various ministers, all gathered at Kawaradera making oaths for the health of the sovereigns.  This last ditch effort would go unrewarded.  Five days later, and Ohoama would pass away.  Of course, they couldn't just say that he died:  The Chronicles actually say that he divinely departed.  After all, didn't they call him an incarnate kami? Two days later, the court began the ritual of mourning, raising voices in lamentation, and setting up a temporary palace of interment in the courtyard, south of the palace.  Ohoama's body was placed there some thirteen days later, and people mourned his passing. For the rituals, we see monks and nuns performing ritual lamentation in the courtyard between 3 and 5 am, around the time that court officials would normally be waiting at the gates.  Over the next several days, various ceremonies were held and eulogies given.  We are told that the court presented offerings of food for the dead for the first time, and over the next several days monks and nuns would offer their laments and then various individuals would provide their eulogies.  Finally, on the last day of the ninth month, the eulogies concluded with Nyang-u, a Baekje prince, who pronounced a eulogy on behalf of his father, and then the Miyatsuko of various provinces came and did likewise.  There were also performances of all manner of singing and dancing. With that, the reign of Ohoama would come to an end.  The government would continue under his wife, the Queen, and Crown Prince.  We'll get into the succession in a later episode.  For now I'll just say that he was eventually buried in a large tomb in the modern Noguchi area of Asuka, and you can still go see it. And while that does bring us to the end of the reign, we still have a few more things that I want to discuss.   This episode just seemed a good time to talk about all of the various new years ceremonies, and that seemed to lead naturally into the very last year, but there is still more to discuss.  For one thing, we still haven't quite covered the spread of Buddhism and the changes in the structure.  There are also various laws and punishments that are worth covering.  Finally, there are the Chronicles themselves: we've talked about it all along, but the Nihon Shoki and the Kojiki are attributed to this era, as is the start of what would become the capital of Fujiwara-kyo—many works that Ohoama would not live to see to the end, but is largely held responsible for starting. But until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

Welcome to Dive Into Reiki, an interview series hosted by Nathalie Jaspar that explores the journeys of high-profile Reiki teachers and practitioners.You can support the mission of spreading Reiki education through my Patreon for less than the cost of a cup of coffee or for free by rating this podcast on your app!EPISODE 68: SHIKOKU PILGRIMAGE PART 2In this  episode, we visit 3 sacred temples on Japan's legendary 88-temple route: the Shikoku Pilgrimage. Guided by the spirit of Kōbō Daishi, founder of Shingon Buddhism, pilgrims walk through misty mountains, quiet villages, and visit temples to cleanse and reconnect to their inner light. Here is a link to a slide show with the images of the temples.I am hoping to take you there and experience some of what I lived in my ten days visiting temples and attending rituals. Nathalie Jaspar, the founder of Dive Into Reiki,  is a Reiki master with over a decade of experience. She's a graduate teacher from the International House of Reiki, led by world-renowned Reiki master Frans Stiene. She also trained with the Center for True Health and the International Center for Reiki. To gain an even deeper understanding of Reiki practice, Nathalie went to Japan to practice Zen Buddhism at the Chokai-san International Zendo. She is the author of Reiki as a Spiritual Practice: an Illustrated Guide, Reiki Healing Handbook (Rockridge Press), and Infinite Light: Conversation with 21 Reiki masters and practitioners.Support the show

Podcast audio: The post Talk by Daishi “The Tail That Won't Pass Through: Undivided Activity and a Freedom That Doesn't Fix” first appeared on The Village Zendo.

Welcome to Dive Into Reiki, an interview series hosted by Nathalie Jaspar that explores the journeys of high-profile Reiki teachers and practitioners.You can support the mission of spreading Reiki education through my Patreon for less than the cost of a cup of coffee or for free by rating this podcast on your app!EPISODE 67: SHIKOKU PILGRIMAGE PART 1In this opening episode, we set foot on Japan's legendary 88-temple route: the Shikoku Pilgrimage. Guided by the spirit of Kōbō Daishi, founder of Shingon Buddhism, pilgrims walk through misty mountains, quiet villages, and visit temples to cleanse and reconnect to their inner light. I am hoping to take you there and experience some of what I lived in my ten days visiting temples and attending rituals. Nathalie Jaspar, the founder of Dive Into Reiki,  is a Reiki master with over a decade of experience. She's a graduate teacher from the International House of Reiki, led by world-renowned Reiki master Frans Stiene. She also trained with the Center for True Health and the International Center for Reiki. To gain an even deeper understanding of Reiki practice, Nathalie went to Japan to practice Zen Buddhism at the Chokai-san International Zendo. She is the author of Reiki as a Spiritual Practice: an Illustrated Guide, Reiki Healing Handbook (Rockridge Press), and Infinite Light: Conversation with 21 Reiki masters and practitioners.Support the show

Fondée par le moine Kōbō Daishi au 9e siècle, la secte Shingon est l'une des branches les plus mystiques du bouddhisme japonais. Enracinée dans les enseignements ésotériques, elle prône l'utilisation de mantras, de mandalas et de rituels secrets pour atteindre l'illumination. Quels sont les fondements spirituels et les pratiques cachées de cette tradition ? Plongez dans l'univers sacré et mystique du bouddhisme ésotérique Shingon.Ouvrez la porte des Mystères avec Arcana Podcast ! Présenté par Ludovic - Arcana ⛎ Soutenir l'émission sur Tipeee : https://www.tipeee.com/arcana-mysteres-du-monde

On this season of Other People's Pockets, we're experimenting with a new angle for some of the episodes: How is the Trump administration affecting people's personal finances?Today I'm featuring Daishi Miguel-Tanaka, an immigrants' rights advocate based in Washington, D.C. Daishi was born in Japan to a Japanese father and a Filipina mother. When he was 6, he and his family moved to the U.S. with a plan to obtain U.S. citizenship through Daishi's grandfather, a U.S. citizen. But when his grandfather died, that path to citizenship vanished, and Daishi and his family remained in the U.S. as undocumented immigrants.Since he was a teenager, Daishi has been protected from deportation because he is a recipient of Deferred Action for Childhood Arrivals (DACA). He spoke about how DACA has afforded him a financial life in the U.S., and what the Trump administration means for how he's thinking about his future and his money.Follow Maya Lau:Instagram: @itsmayamoneyTikTok: @itsmayamoneyEmail: otherpeoplespockets@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Podcast audio: The post Talk by Daishi Hoshi “Three Pounds of Hemp: An Invitation to Intimacy” first appeared on The Village Zendo.

Japanese regional lenders Daishi Hokuetsu Financial Group Inc. and Gunma Bank are planning a business integration as early as spring 2027, it was learned Wednesday.

