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5 episodes with Izanami
2 episodes with Izanami
2 episodes with Izanami
2 episodes with Izanami
2 episodes with Izanami
2 episodes with Izanami
2 episodes with Izanami
Can Japan solve climate change with $3 million? Why are Japanese companies creating AI Customers? Why aren't any of Japan's Universities in the Global Top 100 for AI?SHOW NOTESJAPANIAEA Upbeat, but Niigata Governor Delays Kashiwazaki-Kariwa RestartSUPPLY CHAIN WARJapan to give $3 mil to help Pacific islands fight climate changeChina's EUV breakthrough: Huawei, SMIC reportedly advancing LDP lithography, eye 3Q25 trial, 2026 rolloutU.S. to levy fees on ships linked to China, push allies to do similar – draft executive orderSOCIETY 5.0 Hitachi uses generative AI to create "AI customers" and generate catchy slogansNissan tests driverless vehicles in city streets filled with cars and peopleJapanese university unveils AI program for medical student trainingJapan research team develops technology to visualize acne-causing bacteria using AIOnce-reluctant builders now using unmanned machinery, AIIbaraki's Tsukuba and Tsuchiura cities to introduce AI into childcare facility admission selection processRelease of Japanese voice platform models "Izanami" and "Kushinada"Trinity, the AI camera company, launches "unlimited SIM plan for security cameras" that does not require an internet connectionAI: The Future of Ibaraki - Part 1: Efficiency (3) Automatic detection of fires and floods, 24-hour non-stop safety monitoringOsaka Metro to start offering "face recognition ticket gate" service from March 25thNEC unveils completely contactless "face recognition payment" to be introduced at the World ExpoWave, an autonomous driving startup backed by SoftBank Group, moves closer to launching commercial services49 Chinese universities in the top 100 for AI, zero in Japan; half of top US researchers are from China'Another DeepSeek moment'? Chinese start-up launches new AI agent, sparking widespread attention
Mokuhanga can be a standalone medium or combined with other artistic practices, offering endless opportunities for experimentation and creative exploration. In this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Karen Kunc, who has worked with mokuhanga for many years. She integrates it into her broader printmaking practice, which includes book arts, mixed media, letterpress, Western woodblock, and more. We discuss her early encounters with mokuhanga, her travels to Japan, and her experience printing with Akira Kurosaki. Karen also shares how nature influences her work, the importance of taking creative risks, and her perspective on mokuhanga today. Plus, we talk about her own Constellation Studios and its role in her artistic journey. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Karen Kunc - website, Instagram Aqua Alta - 26" x 72", woodcut Jocelyn Art Museum - is a fine arts museum located in Omaha, Nebraska, USA. The museum was opened in 1931. More info, here. The Agony and The Ecstasy - is a biographical novel by the American author Irving Stone (1903-1989). It goes into detail of the life of Michelangelo Buonarroti (1475-1564). The novel was published in 1961. Awaji Island - located in Japan's Seto Inland Sea, has a rich history dating back to ancient times. According to the Kojiki(Records of Ancient Matters), it is considered the birthplace of Japan—the first island created by the gods Izanagi and Izanami in Japanese mythology. Historically, Awaji played a vital role as a strategic hub for maritime trade and travel, connecting the Kansai region with Shikoku and Kyushu. During the Edo period, it was governed as part of the Tokushima Domain under the Hachisuka clan. Today, Awaji is renowned for its natural beauty, traditional industries such as Awaji Ningyō Jōruri (puppet theater), and its connection to mainland Japan via the Akashi Kaikyō Bridge—the world's longest suspension bridge. Kyoto Seika University - located in Kyoto, Japan, is a leading private institution specializing in art and design education. It offers undergraduate and graduate programs in fields such as painting, sculpture, graphic design, and manga. Known for its rigorous curriculum, Kyoto Seika emphasizes both practical skills and creative expression. With a strong tradition of nurturing talented artists and designers, the university fosters a dynamic environment that encourages innovation and artistic growth. Akira Kurosaki (1937-2019) - was one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. Aurora - 13" x 17" colour woodcut (1982) ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century. Utagawa Kuniteru (1808-1876) Sumo Wrestler (1861) Peter Max - is an American artist who is associated with the American Pop Art movement of the 1950's and 1960's. He used vibrant colours in his work. Max's art was seen on posters, paintings, even running shoes. More info, here. Outer Spectrum - serigraph 8.75" x 12.5" (1978) Mary Brodbeck - is a mokuhanga printmaker, based in Kalamazoo, Michigan. She has been producing mokuhanga for nearly 25 years. Her work refelcts nature, and the power it contains. Mary's interview with The Unfinished Print can be found, here. GAZE - 10" x 14" MI Lab - is a mokuhanga artists residency located in Awatabe Town, Echizen City, Fukui, Japan. More info can be found, here. Center For The Science of Human Endeavor - also known in Japanese as 一般社団法人産業人文学研究所 is a program to "research, study, design for a life style in the 21st Century," and is associated with MI Lab. There is a brick and mortar gallery located in Shinbashi, Tōkyō. McClains Woodblock Print Supply Co. - based in Portland, Oregon, McClain's is the go-to supplier of woodblock print tools in the United States. Their website can be found here. The Unfinished Print: A Mokuhanga Podcast interview with Daniel Jasa of McClain's can be found here. nishinouchi paper - is a Japanese washi which is produced in Nishinouchi Kami no Sato, located in Hitachiomiya City, Ibaraki, Japan. More info can be found, here. The Japanese Paper Place- is a Toronto based Japanese paper store servicing the mokuhanga and arts community in Toronto and around the world for many years. Nancy Jacobi of The JPP and her interview with The Unfinished Print: A Mokuhanga Podcast can be found, here. Constellation Studios - is