Send us a textEpisode 49 of the podcast takes us to the smallest of Japan's main for islands, Shikoku, and onto the Shikoku Henro. Associated with the life and teachings of legendary Buddhist monk Kūkai - also known as Kōbō Daishi – the Shikoku Henro is an 88 temple, 1200km / 745 mile pilgrimage circuit that circumambulates the island. Long-known by Japanese, “the Henro” is increasingly popular for international visitors with many people traveling to Japan specifically to walk a section or the complete trail. Our guide in exploring the Henro today is guest Kōei Ervin. Kōei is an ordained priest in the Shingon tradition of Japanese Buddhism, Shugendō practitioner, and tour guide with Shikoku Tours including accompanying guests along the Henro. Kōei's depth of knowledge of the Henro and Japanese Buddhism is self-evident, and as a guide, he weaves an engaging and accessible story regarding the history of the trail, why people walk it, what to expect, traditional clothing and basic logistics of accommodation and when to do it.For more information about the Shikoku Henro, visit the Henro.org website, Shikoku Tourism website or Shikoku 88 Temple Pilgrimage website. For guided tours with Kōei, visit the Shikoku Tours website or contact him via his Scattered Blossoms blog or his Instagram. During the interview, Kōei makes several recommendations including the revised Shikoku Japan 88 Route Guide Book, Ohenro San Facebook Group, Shikoku 88 Ohenro Pilgrimage Facebook Group and Sumotoriya Asano supply store.A very big thank you to Kōei for making time to speak with me and for providing the images used in support of the episode. I hope you enjoy.Outland Japan is a bi-weekly podcast hosted by Peter Carnell - a freelance tour guide based in northern Nagano – that transports you to rural, regional and the wilds of Japan in pursuit of stories that lie outside the neon hum of Tokyo and golden trimmings of Kyoto. Stories of travel, life and culture beyond the big cities. Follow the show on Instagram, Facebook and YouTube. Please note, prior to October 2024, Outland Japan was named Snow Country Stories Japan.

Podcast Audio: The post Talk by Daishi Hoshi, “Saying A Few Words: The Dharma of Talking” first appeared on The Village Zendo.

Podcast Audio The post Dharma Talk by Daishi Hoshi, “Placebo Zen & Real Liberation” first appeared on The Village Zendo.

Podcast audio: The post Talk by Daishi Hoshi “Sufficient” first appeared on The Village Zendo.

Podcast Audio: The post Talk by Daishi Hoshi, “Song of The Empty House” first appeared on The Village Zendo.

Podcast Audio The post Dharma talk by Daishi Hoshi, “The Vast and Indestructible Robe of Liberation” first appeared on The Village Zendo.

In this episode and accompanying YouTube vlog, I'll introduce you to the spiritual journey of the Shikoku 88 Temples pilgrimage – all in easy-to-understand Japanese perfect for learners! We'll dive into its history, significance, and the teachings of Kōbō Daishi. If you're interested in Japanese culture or seeking spiritual insights, join me on this adventure. And for those studying Japanese, it's a great chance to practice listening. Don't miss out on the visuals on my YouTube channel! ⁠⁠

Podcast Audio: The post Talk by Daishi Hoshi “Baba Wawa” first appeared on The Village Zendo.

As part of his coverage for HKIFF 2023, Wilson interviews Japanese director Daishi Matsunaga, a day after the Hong Kong premiere of his new film, Egoist. Director Matsunaga talks about the film's moving story, the specific visual language he uses, his thoughts on iPhone footage, and so much more. A massive thank you to dear friend of the pod Fumiko Nago for helping interpret this interview. Films discussed in the interview: Egoist - dir. Daishi Matsunaga Hanalei Bay - dir. Daishi Matsunaga Call Me By Your Name - dir. Luca Guadagnino The Son - dir. Jean-Pierre Dardenne, Luc Dardenne Sweating the Small Stuff - dir. Ryutaro Ninomiya Check out our Discord server⁠!⁠⁠ Keep up with Deep Cut on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Facebook⁠⁠⁠, and ⁠⁠⁠Letterboxd⁠⁠⁠.

Yasashisa 優しさ, kindness. With this word the actress Sawako Agawa — who plays the role of Nakamura Taeko in the film — defines the sweet and at times bitter film by Matsunaga Daishi, one of the most awaited films of the twenty-fifth edition of the FEFF. The post Matsunaga Daishi – Egoist #FarEastFilmFestival appeared first on Fred Film Radio.

Yasashisa 優しさ, kindness. With this word the actress Sawako Agawa — who plays the role of Nakamura Taeko in the film — defines the sweet and at times bitter film by Matsunaga Daishi, one of the most awaited films of the twenty-fifth edition of the FEFF. The post Matsunaga Daishi – Egoist #FarEastFilmFestival appeared first on Fred Film Radio.

Yasashisa 優しさ, kindness. With this word the actress Sawako Agawa — who plays the role of Nakamura Taeko in the film — defines the sweet and at times bitter film by Matsunaga Daishi, one of the most awaited films of the twenty-fifth edition of the FEFF. The post Matsunaga Daishi – Egoist #FarEastFilmFestival appeared first on Fred Film Radio.

Yasashisa 優しさ, kindness. With this word the actress Sawako Agawa — who plays the role of Nakamura Taeko in the film — defines the sweet and at times bitter film by Matsunaga Daishi, one of the most awaited films of the twenty-fifth edition of the FEFF. The post Matsunaga Daishi – Egoist #FarEastFilmFestival appeared first on Fred Film Radio.

Yasashisa 優しさ, kindness. With this word the actress Sawako Agawa — who plays the role of Nakamura Taeko in the film — defines the sweet and at times bitter film by Matsunaga Daishi, one of the most awaited films of the twenty-fifth edition of the FEFF. The post Matsunaga Daishi – Egoist #FarEastFilmFestival appeared first on Fred Film Radio.

Yasashisa 優しさ, kindness. With this word the actress Sawako Agawa — who plays the role of Nakamura Taeko in the film — defines the sweet and at times bitter film by Matsunaga Daishi, one of the most awaited films of the twenty-fifth edition of the FEFF. The post Matsunaga Daishi – Egoist #FarEastFilmFestival appeared first on Fred Film Radio.

UKPラジオ第137回目のゲストはthe shes gone・マサキさん、熊谷亮也さんのお二人！ 2022年1月に配信したvol.79に兼丸さん、マサキさん、Daishiさんが出演してくれましたが、同年10月に音源制作やライブでサポートドラムを務めていた熊谷亮也さん(以下くまさん)が正式加入して新体制に！ くまさんはじめましてということで、くまさんがthe shes goneのメンバーとの出会いやドラムを叩くことになったきっかけなど、くまさんについてのあれこれを聞いていきます。 そしてthe shes goneは2/15に約2年ぶりとなるミニアルバム「HEART」をリリースしたばかり！ タイトルの「HEART」は愛、恋、心、心臓など”HEART"が持つどの意味にも捉えてもいい8曲が収録されてます。 そんな「HEART」についてもじっくりと聞いていきます。 また、ワンマンツアー「PART OF YOUR HEART TOUR 2023」を全国9ヶ所で開催&4/25には東京国際フォーラム ホールCにて「シズゴの日」の開催も決定しています。 アルバム収録曲もたっぷりやる予定とのこと！ ワンマンツアーのチケットは現在一般発売中なので、ぜひチェックお願いします！ チケットはこちらから https://eplus.jp/theshesgone-tour2023/ 中盤から終盤にかけてはお二人のプライベートについてをたっぷりと。 マサキさんのキャンプの話、ラーメンの話、そしてInstagramでもプラベートの写真が少ない、謎のベールに包まれたくまさんの趣味についての話も登場！ マサキさん、くまさんがしあわせに感じる瞬間についても聞いていきます。 最後はこれから始まるツアー先で食べたいものとツアーへの意気込みを聞いて締めくくります！ ぜひ「HEART」を聴いて、ツアーに足を運んでみてください！ 番組を聴いた感想や質問は、#UKPラジオ をつけてツイート、メッセージフォームに投稿お願いします！ ▼UKPラジオ・メッセージフォーム：https://t.co/uukpF97jG9 ▼UKPラジオ・プレイリスト：https://spoti.fi/2NKXxsy ▼UKPラジオ・Twitterアカウント：https://twitter.com/ukp_radio