the studio of Karen Kunc located in Lincoln, Nebraska, USA. More info can be found, here. Penland School of Craft - is a school which welcomes students from all over the world. Located in North Carolina, the school offers eight-week workshops in many different types of mediums. More info, here. Anderson Ranch Arts Center - since the 1960s, Anderson Ranch Arts Center, located in Colorado, has been a beacon for the arts in the United States. The Ranch offers master classes, workshops, artist-in-residence programs, and more. For additional information, please click here. Virginia Center for the Creative Arts (VCCA) - founded in 1971, is located at Mt. San Angelo in Amherst, Virginia. It provides residency opportunities for artists and writers across various disciplines, offering a supportive environment for creative work. More info can be found, here. Wayne Crothers - is an Australian mokuhanga printmaker, curator and artist who lives in Japan. Patricia Olynyk - is a Canadian multimedia artist, photographer, who resides in The United States. Patricia's work explores the way " social systems and institutional structures shape our understanding of our place in the world." More information can be found, here. Oculus - digital sculpture Ralph Kiggell (1960-2022) - was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print: A Mokuhanga Podcast can be found, here. Park Winter Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989 to 2012, where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937–2019). Her work can be found here. Her interview with The Unfinished Print: A Mokuhanga Podcast can be found here. Daizuyama - 23cm x 34cm (2009) Kari Laitinen - is a Finnish artist and printmaker based in Finland. His works explore colour and dimension. More information can be found, here. He helped write, with Tuula Moilanen, the book Woodblock Printmaking with Oil-based Inks and the Japanese Watercolour Woodcut. It was published in 1999. Dimensions VII - 48cm x 76cm (2017) Venice Printmaking Studio - is a printmaking residency located in Murano, Italy. Malaspina Printmakers - is a printmaking residency located in Vancouver, British Columbia, Canada. MNmore info, here. Annu Vertanen - is a Finnish printmaker who has used mokuhanga in her work. Annu is currently a professor at the Academy of Fine Arts, University of the Arts Helsinki. Aspect Guanlan I - 95cm x 65cm © Popular Wheat Productions Opening and closing musical credit - Bruce Springsteen, Atlantic City (1982). From the album Nebraska (Columbia Records) logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
Descubre la conexión entre tu mente, tu espíritu y tu camino hacia la sanación. En episodio, conversamos con Izanami, quien nos guía a través de una reveladora charla sobre salud mental, espiritualidad y los secretos del cerebro humano. Exploramos temas profundos como la depresión, el suicidio y cómo la fe en Dios puede convertirse en una poderosa herramienta para superar las etapas más oscuras de la vida. Izanami comparte estrategias prácticas y reveladoras para reconectar con nuestro propósito y descubrir la luz en medio de la adversidad. Si alguna vez te has sentido atrapado por tus pensamientos o has buscado respuestas en el ámbito espiritual, este episodio está diseñado para ti. Aprende cómo el cerebro y el espíritu trabajan juntos para transformar tu salud mental.
En Ivoox puedes encontrar sólo algunos de los audios de Mindalia. Para escuchar las 4 grabaciones diarias que publicamos entra en https://www.mindaliatelevision.com. Si deseas ver el vídeo perteneciente a este audio, pincha aquí: https://www.youtube.com/watch?v=P4mK8bL0vuQ&t=13s Izanami Martínez nos comparte su experiencia personal desde un pasado ateo protagonizado por prácticas de la New Age hasta su transición al presente, siendo cristiana e hija de Dios. Izanami Martínez Madre, antropóloga, autora, formadora y fundadora de Soulgate Media. Experta en Neurociencia y comportamiento humano. Expresidenta de la Asociación Española de Startups. #NewAge #Cristianismo #CrecimientoPersonal Más información en: https://www.mindalia.com/television/ PARTICIPA CON TUS COMENTARIOS EN ESTE VÍDEO. -----------INFORMACIÓN SOBRE MINDALIA--------- Mindalia.com es una ONG internacional, sin ánimo de lucro, que difunde universalmente contenidos sobre espiritualidad y bienestar para la mejora de la consciencia del mundo. - Apóyanos con tu donación en: https://www.mindalia.com/donar/ - Suscríbete, comenta positivamente y comparte nuestros vídeos para difundir este conocimiento a miles de personas. Nuestro sitio web: https://www.mindalia.com SÍGUENOS TAMBIÉN EN NUESTRAS PLATAFORMAS - Facebook: / mindalia.ayuda - Instagram: / mindalia_com - Twitch: / mindaliacom - Odysee: https://odysee.com/@Mindalia.com *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas.
En Ivoox puedes encontrar sólo algunos de los audios de Mindalia. Para escuchar las 4 grabaciones diarias que publicamos entra en https://www.mindaliatelevision.com. Si deseas ver el vídeo perteneciente a este audio, pincha aquí: https://www.youtube.com/watch?v=P4mK8bL0vuQ&t=13s Izanami Martínez nos comparte su experiencia personal desde un pasado ateo protagonizado por prácticas de la New Age hasta su transición al presente, siendo cristiana e hija de Dios. Izanami Martínez Madre, antropóloga, autora, formadora y fundadora de Soulgate Media. Experta en Neurociencia y comportamiento humano. Expresidenta de la Asociación Española de Startups. #NewAge #Cristianismo #CrecimientoPersonal Más información en: https://www.mindalia.com/television/ PARTICIPA CON TUS COMENTARIOS EN ESTE VÍDEO. -----------INFORMACIÓN SOBRE MINDALIA--------- Mindalia.com es una ONG internacional, sin ánimo de lucro, que difunde universalmente contenidos sobre espiritualidad y bienestar para la mejora de la consciencia del mundo. - Apóyanos con tu donación en: https://www.mindalia.com/donar/ - Suscríbete, comenta positivamente y comparte nuestros vídeos para difundir este conocimiento a miles de personas. Nuestro sitio web: https://www.mindalia.com SÍGUENOS TAMBIÉN EN NUESTRAS PLATAFORMAS - Facebook: / mindalia.ayuda - Instagram: / mindalia_com - Twitch: / mindaliacom - Odysee: https://odysee.com/@Mindalia.com *Mindalia.com no se hace responsable de las opiniones vertidas en este vídeo, ni necesariamente participa de ellas.
En este episodio tengo una conversación con Izanami Martinez, antropóloga experta en neurociencia y comportamiento humano, empresaria y mamá de dos niños. Hablamos sobre emprendimiento, despertar espiritual, salud mental y cómo ella misma se ha reiventado profesionalmente para vivir en coherencia con su definición de éxito siendo madre. Instagram Arantxa: https://www.instagram.com/arantxa_canadas/ Instagram Izanami: https://www.instagram.com/izanami.es/ Recibe mis cartas exclusivas por email: https://www.arantxa-canadas.com/newsletter/ Más sobre mis formaciones: https://linktr.ee/arantxa_canadas
Episode 33 - Murdock and Marvel: 1991 Part 2 It's the year of Marvel's greatest success…and quite possibly its greatest failure! Welcome to 1991, the year that sets the stage for the next evolution of American comics. This is part 2 of the podcast. that will feature the year in Daredevil, the Spotlight story and the Takeaway for 1991. The Year in Daredevil Appearances: Daredevil #288-299, Daredevil Annual #7, Marvel Comic Presents #69-72, #75, #81 and #91, What if…? 24 and 26, Avengers #332-#333, Excalibur #39, Darkhawk #6, Incredible Hulk: Ground Zero, Very Best of Marvel Comics, Very Best of What If, Amazing Spider-Man: The Wedding graphic novels and Marvel Masterworks Writing: Ann Nocenti (288-291) Dan G Chichester (292-299) Pencils: Lee Weeks (288, 291-295, 297-299) Kieron Dwyer (289-290), Ron Garney (296) Inks: Al Williamson and Weeks (288) Williamson and Fred Fredricks (289), Fredricks (290-292), Williamson (293-299) The year begins with Matt Murdock having dreams of Elektra and Stick and the Kingpin orchestrating a similar ultimatum to throw a boxing match to save Nyla whom he's kidnapped. Matt refuses to do so, wins the fight and saves Nyla with the help of Ben Urich Meanwhile Bullseye continues to pretend to be Daredevil and ruin his reputation, but is confronted and defeated by Murdock who's disguised as Bullseye. After taking on Bullet for one last time, Matt Murdock reunites with his friend and law partner Foggy Nelson – who's been working on getting Murdock's law license reinstated. As Daredevil and the Punisher deal with Taskmaster and Tombstone causing trouble, we see Kingpin and Typhoid Mary enter a deal with a General Strang, an investor who agrees to fund Fisk's media enterprises but secretly hopes to infiltrate Fisk's finances from within. Halfway through the year we see the Hand returns to New York and we learn they were the ones behind setting lose Taskmaster and Tombstone on the city. What follows is a multi-book story arc involving Daredevil attempts to take down the Hand. This includes a cameo by the Ghost Rider and some of Stick's old students (including Stone) showing up to help Daredevil in the final showdown – which is our spotlight story this week. The year ends with the first 3 of 4 parts to the Last Rites story arc. In it, we see Daredevil causing division between Kingpin and Typhoid before having her committed. Then we see Nick Fury bring Matt Murdock into SHIELD and ask him for help taking down Kingpin and Hydra who's bankrolling his media enterprise. We then see the chess pieces put in place for a final showdown. The finale of this story is a giant double issue #300 we'll talk about in 1992. New Powers, Toys or Places: None New Supporting Characters: Maltese (Kingpin's right-hand man), Danny Ketch aka Ghost Rider, Kathy Malper (US District Attorney looking to take down Kingpin) New Villains: Taskmaster (big time Marvel baddie), Tombstone (another Marvel baddie), General Strang (Kingpin's media investor that turns out to be more than he bargained for – Lieutenant Garotte). Jonin (head of the latest version of the Hand in New York), a new Izanami (large female enforcer of the Hand) This Week's Spotlight: Daredevil #296 September 1991 “Balancing Act” Recap Why We Picked This Story The Takeaway Writers matter! Questions or comments We'd love to hear from you! Email us at questions@comicsovertime.com or find us on Twitter @comicsoftime. ------------------ THANKS TO THE FOLLOWING CREATORS AND RESOURCES Music: Our theme music is by the very talented Lesfm. You can find more about them and their music at https://pixabay.com/users/lesfm-22579021/. The Grand Comics Database: Dan uses custom queries against a downloadable copy of the GCD to construct his publisher, title and creator charts. Comichron: Our source for comic book sales data. Man Without Fear: Kuljit Mithra's Daredevil site contains a staggering collection of resources about our hero, including news, interviews and comic details. The American Comic Book Chronicles: Published by TwoMorrows, these volumes provide an excellent analysis of American comics through the years. Because these volumes break down comic history by year and decade they are a great place to get a basic orientation on what is happening across the comic industry at a particular point in time. Joshua and Jamie Do Daredevil: A fantastic podcast that does a deep-dive into Daredevil comics. This ran from 2018-2020, and covered most of the first volume of Daredevil, and was a fun way to get an in-depth look at each issue of Daredevil from 1-377. My Marvelous Year: This is a reading-club style podcast where Dave Buesing and friends chose important or interesting books from a particular year to read and discuss. This helped me remember some fun and crazy stories, and would be a great companion piece to Murdock and Marvel for those who want more comic-story-specific coverage. BOOKLIST The following books have been frequently used as reference while preparing summaries of the comic history segments of our show. Each and every one comes recommended by Dan for fans wanting to read more about it! Licari, Fabio and Marco Rizzo. Marvel: The First 80 Years: The True Story of a Pop-Culture Phenomenon. London: Titan Books, 2020. This book is sort of a mess, as the print quality is terrible, and Titan doesn't even credit the authors unless you check the fine print. It's like this was published by Marvel in the early 60s! But the information is good, and it is presented in an entertaining fashion. So its decent, but I would recommend you see if you can just borrow it from the library instead of purchasing. Wells, John. American Comic Book Chronicles: 1960-1964. Raleigh: Two Morrows, 2015. Not cheap, but a fantastic series that is informative and fun to read. Wright, Bradford. Comic Book Nation: The Transformation of Youth Culture in America. Baltimore: Johns Hopkins University Press, 2001. This is the revised edition. Marvel Year By Year: A Visual History. New York: DK Publishing, 2022. The academic in my rails at using information from any work that doesn't have an author credit, but this is a decent (if very surface) look at each year in the history of Timely / Marvel from 1939 to 2021. Cowsill, Alan et al. DC Comics Year by Year: A Visual History. New York: DK Publishing, 2010. Because its nice to occasionally take a peek at what the Distinguished Competition is up to. Dauber, Jeremy. American Comics: A History. New York, W.W. Norton & Company, 2022. An excellent, relatively compact history of the domestic comic industry from its 19th century origins through to recent 21st century developments. An excellent successor to Bradford Wright's Comic Book Nation.