Daishi is a developer from Japan and the main maintainer of the popular, tiny state management library for React: Zustand.While he's still actively working on making Zustand as lightweight and complete as possbile, he's also working similar alternatives for the same space.During this conversation we talk about some of the design decisions that make Zustand such a great alternative to other, more popular yet heavier options, such as Redux. If you've never tried Zustand before, stick around and listen to what Daishi has to say about it!Get to know Daishi:- Twitter: https://twitter.com/dai_shi - GitHub: https://github.com/dai-shi - Discord: https://discord.gg/MrQdmzd - His blog: https://blog.axlight.com - Contact information: https://contact.axlight.comFollow us on Twitter:  @The20MinJSReview Us!Don't forget to leave a review of the episode or the entire podcast on Podchasers!Meet our host, OpenReplay:OpenReplay is an open-source session replay suite, built for developers and self-hosted for full control over your customer data. If you're looking for a way to understand how your users interact with your application, check out OpenReplay.

Podcast Audio The post Talk by Daishi Hoshi, “Don't Wait!” first appeared on The Village Zendo.

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master's degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master's degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/buddhist-studies

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master's degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master's degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael Van Hartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master's degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art. Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lorsque nous cherchons en nous les clés de notre évolution, que nous commençons un travail de développement personnel, que nous nous éveillons petit à petit à la réalité de ce monde et de qui nous sommes, la première conséquence est la remise en cause de nos relations. Notre couple, nos amitiés se transforment ou se terminent, les liens avec notre famille changent, nous nous positionnons différemment avec nos enfants, et les liens de pouvoir sont progressivement effacés. --- Send in a voice message: https://anchor.fm/you-betterknow4/message

Lorsque nous cherchons en nous les clés de notre évolution, que nous commençons un travail de développement personnel, que nous nous éveillons petit à petit à la réalité de ce monde et de qui nous sommes, la première conséquence est la remise en cause de nos relations. Notre couple, nos amitiés se transforment ou se terminent, les liens avec notre famille changent, nous nous positionnons différemment avec nos enfants, et les liens de pouvoir sont progressivement effacés. --- Send in a voice message: https://anchor.fm/you-betterknow4/message

UKPラジオの第82回はUK.PROJECT代表・遠藤幸一の還暦をお祝いする回としてお届けします！ 1月30日に遠藤は60回目の誕生日を迎えました！ お祝いするにあたり、 the telephones / Yap!!!・石毛輝 BIGMAMA・柿沼広也 / 安井英人 TOTALFAT・Jose THE NOVEMBERS・吉木諒祐 のみなさんが駆けつけてくださいました！ 今回は序盤と終盤以外は遠藤に退席してもらいつつ、初めて遠藤のいないところで収録！ お祝いの言葉からはじまり、遠藤の人柄についてや思い出、遠藤語録、UK.PROJECTとは切っても切れないお酒に纏わるエピソードなどなど、今までのできごとをたっぷり振り返りながらお届けしていきます。 そして、お祝いコメントもたくさんお届け！ POLYSICS・ハヤシヒロユキ SPiCYSOL・KENNY / AKUN the shes gone・兼丸 / マサキ / Daishi ウソツキ・竹田昌和 百々和宏 ART-SCHOOL・木下理樹 / 戸高賢史 the dadadadys・小池貞利 / 佐藤健一郎 Age Factory・清水英介 / 西口直人 BIGMAMA・金井政人 Helsinki Lambda Club・橋本薫 / 稲葉航大 / 熊谷太起 EASTOKLAB・Hayato Hioki / Daisuke Nishio / Daiki Oka / Yuki Tabo odol・ミゾベリョウ / Shaikh Sofian / 森山公稀 ウエノコウジ 遠藤代表、改めて本当におめでとうございます！ これからもお体に気をつけて、お酒はほどほどに、引き続き元気にお過ごしください！ (UKPラジオ収録チームは、ヘパリーゼをたくさんプレゼントしました。) 番組を聴いた感想や質問は、#UKPラジオ をつけてツイートお願いします！ ▼UKPラジオ・プレイリスト：https://spoti.fi/2NKXxsy ▼UKPラジオ・Twitterアカウント：https://twitter.com/ukp_radio

Prepare to be overwhelmed with fluff, this episode is a 5 plus 1 fic. Which means you'll receive 5 proposals from Daishi to Suga (from the manga Haikyuu!!) for the price of one! - Cassis Orange Mai Tai: In a shaker full of ice mix together 1.5 oz white rum, 3/4 oz currant liquor, 3/4 oz orange juice,1/2 oz orgeat. Pour into a glass with fresh ice and float 1/2 oz dark rum on top. -  Want to read this fic for yourself? Give this author the kudos they deserve? You can find this fic on archiveofourown.org Title: I Do (Cherish You), Author: gabstar And join us on our Patreon! It's 18+ so you can't search us, but use our link to find us www.patreon.com/finepairingspodcast - Fine Pairings Podcast - A podcast about fanfiction. Where we pair ships with cocktails and reading with comedy. Got fanfic you'd like to share? Email us at FinePairingsPodcast@gmail.com Remember to follow us on Tiktok, Tumblr, and Instagram @Finepairingspodcast and on Twitter @Finepairingspod - Additional Credits  Music Creator: Kevin MacLeod Source: Free Music Archive, Incompetech.com "In Your Arms" " License: CC BY 3.0; https://creativecommons.org/licenses/by/3.0/