The journey of an artist is a winding one. You make the decision to start, not knowing where it will take you. Over time, if you're fortunate, you build a career from your work while gaining the freedom to explore new forms of expression, with each project becoming an important and affirming part of that journey. In this episode of The Unfinished Print, I speak with Mariko Jesse, a professional illustrator who has integrated mokuhanga into her artistic practice. Mariko draws inspiration from her life experiences, sharing insights on her family and travels. We discuss how living in San Francisco, Hong Kong, and Japan has shaped her outlook and creative process. Mariko also reflects on her involvement with MI Lab, now based in Echizen, Japan, as well travelling to the International Mokuhanga Conference in April 2024. Finally, we explore Mariko's collaborations with The Mokuhanga Sisters and wood+paper+box, and how these partnerships shape her own artistic practice. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Mariko Jesse - website, Instagram Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here. Yoonmi Nam - is a contemporary mokuhanga printmaker, lithographer, sculptor, and teacher, based in Lawrence, Kansas. Her work can be found, here. Her interview with The Unfinished Print can be found, here. From Yoonmi Nam's exhibition Among Other Things, as seen at The University at Buffalo Art Gallery, Buffalo, NY (2024) photo by me. Katie Baldwin - is a contemporary mokuhanga printmaker, illustrator, book maker, and artist based in Huntsville, Alabama. Her work can be found, here. Her interview with The Unfinished Print can be found, here. Looking For Different Places to Call Home, from the series Family Tree (2004) 18"x14" mokuhanga and letterpress Ralph Kiggell (1960-2022) - was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here. Leaf Change linocut -A linocut is a relief or block print type, similar to woodblock printing. The artist carves an image into a linoleum block, printing what's left. Central Saint Martins - is a renowned art and design college in London, formed in 1989 through the merger of St Martin's School of Art and the Central School of Art and Crafts, both known for their innovative, hands-on teaching methods. It later integrated the Drama Centre London and the Byam Shaw School of Art. Central Saint Martins continues its tradition of radical art and design education while adapting to modern shifts in its disciplines and teaching approaches. intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here. Into The Garden (mokuhanga printed book) cat + jug (etching) A4 paper size - is a size of paper from the ISO 216 standard, with the dimensions of 210x297 mm. Summer Blooms (2021) MI Lab - is a mokuhanga residency located in Echizen, Fukui, Japan. More info can be found, here. The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. Instagram Masaban - was the exhibition held at the Udatsu Paper Museum in Echizen, Fukui, Japan in April, 2024. More info can be found, here. Udatsu Paper & Craft Museum - is a museum dedicated to washi and its history. More information can be found, here. gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints. Paul Binnie - Travels with the Master: New York Night T/P 11 3/8" by 8 1/8" Awaji Island - located in the Seto Inland Sea of Japan, has a rich history that dates back to ancient times. It is considered the birthplace of Japan in the *Kojiki* (Records of Ancient Matters), as the first island created by the gods Izanagi and Izanami in Japanese mythology. Historically, Awaji was a strategic point for maritime trade and travel, linking the Kansai region with Shikoku and Kyushu. During the Edo period, it was part of Tokushima Domain under the rule of the Hachisuka clan. Today, Awaji is known for its natural beauty, traditional industries like Awaji Ningyo Joruri (puppet theater), and as the site of the Akashi Kaikyō Bridge, the world's longest suspension bridge, connecting it to mainland Japan. 弁 - is the Chinese character for ben, "dialect." Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here. sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used. Gotō Hidehiko - is a mokuhanga printmaker and baren maker based in Tōkyō, Japan. You can order baren from him, here. Terry McKenna - is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education, located in Karuizawa, Japan. For further details about Terry and his school, here. Additionally, you can listen to Terry's interview with The Unfinished Print, here and Richard Steiner's interview here. The Western Sky (22.4"x9") 2022 Lucy May Schofield - is a printmaker, photographer, and scroll maker (kakemono, 掛物) and is based in England. More information cane found on Lucy's website, and Instagram. Lucy's interview with The Unfinished Print can be found, here. The Last Light series (cyanotype) 2016 Tiffany & Co. - is a luxury jewelry and specialty retailer founded in 1837 in New York City. Known for its iconic blue boxes and high-quality craftsmanship, Tiffany's specializes in fine jewelry, particularly diamond engagement rings, as well as silver, watches, and luxury accessories. Over the years, it has become a symbol of elegance, style, and timeless sophistication. The brand is also known for its collaborations with renowned designers and its presence in popular culture. wood+paper+box - is a collaborative art group made up of Katie Baldwin, Mariko Jesse, and Yoonmi Nam. It is based on their experiences at Nagasawa Art Park, the precursor of MI Lab. mica - in mokuhanga, mica (kirazuri) is used to add a shimmering, reflective effect to prints. Mica powder is typically mixed with glue and applied to the surface of the print in areas where a subtle sparkle or luminous texture is desired, often to highlight details such as clothing, water, or the sky. This technique gives the print a luxurious quality and enhances the visual depth. Historically, mica was used in ukiyo-e prints to elevate the status of the work, and it continues to be used by contemporary printmakers for its unique aesthetic appeal. © Popular Wheat Productions opening and closing credit - sounds of the Sumida River 2024 logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