UKPラジオの第79回のゲストはthe shes goneの兼丸さん、マサキさん、Daishiさん！ 兼丸さん(Vo.Gt.)は以前ウソツキの竹田くんと一緒に出演してくれましたが、バンドとしては初登場！ (兼丸・竹田ゲスト回はvol.4！ぜひこちらもお聴きください！) the shes goneは2016年春に結成、UK.PROJECTとは2019年にファーストミニアルバム「DAYS」をリリースして以来の付き合い！ まずはUK.PROJECTからリリースすることになったきっかけや、遠藤・フミとの出会いを振り返っていきます。 当時のライブはへなちょこだった...！？遠藤が内緒にしていたリアルな裏話も登場！ 昨年2021年10月にアルバム「SINCE」をリリースし、全12公演の全国ワンマンツアー「Make your day tour 2021」も完走！ ファイナルは初のZepp Diver Cityでのワンマン！ ツアーで楽しかったことなど、思い出もたっぷりと振り返ります！ 遠藤からはライブMCへのダメ出しが...！？ アルバム「SINCE」ぜひお聴きください！ https://theshesgone.lnk.to/SINCE そして、毎年恒例シズゴの日である4月25日に豊洲PITでのライブが決定！ さらに全10ヶ所のツアー「‟Re” Make your day TOUR 2022」も開催！ 長崎、旭川など、ワンマンをしたことがない土地にも行くツアー、ぜひ遊びにきてください！ 昨年12月にできたファンクラブのご入会はこちらから◎ https://theshesgone.com/feature/entry 後半は、最近ハマっていることやシズゴの3人が好きなお酒についてたっぷりと。 Daishiさんは筋トレにハマっているそう！ゆくゆくは格闘技も始めたいとか！ そしてシズゴのみなさんはお酒が好き！とのことで、それぞれのお酒に纏わるトークも。 最後は2022年の目標を聞いて締めくくります！ 番組を聴いた感想や質問は、#UKPラジオ をつけてツイートお願いします！ ▼UKPラジオ・プレイリスト：https://spoti.fi/2NKXxsy ▼UKPラジオ・Twitterアカウント：https://twitter.com/ukp_radio

新年あけましておめでとうございます！ UKPラジオの第78回は2022年最初の配信！ということで、各アーティストからのメッセージを聴きながらお届けしていきます！ BIGMAMA・金井政人 SPiCYSOL・KENNY / AKUN the shes gone・兼丸 / マサキ / Daishi ウソツキ・竹田昌和 teto・小池貞利 / 佐藤健一郎 Age Factory・清水英介 / 西口直人 Helsinki Lambda Club・橋本薫 / 稲葉航大 / 熊谷太起 ART-SCHOOL・木下理樹 / 戸高賢史 EASTOKLAB・Hayato Hioki / Daisuke Nishio / Daiki Oka / Yuki Tabo odol・ミゾベリョウ / Shaikh Sofian / 森山公稀 POLYSICS・ハヤシヒロユキ 個性が光るメッセージ、たっぷりお楽しみください！ 100回目も目前のUKPラジオ、2022年もどうぞよろしくお願いいたします！ 番組を聴いた感想や質問は、#UKPラジオ をつけてツイートしてください！ ▼UKPラジオ・プレイリスト：https://spoti.fi/2NKXxsy ▼UKPラジオ・Twitterアカウント：https://twitter.com/ukp_radio

En este episodio de Growth Tactics entrevisté a Daishi Murano y me dio su consejo para hacer crecer su negocio. Daishi Murano es Ingeniero y Coach en desarrollo empresarial y liderazgo. A través de su acompañamiento, ofrece ayuda a las personas para que logren las metas que desean en la vida y tracen un plan al respecto.   1:05 - ¿Qué hago? Ayudar a las personas a hacer posible sus imposibles. 2:44 - Lo importante es que yo crea que soy capaz de lograrlo. Esa es la base, creer que yo puedo lograr eso. 4:32 - Darme cuenta en mi pasado que soy capaz de hacer algo complejo o difícil. Ya que me di cuenta que ha habido al menos una vez en mi vida que lo he logrado; de ahí parto. 5:57 - La gente te va a contratar y te va a pagar lo que te paga por el prestigio que tengas.  6:48 - Conocer a la persona adecuada con quien, gracias a lo que tú le sumes a esa persona, tu negocio crezca exponencialmente.  8:45 - Si tú crees que alguien es capaz, eventualmente se va a convertir en alguien capaz.  10:25 - Generar valor es decir algo, compartir algo, hacer algo que le sirva a la otra persona que lo está viendo y lo está escuchando. Que le sirva de manera real a la persona. Conoce más de Daishi en: http://www.dmcoachingandmentoring.com/ https://www.facebook.com/DMCoachingandMentoring https://www.youtube.com/channel/UCMSH1gw574KVaO0pK4dC-wA/featured

This is the complete version of Shodoka - Song of Awakening or Enlightenment. This is one of the four essential Zen texts. It was written by Yoka Daishi in the seventh century in China. It is a testimony to his awakening; his writing and spiritual approach is simple in style. The Shodoka has been nicknamed “the Mahayana sutra that solves all problems.”

UKPラジオの第57回のゲストはベーシストの有江嘉典！ UK.PROJECTからリリースしているVOLA & THE ORIENTAL MACHINEをはじめ、杉本恭一、MOON・BEAM、百々和宏とテープエコーズ、そして最近ではthe pillowsのベーシストとして活躍している有江さん。 ご自身でベースを弾くだけにはとどまらず、the shes gone・Daishiやthe telephones・長島涼平など、幅広いジャンルのベーシストにベースを教える先生としても有名です。 出会いの正式な時系列はちょっとあやふやですが、2005年にVOLA & THE ORIENTAL MACHINEが結成し、まだライブも行っていない時期に遠藤と有江さんは出会っていました！ フミとも2006年頃、VOLA & THE ORIENTAL MACHINEとの共演で出会い、当時下北沢の飲み屋でもよく居合わせていたとのこと。 もう出会って15年の付き合いなんですね〜！ LOST IN TIMEやthe telephones等、UK.PROJECTのアーティストと縁が深い有江さんですが、特に中畑大樹さん（syrup16g / VOLA & THE ORIENTAL MACHINE）とは大の仲良し！ プライベートでも仲良しという中畑さんに〇〇を教えたのは実は有江さんということが明かされます！！ また、VOLA & THE ORIENTAL MACHINEは2006年に「WaIting For My Food」をDAIZAWA RECORDSからリリースしてデビュー！ その後リリースした「羽根の光」「ANDROID ～like a house mannequin～」の3作品が各ストリーミングサービスにて配信開始に！ 「WaIting For My Food」 https://volaandtheorientalmachine.lnk.to/wfmf 「羽根の光」 https://volaandtheorientalmachine.lnk.to/hane 「ANDROID 〜like a house mannequin〜」 https://volaandtheorientalmachine.lnk.to/android そんなリリース当時の頃も振り返っていきます。 中畑さんが動画で証拠を残しているという「うどん事件」の真相、その後に巻き起こっていた有江さんと中畑さんの2人しか知らないエピソードも語っていただきました！ その他爆笑レアエピソードもたっぷり！ 有江さんの近況やコロナ禍での過ごし方、遠藤・フミ・有江さん3人の共通点である愛猫の話、お酒やグルメにまつわる話も必聴です！ 番組を聴いた感想や質問は、#UKPラジオ をつけてツイートしてください！ ▼UKPラジオ・プレイリスト：https://spoti.fi/2NKXxsy ▼UKPラジオ・Twitterアカウント：https://twitter.com/ukp_radio

Shodoka - Song of Awakening or Enlightenment. This is one of the four essential Zen texts. It was written by Yoka Daishi in the seventh century in China. It is a testimony to his awakening; his writing and spiritual approach is simple in style. The Shodoka has been nicknamed “the Mahayana sutra that solves all problems.” Music: 1 Hour Zen Shakuhachi - by Tea Roman

Existing episodes of Drukama Radio will be taken off the air soon to make way for a new era of mystical teachings. If you have enjoyed these talks and want to learn more about the practical method being provided to us now by Raziyahu (also known as Daishi), please join us at the Drukama Treasury, at drukama.com. Our thriving online community of practitioners gathers regularly for live lectures, Q & A sessions, forum and chat discussions, and more. Simplified step-by-step practices for self-realization and the complete mystical path of creation are being revealed now, thanks to support and participation from listeners just like you over the years. We hope you have gained something from these teachings so far, and we look forward to seeing you again as the path continues to unfold at drukama.com.

In Episode 84, Paul Barach tells us about his 750 mile and 42 day backpacking trip on the Shikoku Pilgrimage in Japan.  In the show, Paul shares the history of this religious Buddhist route, talks about hiking in traditional pilgrim clothing, and shares some of the challenges that he faced - including heat, hunger, injuries, and infections. You can check out Paul's book "Fighting Monks & Burning Mountains" for all the details, or listen to this interesting discussion about a little known thru-hike and religious journey on the remote island of Shikoku, Japan.  The trail passes 88 temples and sacred sites where the Buddhist priest Kūkai (Kōbō Daishi) trained during the 9th Century. Subject: Shikoku PilgrimageInterviewees: Paul BarachInterview Date: January 14, 2021Runtime: 1:22:17 Download Now: Shikoku Pilgrimage (WMA format 39.2 MB); Shikoku Pilgrimage (MP3 format 77.2 MB)

"Le pèlerinage à Shikoku, En images et en mots", c'est le récit de voyage publié par Sophie Lavaur aux éditions Sully. Elle nous fait découvrir au Japon un pèlerinage bouddhiste aussi célèbre que le Chemin de Compostelle en Europe. Il relie en une boucle 88 lieux sacrés de l'île de Shikoku sur près de 1200 kilomètres. Le chemin suit les traces du moine érudit Kôbô Daishi, natif de la région et fondateur du bouddhisme ésotérique Shingon. Les habitants de l'île accueillent et accompagnent les pèlerins avec vénération et générosité et participent à l'atmosphère particulière de ce périple.  L'auteure, Sophie Lavaur, a marché seule pendant cinquante jours sur ce chemin reliant les 88 temples. Sous le soleil ou sous la pluie et dans le vent, en montagne, en bord de mer ou sur les routes de campagne, à la rencontre des pèlerins et des habitants, elle a été portée par l'authenticité du pèlerinage. Dans cet ouvrage, elle a rassemblé, en images et en mots, des instantanés et des impressions qui témoignent de son aventure intérieure. Elle nous fait partager la succession de ces moments imperceptibles où le quotidien devient extraordinaire. Photos, haïkus, textes descriptifs rendent compte de ce voyage méditatif au coeur du Japon d'aujourd'hui et de toujours.

Rachel Quist specializes in East Asian Buddhist imagery with focuses in pre-modern Japan and China. Her research centers on questions of interaction with imagery, materiality and object agency, and the accessibility of image-based practices. She has written on topics such as Buddhist reliquary design and expressivity, the didactic project underlying the hell tableau at Baodingshan, and the construction of a collective memory surrounding the Shingon monk Kōbō Daishi at the temple complex of Mount Kōya. Rachel is currently conducting research on early imperial patronage of Daigoji, a Shingon temple in Kyoto, for her dissertation.​ Michael VanHartingsveldt received an undergraduate degree in English Language and Literature before teaching in South Korea in  at an English immersion school. While there, he became enamored with the religious art of East Asia. He finished a Master's degree in East Asian art and its markets from Claremont Graduate University in 2017, after which he worked for two years as an Asian Art collections specialist at the Los Angeles County Museum of Art.  Michael has collaborated with the Los Angeles office of The Japan Foundation in the curation of three exhibitions and two public lecture series. He now studies at the University of Kansas.

"Le pèlerinage de Shikoku, En images et en mots", c'est le récit de voyage publié par Sophie Lavaur aux éditions Sully. Elle nous fait découvrir au Japon un pèlerinage bouddhiste aussi célèbre que le Chemin de Compostelle en Europe. Il relie en une boucle 88 lieux sacrés de l'île de Shikoku sur près de 1200 kilomètres. Le chemin suit les traces du moine érudit Kôbô Daishi, natif de la région et fondateur du bouddhisme ésotérique Shingon. Les habitants de l'île accueillent et accompagnent les pèlerins avec vénération et générosité et participent à l'atmosphère particulière de ce périple.  L'auteure, Sophie Lavaur, a marché seule pendant cinquante jours sur ce chemin reliant les 88 temples. Sous le soleil ou sous la pluie et dans le vent, en montagne, en bord de mer ou sur les routes de campagne, à la rencontre des pèlerins et des habitants, elle a été portée par l'authenticité du pèlerinage. Dans cet ouvrage, elle a rassemblé, en images et en mots, des instantanés et des impressions qui témoignent de son aventure intérieure. Elle nous fait partager la succession de ces moments imperceptibles où le quotidien devient extraordinaire. Photos, haïkus, textes descriptifs rendent compte de ce voyage méditatif au coeur du Japon d'aujourd'hui et de toujours.