This episode we continue looking at the Taika reforms, covering only 3 months, but with edicts about mounded tombs, the labor due to the state vice individuals, and a variety of "offenses", often countering current practices such as forcing people to undergo "harai" in many instances. For more, check out the blog at https://sengokudaimyo.com/podcast/episode-110 Rough Transcript: Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua and this is episode 110: Manual Labor, Mounded Tombs, and Marital Missteps. Maro sat by the small campfire he had made along the river's edge. The water nearby was going to be the catalyst for the gruel that he was making with some of the last bit of food that he had. As he stirred the pot, he looked over at his friend, lying out, his head propped up against the rock. Maro and Sumi had been working on one of the large tombs in Asuka at the commandof their lord, who had built it for his deceased father. Now they were released and headed back to their village, still two days out. Unlike their superiors, they didn't get horses to ride across the landscape, so it would be a few days before they returned home. Unfortunately, Sumi had grown ill, and he was now almost delirious with fever. Maro couldn't bear to leave his friend, but he also cursed his luck. What if Sumi were to die? It was one thing to die at home, or even when they were working on the tomb. But now they were travelers—strangers on the road. If something happened to Sumi, Maro knew he couldn't just leave him, but neither could he go trudging through the countryside with a dead body. Even association with death would bring problems for him, and if local villagers were to find out, they could force him to pay for the necessary ritual purification—or worse. Heck, even something as simple as cooking rice on the side of the road could bring problems for a poor traveler—hence why Maro had found some place off the beaten path and away from prying eyes. Under his breath he prayed to whatever powers were listening to help Sumi recover. If they could only make it back to their village, then everything would be alright. Once again, we are looking at the second year of Taika, 646. As we heard in the past couple of episodes, the first year of Taika saw a plethora of edicts that would bring radical change to the way that the sovereign interacted with the land and the people. These provided the start of much more direct rule, and yet also set the stage for a new bureaucratic state, with various new officials up and down the hierarchy. This episode we are continuing to look at what happened in the first several months of 646, largely because there was so much going on that it's worth focusing in on this short time period. For one thing, we really should talk a little bit more about how this entire Taika era is reflecting the culmination of what appears to have been a major change to Yamato's cultural identity over the preceding century or so—a change in perspective that may not have even been entirely apparent to them, but which allowed Naka no Oe and the sovereign, Karu, aka Koutoku Tennou, to get away with these pronouncements that restructured the basic foundations of the Yamato state. These changes include the death knell of the kofun period, with new restrictions on how mounded tombs were to be created, including how large they were allowed to be. We'll also look at a litany of items being called out in the third month of the year—many of which directly affected people at the lowest ends of the economic spectrum and which give us a view of some of the practices that had presumably been going on prior to the edict. As we've already discussed, the early part of the year 646 saw quite a few quote-unquote “normal” things happening. The sovereign moved into a new detached palace, perhaps while the Toyosaki Palace was being built. This was the Koshiro Palace of Sayabe, in Naniwa. Emissaries were sent out to restore—or possibly build—the arsenals; you may recall that the governors were supposed to gather up all of the weapons and armor in a single place so that it could be available, just in case. Envoys from the Emishi came to do homage, and there was another round of envoys from Goguryeo, Baekje, and Silla. Apparently, this time, there were no complaints about the tribute. That was all in the first two months. By the third, the governors had been called to account for their misdeeds, but also pardoned – we talked about this two episodes ago, when we explored the new system of governors, but this is when their pardons happen – and the sovereign moved out of the Koshiro Palace, presumably to take up residence in the shiny new Toyosaki palace that was just getting blessed and which was the nominal reason for the general amnesty across the land. And with all of that over… well, it was time to get back to figuring out what part of the traditional order they would overthrow next. And apparently, Karu, our sovereign, had an idea. He sent a question to the Crown Prince, Naka no Oe, to see what he thought about it, and we are given the Prince's response in a letter back to the crown on the 20th day of the 3rd month of 646. The question Karu had askedwas roughly: what should be done about a group of families called the Iribe, including the Koshiro no Iribe of the Omi, Muraji, the Tomo no Miyatsuko, and the Kuni no Miyatsuko; and the Mina no Iribe of the Royal Princes. Karu had also evidently asked what should be done about the Miyake. Now the question reading as “what should be done about these people” sounds a bit ominous, so before we get to Naka no Oe's suggestions, let's explore just who were the “Iribe” mentioned here. As far as I can find, there doesn't appear to be another use of that word in the Chronicles, but the other terms around it provide clues and we have a general consensus about what this is all about. “Koshiro”—the Child's Generation—and the “Mina”—the exalted name—suggest that the Iribe were those families set up in the name of a given prince or person. As we've talked about on the podcast in the past, from the start of the various “Be” families, there was a longstanding tradition of creating specific families to support given individuals: for former queens, princes, and more. These families often took the name of the palace where these individuals resided. The output of these families and worker groups would then go to support that individual and their relatives. The language used in Naka no Oe's letter, here, suggests that various other elites had set up similar groups for themselves or their own relatives This is supported by the fact that the Miyake are also mentioned. The Miyake were the royal granaries, and while they had a political significance in extending the presence of the Yamato throne, they were also supplying income, in the form of rice, to the throne and various members of the royal family. So, Karu's question basically boiled down to: what do we do about all of these groups that exist purely to support elite families? Naka no Oe's response reflects the new order that he was pushing for in this period. He notes that there is only one sovereign, and only the sovereign was owed the labor of the populace—suggesting that the labor of the Iribe and those otherwise conscripted into labor should be done according to the new labor laws they had just enacted. This also suggested that even the Miyake should be abolished. This was another Big Change in the Taika era, and once again, this would have large ramifications, as it suggested, once again, that the traditions of people providing labor to these elite families would go away—although not entirely. As we will see, elites would still get an income, but it would no longer be based on your hereditary rank and position and provided by groups bound to your service alone, but instead based on your appointed rank and position in the new government. Those serving in government would continue to receive a stipend based on the labor of agricultural workers on land allotted to such purpose by the state, and in fact we've already seen where stipends were increased for some officers. This goes along with the idea, at least, of a more merit-based society. Those who worked hard and proved themselves would find their way to the highest positions and thus the greatest income for themselves and their families. In reality, these promotions were highly political affairs, and most likely to go to those who came from the families already in power. How that was envisioned, though, changed in this period, and it really emphasizes the shift that must have occurred within the cultural imaginary of the time. I've mentioned before the concept of the cultural imaginary, and it is something that I think we really need to talk about during this period—during the Great Change. It is clear that, even if the term “Taika” was applied after the fact, people recognized that there was a sea change going on. That change is externally represented by the edicts and the change going on in the way the government was operating. However, this couldn't have happened without at least the tacit approval of the rest of the elites. If Naka no Oe had just been a lone voice preaching the benefits of a more centralized state, with the sovereign at the top of a bureaucratic system that had never before been seen in the archipelago, then he could easily have been dismissed. The other members of the court could have effectively revolted, refusing to comply and possibly even forcing a change in government. And of course, that may have been part of what was behind the attempted revolt around Prince Furubito no Ohoye, which we talked about last episode. However, enough people continued to side with Naka no Oe and Nakatomi no Kamatari and their ideas that any opposition was unable to overcome their momentum. So why? I would suggest that this was the result and culmination of a new way of envisioning—of imagining, if you will—the Yamato state. It is an image that would have been familiar to the Chroniclers, and we see it throughout their narrative: the image of an imperial state, with the sovereign—known to the Chroniclers as the Sumera no Mikoto, or Tennou—at the very top. The Sumera no Mikoto, as the sovereign would eventually be known, held authority not only in the secular realm, but also in the spiritual—in the Buddhist and in matters of the kami. It envisioned the sovereign as the natural ruler of all of the archipelago, and even beyond. This was an image that is very much in line with the thinking of continental scholars. It conforms, to a point, with Confucian and Buddhist ideas of what a Good Ruler should be, and, by extension, what the role of the State was and how the people should operate within that realm. Prior to the 6th century, there had been another image of the sovereign—the image of the Oho-kimi. There are similarities—after all, power is power and humans are going to human. But there were clearly other prevailing ideas in play back then. We've talked about the idea of co-rulers, who ruled in tandem. And we've seen examples of female and male rulers at various levels of society. Spiritual authority came from the ability to intercede with the kami, and there were no native Buddhist traditions prior to 538—despite attempts by the Chroniclers to paint prior generations with the brush of Buddhist and Confucian morality. One's place in society wasn't dictated by their own personal accomplishments as much as it was the accomplishments of their extended family, though even some of that may have come about as late as the 5th or 6th centuries. Perhaps more importantly, prior to the 6th century, the sovereign's direct control only extended so far. They were the sovereign of Yamato, and though they may have had influence over others in the archipelago, they did not necessarily have direct control over their lands and people. By all accounts, the people owed their service not to the sovereign in Yamato, but to their local elites, who in turn may have had duties to those above them. But along with books and immigrants from the continent, the people of the archipelago got new ideas of what the government should look like. These may have been foreign ideas, but over time we had new generations growing up with new and different examples of how things should work. These new ideas worked their way into their thinking about how elited should behave and act, and colored their image for what a proper State should look like. Sure, they understood how their own traditions worked, and that is still the mode under which they operated, but they were ready to change. Some of this change started back in the era of Prince Umayado and the sovereign, Kashikiya Hime. Umayado's purported 17 article constitution, as we noted, didn't exactly lay out specific laws and punishments. It wasn't a true legal code, though it was accompanied by a few legal changes, including the first attempt at a rank system for individuals. More importantly, though, it articulated a set of values on which the government should be founded. Whether or not these values were actually articulated to Prince Umayado, aka Shotoku Taishi, or even whether they were written down before the Chronicles were put together is debatable, but that whole episode certainly suggests that these kinds of ideas, which were rife with continental thought, were making their way into society. And thus, Naka no Oe was able to suggest his and Karu's reforms based on arguments that no doubt resonated with the people of the time, as many of those in government would have been reading similar texts. So even while it was seemingly against their immediate interests to give up control of labor or production, they had already been provided an exemplar of how this would work. They had a new imagination of what their culture should be and look like. And that's why I bring up the idea of a new cultural imaginary taking hold. A cultural imaginary is the collection of various shared values and concepts that a group envisions for themselves. If we think of modern countries, one can look at American culture, where there are shared values of freedom, individuality, etc. These are backed by common, shared ideas and stories—stories of the Founding Fathers, separating themselves from Great Britain, but also ideas of the Old West and concepts of the rugged cowboy on his horse. These stories and images help us to determine our shared values and understanding. It also tends to define the “us” versus “them”. Why are *we* the way we are and why are *they* different? To be clear, these stories are not always true, and can change over time. Early visions of America included some people, but not everyone. Stories turned George Washington into an almost mythical figure, with an emphasis on his heroic qualities and his honesty. Our modern version of the Old West is often driven by what we saw in movies, which in turn were influenced by dime novels of the late 