When walking around Japan you might see a small rectangular piece of paper pasted near a front door or on a gate. On this paper is an image that can only be described as a demon or devil. While off-putting at first, this creepy little fellow isn't actually a bad guy; he's there to protect the family and household. On this episode of Uncanny Japan, I'm going to tell you why.   You can also find me on: Twitter: https://twitter.com/UncannyJapan Facebook: https://www.facebook.com/uncannyjapan/ Patreon: https://www.patreon.com/thersamatsuura Instagram: https://www.instagram.com/uncannyjapan/ YouTube: https://www.youtube.com/channel/UCqAtoUS51HDi2d96_aLv95w Website: https://www.uncannyjapan.com/ Notes: Intro/Outro and music bed by Julyan Ray Matsuura. Here and here. And here. Transcript Hey hey, everyone, how are you all doing? I’m nursing a slight cold so my voice might be a little wonky, but I wanted to go ahead and record and get this up, because my plan is to get two episodes out in November. It’s been awhile since I’ve been to the ocean, so here I am. They’re mellow waves, but I’m going to put just the binaurally miked version of them up on my Patreon page for those who have trouble sleeping, like me. Or just want to close their eyes and imagine sitting by a rocky Japanese shore. Today I’m going to tell you about Tsuno Daishi or The Great Horned Master, but before we get to him, let me explain what omamori and ofuda are. Mamoru is the verb: to protect. So an omamori is a small amulet, often made from colorful brocaded silk with a string so you can tie it to things. It’s purpose is to protect you or help you in some area of your life. If you’ve been to Japan, I’m sure you’ve seen them. They’re sold in temples and shrines all over.  They only cost a few hundred yen and are basically good luck charms that have specific uses. There are omamori to help you study, to keep you safe while driving, to help your studies, to help you become pregnant and then have a healthy baby, as well as ones to find the perfect lover or come into a lot of money. You can see them dangling from people’s purses, backpacks, rearview mirrors, or maybe tucked into a pencil case. So an omamori is a small, pretty, portable good luck charm. There is also something called an ofuda. It, too, is a kind of talisman to ward off evil, but instead of being carried around, it’s hung or pasted somewhere, usually a house, front gate, or a store. They can be made of wood, cloth, or metal, but I think the kind I see most often are paper strips with fancy characters on them and stamped with red vermillion hanko.  If you visit a temple or shrine in Japan, pay attention to the front gate, pillars and ceilings. Sometimes you can see old ofuda plastered willy nilly all over the place. They’re super cool and are believed to prevent evil spirits from entering one’s abode. You’ll also find ofuda mentioned in all kinds of Japanese tales. For example, I just wrote an article for Sotheby’s about the three great Japanese ghost stories and one of the stories, called Botan Doro, is about Otsuyu. I don’t want to give away too much, but at one point a fuda is used to keep the ghost out of our protagonist’s house. Okay, now let me tell you about Tsuno Daishi. The first time I came across the great horned master, or the tsuno daishi was about fifteen years ago when I visited a tiny mountain village in my town called Hanazawa no Sato. It’s this quiet neighborhood with 100-year old homes, narrow roads, mossy stone walls, and trickling streams. As I walked along and admired the architecture, I noticed that almost every house had a very disturbing ofuda pasted by their doors or on their wooden gates. To me it looked like a demon. The more I walked, the more unsettled I became. Literally, almost every house had one. It’s like once you see him, you see him everywhere. Was this some strange religious cult? Let me try and describe what I saw. Imagine a fuda, a rectangular piece of white paper, I don’t know, about 20 cm or 8 inches long by 10 cm or 4 inches wide. On it is printed a simple black image. It’s a figure kind of sitting or crouching down on its haunches. There are thin boneless-looking wavy arms and legs, a body that is black except for what looks like cut out white parts that could represent ribs and a couple internal organs, the stomach and kidneys maybe? The creature has round buggy eyes, a big nose and horns or could they be antlers? Recently, a Japanese friend said that from a distance it looks like it’s a character from Sanskrit. And she’s spot on. It has that vibe. I mean the tsuno daishi is very old and I suppose there is the possibly it has traveled all the way from India. But here are the stories I’ve read about the origins of this creepy little guy. Once upon a time there was a monk named Ryougen. He was born in 912, and became the 18th abbot of the Enryaku Temple in the year 966. He spent the next 19 years rebuilding the temple complex and upping the image of the Tendai sect of Buddhism. One day I’ll touch on some of the different types of Buddhisms in Japan. But for now just know that Tendai is not Zen. It, along with the Shingon sect, is an esoteric or mikyo school. Think tantra, wonderful rituals that involve gorgeous Indian objects and lots and lots of fire. Okay, back to Ryougen. At one point the Emperor Enyuu was very ill and Ryougen prayed for his health. The Emperor then did indeed recover and Ryougen was granted the title of daishi, or great master. There are a couple versions of how he became associated with this horned devil-looking fellow I saw on the houses. The first one just says that he gained the curious supernatural ability of being able to transform his body into that of a demon. One day when the town was hit by a deadly epidemic and people were dying left and right, Ryougen turned himself into this horned creature and frightened the Plague God or yakubyougami away. A second story that I’ve heard from people in Japan, but have not found written in English anywhere is an elaboration on the above tale. Again it starts with a horrible epidemic plaguing the city and Ryougen, in order to try and save the people, decides to sit in front of a full length mirror to meditate. While meditating one of his followers sketched a picture of what he saw in the mirror. Slowly the reflection of the stoic abbot Ryougen changed, the flesh fell away and he was revealed as a hideous demon or oni. The follower later copied this image by carving a woodblock print and making a fuda for people to put outside their homes to keep away illness. Ryougen is believed to have said something about the best way to fight off a scary demon is to become a scarier demon. So the image of tsuno daishi is one that can ward off evil and illness. A real a quick note about names. While the abbot was called Ryougen Daishi while alive, he acquired quite a few monikers after his death. The first one being his posthumous name. When people die in Japan, even now, they are given a new name for the afterlife. Ryougen was given Jie. So Jie Daishi. But then there are the cooler names like Tsuno Daishi, The Great Horned Master, and Ganzan Daishi, The Third Day of the First Month Master, because that was the day he died. You’ll also find him sometimes referred to as the Mayoke Daishi or Gooma Daishi, Great Master of Warding Off Evil. I’ve seen one English translation that calls him the Demon King. I kind of like that. Another interesting thing I’ve read, is that there are 18 icons of Tsuno Daishi, and all of them are enshrined in different temples, scattered throughout Kyoto. On January 3rd , the day he died, a small group of devoted followers attempts to visit and pray at all eighteen in a single day. Here’s a cute legend about him. There was a statue of Tsuno Daishi in a temple called Jidai-ji. During the Muromachi Era there was a great fire that destroyed the temple. Only later it was learned the statue had survived because it flew and hid inside a nearby pond. So when in Japan, keep a look out for the creepy little demon king on fuda high up on a front door, and tell your friend who is traveling with you that he’s not a bad guy, he’s actually a good guy keeping someone safe from evil and and the plague. T After that first experience, I started to see him everywhere, tucked under eaves or faded on the tall wooden front gate of a house. Then one day I was visiting a temple deep in the mountains and saw they they sold the fudas. Not big ones, like I described, but small, business card sized ones, gold and green laminated paper. It’s meant to be kept in your wallet. A kind of omamori fuda hybrid. I’ll put up some images on the Uncanny Japan website, and I found a really cute version of Tsuno Daishi that I’m going to use for postcards this month for my Patrons. Speaking of Patrons, I want to extra especially thank you all. Life is quite tumultuous right now and if it weren’t you all, I’m not sure what would happen to the show. I wanted to mention here that I got some more stickers, round ones that have the ojizo/oni logo from the podcast, the one with the red background. They’re stunning and if you’re a Patron and want one, please let me know and I can get you one while supplies last. Thank you all for listening, supporting, reviewing, messaging, emailing and spreading the word about Uncanny Japan. I’ve got some I will talk to you again real soon.