19th and early 20th centuries. The historical Old West tended to be quite different—and much more complex and diverse—than our modern visions of it. We can see similar forces at work in the Nihon Shoki and the Kojiki. These were written with the cultural values of the 8th century, and deliberately or not, their values are reflected back into the past, which is then what later generations would hold onto, defining their own image of who they were and how things should be. When the cultural imaginary of what your society or culture *should* be conflicts with what people actually see happening, that often creates tension. That tension can be resolved in a variety of ways, but it often requires something to change. In this case, the cultural imaginaries of the elite had been flooded with examples of Confucian and Buddhist morals. The stories and values had been passed along with knowledge of astronomy, mathematics, and more, in the media they were consuming from the continent. There were also those who had come from the continent—from Baekje, Silla, and beyond—who no doubt also had absorbed some of these stories and values and were passing them on, as well. And so it wouldn't have taken that much for Naka no Oe to point out how the system that they were laboring under differed from what a so-called “good” government should look like. So in a way, there was already buy-in for a change, at least at the top. And thus it appears as though Naka no Oe and Karu were able to get many of the elites to give up a measure of their own autonomy under the old system for the benefits of the new system that was being created. Mind you, it likely didn't hurt that the throne was also ensuring that they gave out lavish gifts of silk, gold ingots, and hefty stipends to many of the more influential members of society as well. There are still questions as to how much actually changed, initially. Sure, we see the edicts and an intent to change, and the local elites of Yamato seem to have been going along with it, but we don't quite see how quickly these edicts were accepted in places like Izumo or Kibi, and I wouldn't be surprised to learn that, at least initially, many people just paid the edicts lip service, waiting to see whether or not they would actually be enforced. Still, these are definite changes away from the previous cultural norms. Which leads into the next big edict, which focused on regulating tombs. While the ancient burial mounds which could be called “kofun” continued to be built into the 8th century in one form or another, by most timelines, the Kofun period ended around 538 with the introduction of Buddhism and the start of what is known as the Asuka period. As we've noted, even the kingly tombs of the royal family from the end of the 6th century stopped relying on the round-keyhole shaped tomb shape. By the early 7th century the building of temples had become the new memorial for the ultra-wealthy of Yamato—a temple being a memorial that could be built before you passed and carry on your memory to later generations as a place of worship. This was no doubt helped by the idea that you would also accrue a fair bit of karma, the spiritual capital of the Buddhist worldview. However, a mounded burial was still de rigeur for the elites and certain families, including those who had come over from the continent. The last keyhole style tombs known to have been built appear to be out in modern Chiba prefecture, in the Kanto region, in the first half of the 7th century. From then on, we largely see round, square, or octagonal tombs. Some of the latest tombs that we know of, in the late 7th and early 8th centuries, show clear signs of continental influence. Kitora kofun and Takamatsuzuka Kofun, both in the Asuka area, are decorated in ways similar to tombs in Goguryeo, including paintings of the four directional animals mentioned in the Liji, the Confucian Book of Rites: Suzaku, the red bird of the south; Byakko, the white tiger of the west; Genbu, the black tortoise of the north; and Seiryuu, the blue dragon of the east. Takamatsuzuka also contains murals of courtiers dressed in clothing that would be quite at home on the continent and which looks quite different from the clothing seen on haniwa figures from only a century or so earlier. Tombs were also more likely to be clustered together, and often only contained a single burial, rather than evidence of a double burial. This was likely influenced by the edict of 646. That edict also gives us ideas on what was considered to be reasonable for that era, and provides some of our best descriptions in the written record to help us better understand tomb construction. I would also note that the court had moved to Naniwa, and near to Naniwa were some of the largest of the kofun, including Daisen-ryo, the largest kofun in Japan and one of the largest mausoleums in the entire world. So perhaps that was also influencing their thoughts. The edict starts out noting that large, mounded tombs are wasteful. This shouldn't be a surprise: large tombs were always about conspicuous consumption as a sign of the wealth and power of the occupant and their family. As noted earlier, however, a lot of that seems to have shifted to the building of temples, and as such, tombs were no longer seen as something to waste resources on. However, since it was still tradition, it was still happening, hence the edict. And so it goes on to limit the size of the tombs. At the largest, it says a tomb should be no more than about nine shaku wide and 5 shaku wide on the inside—one shaku being approximately 1 foot—and no more then 9 hiro to a side and 5 hiro in height. A “Hiro” was an ancient measure that was generally the length of two outspread arms. This was about 5 shaku, or 5 feet. That means that we are still talking about a mound 45 feet on a side, which is nothing to sneeze at. But this size was reserved for princes and up. The Daijin—the great ministers of State—could have similar inner dimensions for their sarcophagus, but the outside was limited to only seven hiro to a side and three hiro in height. Lesser ministers only got 5 hiro to a side and 2.5 hiro in height, while others were allocated no mound at all, and a smaller inner chamber. In addition, the number of laborers and how long they could work on a tomb was also capped. The largest tombs were allotted 1,000 laborers for 7 days. The Daijin received 500 laborers over 5 days. Other ministers received 250 laborers for 3 days, while below that you received 100 laborers for 1 day or 50 laborers for no more than 1 day. Here we see the state once again asserting itself into the relationship between the various individuals and the laborers—previously, an elite family would have just used as many laborers as they had private access to, but now things were being regulated and it was all based on your rank and position within the civil service of the new government. In addition, how the deceased was delivered to the monument also was regulated. A carriage was permitted for the highest ranked individuals—the members of