This week Daishi and Yuvi discuss our illusory imprisonment in this reality and the process towards escape to regain our freedom. What is the purpose of our existence in this world and what do the ancient texts tell us about this? How can fear, pain, and suffering become tools to help propel us on our Path? What is the ultimate goal of the spiritual Path, and how can we get there in the most direct way? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Khepfer discuss the personality and how it can be used to manipulate us. What is the personality, and how does society program us from an early age? How might certain agencies and organizations use our habitual tendencies and personalities against us to serve their own agenda? How can we take back control and regain our freedom? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Kevin discuss reality, perception, and secrets of reality creation on the spiritual Path. How can a practitioner move from basic meditation into learning how to create reality themselves, ultimately using reality creation to benefit the world at large? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

Sponsors Netlify Sentry use the code “devchat” for 2 months free on Sentry’s small plan Triplebyte offers a $1000 signing bonus Panel Thomas Aylott David Ceddia Lucas Reis With special guest: Daishi Kato Episode Summary   Todays guest Daishi Kato is a freelance programmer and has many open source libraries. He starts off by talking about how he got from tail call optimization to Redux and global state. Daishi talks about his definition of global state, how it differs from a regular state, and why it is a problem with the current context implementation. Thomas talks about his work with Android and how React has helped solved some of the problems they encountered. They talk about when different rendering issues they’ve encountered. Daishi shares his unique approach to solving rendering issues and how it applies to his libraries. His solution is to combine the system in React with proxy based tracking to solve issues with rendering. Daishi explains why this works and the importance of benchmarking. Daishi’s solution is designed as a same use state API, so someone can drop this in and see if it works. Daishi talks about his definition of proxies and how it triggers the rerender. He also talks about how it handles conditional reads. This tracking happens every render and it doesn’t have the same limitations as hooks. The panel talks about the new version of React Redux library implementation and how it compares to Daishi’s. Daishi’s approach is useful for people earning Redux because the used tracked state gives you all the benefits without a lot of the complexity. Daishi talks about how it deals with deeply nested pieces of code. The panel discusses the delicate balance of optimizing, but not doing it too soon, but to also remember how vital it is to maintain the performance of your app. Daishi’s work with Reactive React Redux to make sure things perform from the beginning is really important. It’s also important to understand how your product works so that when things do go wrong, you know how to fix it. Daisho talks about his other library React Tract for people who don’t like to use Redux. Links Mobex GraphQL Proc SQL React-Tracked Immer Reactive React Redux React Redux   Follow DevChat on Facebook and Twitter Picks David Ceddia: A Compiler From Scratch video Verbal Expressions Thomas Aylott: The Making of a Manager by Julie Zhou Thomas’ Youtube channel Lucas Reis: Shun knives Daishi Kato: Remote Faces

Sponsors Netlify Sentry use the code “devchat” for 2 months free on Sentry’s small plan Triplebyte offers a $1000 signing bonus Panel Thomas Aylott David Ceddia Lucas Reis With special guest: Daishi Kato Episode Summary   Todays guest Daishi Kato is a freelance programmer and has many open source libraries. He starts off by talking about how he got from tail call optimization to Redux and global state. Daishi talks about his definition of global state, how it differs from a regular state, and why it is a problem with the current context implementation. Thomas talks about his work with Android and how React has helped solved some of the problems they encountered. They talk about when different rendering issues they’ve encountered. Daishi shares his unique approach to solving rendering issues and how it applies to his libraries. His solution is to combine the system in React with proxy based tracking to solve issues with rendering. Daishi explains why this works and the importance of benchmarking. Daishi’s solution is designed as a same use state API, so someone can drop this in and see if it works. Daishi talks about his definition of proxies and how it triggers the rerender. He also talks about how it handles conditional reads. This tracking happens every render and it doesn’t have the same limitations as hooks. The panel talks about the new version of React Redux library implementation and how it compares to Daishi’s. Daishi’s approach is useful for people earning Redux because the used tracked state gives you all the benefits without a lot of the complexity. Daishi talks about how it deals with deeply nested pieces of code. The panel discusses the delicate balance of optimizing, but not doing it too soon, but to also remember how vital it is to maintain the performance of your app. Daishi’s work with Reactive React Redux to make sure things perform from the beginning is really important. It’s also important to understand how your product works so that when things do go wrong, you know how to fix it. Daisho talks about his other library React Tract for people who don’t like to use Redux. Links Mobex GraphQL Proc SQL React-Tracked Immer Reactive React Redux React Redux   Follow DevChat on Facebook and Twitter Picks David Ceddia: A Compiler From Scratch video Verbal Expressions Thomas Aylott: The Making of a Manager by Julie Zhou Thomas’ Youtube channel Lucas Reis: Shun knives Daishi Kato: Remote Faces

This week Daishi and Sarai discuss dreaming and how it relates to the spiritual path. What can practitioners do to improve dream recall and lucidity? How can becoming more wakeful in dreams benefit our spiritual path and give us a deeper understanding of the structure of reality? What is the relationship between the energy body, energy practices such as Tummo, intention, and dreaming? By popular demand, this particular instalment, on Dreaming and the Astral Realms, is considerably longer than our usual shows, so grab a cup of tea and enjoy the insightful conversation. We'll return to our regular format on the next episode. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Ginger discuss how we can go beyond the basics of the Path, moving from blissful meditative states into intentional creation of reality at the root level through the practice of Samyama, or Unsurpassed Absorption. What is Samyama, and what are the prerequisites necessary to perform it? How can it be used for the manifestation of reality? Why is developing wisdom and compassion an important part of this process? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Yahel discuss the subject of non-dualism. What is the tradition of Advaita, and how is it related to Maya? Is non-dualism different to other traditions such as Tibetan Buddhism, Kabbalah, or Gnosticism? How can mastering meditation in the various brainwave states help us with our Path? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Vanni discuss the subject of brainwaves and subtle energies. What is the relationship between brainwave frequencies and meditative states? How can we consciously use these deeper states to access subtle energies within us? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Ginger discuss the subject of the five elements. What are the elements and why are they important on the spiritual path? How do the elements relate to the chakras and the senses? What can we do to begin working with the elements? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Deniz discuss the topic of spiritual knowledge. What is the difference between spiritual knowledge and worldly knowledge? How is it possible to know something beyond intellectual understanding? Why is it important to have spiritual knowledge? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Eiani discuss the subject of spiritual enlightenment. What are the stages of enlightenment and how can we move beyond the binary mind? Why is it so important to have a teacher who has already achieved Realization? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Deliyahu discuss the nature of perception, the self, and the senses. How can we go beyond our current level of perception? What is the importance of the spiritual path? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Adam discuss the importance of intention and devotion on the path. What is devotion and intention? How can they be used to propel the practitioner through their spiritual path? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Adam go through another mailbag, tackling ideas like "Carry Water, Chop Wood", and what to do when you "see red" in anger. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Adam go through the mailbag and discuss the idea of energetic differences inside of relationships. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Adam bliss and happiness from a spiritual or practitioner perspective. What are the approaches, processes, and pitfalls a practitioner must experience and use to find true clarity and bliss on the path? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Adam discuss finding happiness and bliss in the initial stages of the spiritual path. Why do we crave it? What does it actually mean/look like? What can we do to ensure we're vibrating at the highest level? Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi and Adam take a deep dive into the Shiva and Shakti relationship, as well as into the more esoteric parts of their existence. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi speaks Adam about Mother and Father energies, Shiva and Shakti, and discusses the role that the male and female energies play. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi speaks with Adam on the subject of Karma, Karmic seeds, and the potential for narrative attachment when dealing with them. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

This week Daishi speaks to Adam about the role that Intention and Will play in finding and maintaining happiness along the path. Please email radio@drukama.com with any questions or comments. We would love to hear from you. The teachings website is now open for limited registration. Please come and visit us at drukama.com. Find us on Facebook: https://www.facebook.com/drukamateachings Find us on YouTube: https://goo.gl/Lrhuxm Find us on Twitter: https://twitter.com/drukamat Find us on Instagram: https://www.instagram.com/drukama_teachings/

Dr. Pamela Winfield and Shingon teacher Hokai Sobol join host Vincent Horn to discuss the book Icons and Iconoclasm in Japanese Buddhism: Kukai and Dogen on the Art of Enlightenment. By examining two different models of enlightenment–one from the founder of Shingon Buddhism, Kūkai (Kōbō-Daishi), and the other from the pivotal Zen figure, Dōgen Zenji, the group explores the role that art & imagery play in the awakening experience. The conversation touches on how studies of texts and iconography can be complementary and how understanding the use of iconography can help scholars and practitioners understand Buddhist paths of Enlightenment in a clearer way. This is part one of a two part series. Listen to part two: Icons and Iconoclasm in Japanese Buddhism. Episode Links: Icons and Iconoclasm in Japanese Buddhism: Kukai and Dogen on the Art of Enlightenment ( http://amzn.to/1MwPAl8 ) Dr. Pamela Winfield ( http://bit.ly/1MwPD0n ) Hokai Sobol ( http://www.hokai.info )

Seasons change and there are new opportunities to appreciate the majesty of life. May we all respect life and each other. Love and Serenity to all.    [Artist] - [Track] - [Label]   1) Daishi Dance - P.I.A.N.O. - Apt.  2) Darko Esser - The Return - Wolfskuil Records 3) Deep Spelle & Kevin Martin Spelle - Can't Stop Thinking About You Original Mix - UM Records 4) Dennis Ferrer & Mia Tuttavilla - Touched The Sky Yass Dubstrumental - Defected 5) Eli Escobar & Anna Lunoe - Red Hot - Nervous Records

Anime-Bliss Episode 3 opening theme: I KO YA KO {pre-mix} by Shen Zhen, Guangdong Province, China Website: http://www.reverbnation.com/celsi Topic: Anime Clubs An anime club is an organization that meets to discuss, show, and promote anime in a local community setting and can also focus on broadening Japanese cultural understanding.[1] Anime clubs are increasingly found at universities and high schools. Organizers may also utilize public meeting spaces such as a library or a government center. Any anime club attendees identify themselves as otaku. Although the core of anime club attendees are in their twenties, there are generally no age requirements. Adults in their fifties and sixties and teenagers also attend. Source: http://en.wikipedia.org/wiki/Anime_club Anime club meetings can occur on a weekly or monthly basis. In addition to viewing anime, clubs engage in other activities such as viewing anime music videos, reading manga, karaoke and cosplaying.Many clubs host online forums to further foster community interaction, and feature library to lend books and manga to members. Participants of an anime club often are also involved in volunteering and organization of local anime conventions. Dependent on the scope of the club, activities can also have a broader range, to include playing of table top games such as Shogi, Go, and Mahjong. Outside activities include Saké tasting and visits to cultural events such as National Cherry Blossom Festival or a Kendo demonstration. Example of anime clubs within anime: Genshiken - a manga and anime featuring a college anime club. Otaku no Video - comedy anime spoofing the life and culture of otaku Community center - a common place for anime clubs to meet Mu Epsilon Kappa - a national society of anime clubs in the United States Prominent anime clubs Anime O-Tekku (Georgia Tech since 1995) RIT Anime Club (Since 1990s) Anime Sushi, Orlando's Premiere Anime Club MIT anime club Anime club tips http://www.ehow.com/how_156053_start-anime-club.html http://www.wikihow.com/Run-a-Successful-Anime-Club Anime cons and events Commerical break “Travel” by Tigarah Website: http://www.myspace.com/tigarah First Night Boston December 31, 2009 Hynes Convention Center Boston, MA M.E.W. Convention December 31, 2009 - January 2, 2010 Red Lion Hotel Vancouver at the Quay Vancouver, WA Ikkicon January 1-3, 2010 Hilton Austin Austin, TX Animé Los Angeles January 8-10, 2010 Los Angeles Airport Marriott Los Angeles, CA Ichibancon January 8-10, 2010 Great Wolf Lodge Concord, NC Sac-Anime January 8-10, 2010 Radisson Hotel Sacramento The Center for Hmong Studies  Presents "The Hmong Global Identities in the 21st Century" The Third International Conference on Hmong Studies To be held on the campus of Concordia University, St. Paul  April 9th - 11th, 2010 For more information or sponsorship opportunity please contact Lee Pao Xiong 651-641-8870 or xiong@csp.edu Tzy Lee Ya 651-603-6337 or ya@csp.edu Chef Eric's Culinary Classroom Sushi Making Class $90 Per Person Sat, 1/30/10 7pm-10pm OR Fri, 2/26/10 7pm-10pm (COUPLES ONLY) OR Sat, 3/27/10 7pm-10pm OR Fri, 4/23/10 7pm-10pm OR Sat, 5/22/10 7pm-10pm OR Fri, 6/25/10 7pm-10pm You will learn how to buy the freshest fish, and how to cut and prepare it properly for all of the dishes we will be making. Learn the creative art of Sushi Making as we design an Asian meal for you and your friends. We will show you how to make traditional Sushi Rice, a variety of Sushi Rolls (Nori), Vegetable Rolls, Varieties of Sushi on Rice (Nigiri), Spicy Sushi Rolls, Sea Eel Rolls, and how to display and serve them decoratively with the Garnishes and Sauces that we will be making. Add some Home Made Pickled Cucumbers, Pickled Ginger, Teriyaki Sauce and Sanbiauzu Sauce to the mix for a flavorful array to dip your delicious Sushi in. We’ll also make authentic Vegetable Tempura with Daishi and Ginger Dipping Sauce and Hot and Sour Soup to balance out your meal. CHEF ERIC will show you how to cut Oranges to finish off your fabulous Sushi experience. Call, e-Mail or Register On-Line 24 Hours a Day Sign up for our Newsletter – we’ll send you Class Listings and Seasonal Recipes! 1 Block East of Overland, Just North of Pico - Convenient Parking Just North on Overland 2366 PELHAM AVENUE - LOS ANGELES, CA 90064 PHONE: 310-470-2640 - FAX: 310-470-2642 CHEFERIC@CULINARYCLASSROOM.COM WWW.CULINARYCLASSROOM.COM e-mail: podcast@anime-bliss.com Facebook: irafuse(look for indiefaith logo) Myspace: myspace.com/urbanplusgeek

This teisho on case 67 of the Hekiganroku was given at the Seattle Zen Temple, ChoBoJi, on July 13th, 2008. Includes information on the Diamond Sutra and Bodhidarma.