the royal family. Ministers could be placed on a bier and carried by pall-bearers. No mention is made of people of the lower class, with the assumption that they likely didn't get such a ceremony. White cloth hangings were allowed in many cases—white is practical, in that it isn't dyed and so it wouldn't be as expensive, but it was also considered the color of death in Buddhist and continental tradition, so not surprising. They also allowed small stones to be used for princes down to the rank of “sho-chi”—that was the lowest official rank. These stones could refer to several things, and we aren't quite sure. According to Aston, the compilers of the “shukai” edition of the Nihon Shoki attributed this to memorial stones set up with inscriptions about the deceased, but as he points out, we haven't found anything that really correlates to that. Aston instead suggests that what is meant are the stones used to build the roof of the main chamber. If you look at tombs like Ishibutai kofun, you can see the large stones used there, but this may be referring to something similar, possibly using smaller stones that took less effort to haul into place. There were also stones used on the outside to decorate the kofun back in the day, and I suppose that they could have meant that as well. More than just regulations, there were prohibitions placed on burials. For one thing, the concept of a temporary interment was discontinued for everyone. In the past, a body would be buried or even placed in a hut for some time and then the burial would take place at a later date. There are several reasons this may have been done in the past, from the purely ritual to the more practical. However, that was no longer considered to be appropriate. Likewise, commoners were required to be buried within a day of their death. This goes along with talk about reducing “pollution”, which may have referred to spiritual as much as physical pollution, and so plots of ground were set aside specifically for burials, and people were not allowed to be buried outside of those official locations. That could certainly help explain why we see more clusters of burials in this later period. Using the sides of hills and ridges may have also meant that the tombs didn't take up important agricultural lands. There were also prohibitions on sacrifices to the dead. For one thing, nobody was permitted to sacrifice themselves through strangulation—which apparently had been a thing even though we are told that human sacrifice was prohibited back in the time of Mimaki Iribiko, and the reason that haniwa were invented. You also weren't allowed to sacrifice someone's horse or bury valuables along with the dead. These are all things that we see in the early mounded tomb culture, including burials in the Kara, or Gaya, region of the Korean peninsula, and we certainly find plenty of grave goods in the archipelago. It makes me wonder if this is one of the reasons that painted tombs, like Kitora and Takamatsuzuka, were used, perhaps in place of more lavish grave goods going into the burial. There was also a prohibition on an apparent custom where people would cut their hair and stab themselves in the thigh prior to pronouncing a eulogy. Similar traditions are found elsewhere, often to emphasize that people were grieving the dead. And since you can't punish the dead, if there were any problems then it would be the dead person's relatives who would be punished, instead. Speaking of punishments, this starts to get into a part of the Taika reforms that really focuses on the various offenses that people were apparently committing and needed to be stopped. It is unclear to me how often these offenses occurred, and in some cases I wonder if they were things that were actually happening or if they were carryovers from the continental tradition. Still, I tend to come down on the idea that these were likely things that were actually happening, and didn't fit in with the social norms and values that Naka no Oe and his cohorts were attempting to put in place. Some of these will likely resonate with us, today, but others are a bit more difficult to fully grasp. One of the things that is perhaps most difficult for us to grasp today is the concept of “harai”, which Aston translates as “purgation” and is most commonly translated, today, as “purification”. “Harai” is an important concept in Shinto, and has been something that seems to have been there in some form from the earliest times. In Shinto there is a concept of “pollution” or “tsumi” that can occur, and it may or may not be something that a person has control over. For example, blood and death are forms of pollution—which also means that, by extension, birth also includes pollution in the form of blood. “Tsumi” can also be something that occurs because of things that a person does, where they break the social mores or norms. A number of examples are contained in the stories provided during the Age of the Gods. In particular, you can see in the tales of Izanagi and Izanami, where Izanagi, coming back from the land of the dead, dips himself into the ocean to wash away any impurities—any pollution. We talked about that back in episode 14. In episode 15, we talked about some of the not-so-great actions of Susano'o. Some of these, like the backwards flaying of the colt and flinging it through the roof of his sister's building is somewhat obvious. But then there were things like moving the stakes delineating the rice fields, or letting livestock in to trample the young growth. Those were some other examples of tsumi that were part of the many things that got him kicked out of Takamagahara, the High Plain of Heaven. An important thing here is that tsumi is not necessarily about a person's intentions, motives, nor responsibility. For all types of tsumi, some form of harai, or purification, is called for. Today, there are various ceremonies that can be performed by Shinto priests to help remove the effects of tsumi, and that seems to have been the case back in the Kofun and Asuka periods as well, but there was a catch: it wasn't without costs. And apparently those costs could be significant—significant enough that it was almost like a kind of punishment. Aston suggests that harai could include various payments, perhaps seen as a kind of sacrifice, but that could be more than some people could afford. If we look back on the story of Susano'o, he had to have his hair and nails cut as part of his penance—his harai. There is also some thought that this may have just been a literal payment to the community, like a fine. I would note that “harai” can mean either purification or payment, depending on the kanji used. So just keep that in mind when we talk about “harai”. Now here are some of the things that, according to the new edicts, people were to stop doing. First, there were people who saw or heard something—presumably something important—and yet they wouldn't say anything. That wasn't going to fly anymore. So I guess this is the pro-snitching rule—if you see something, say something. Then there were enslaved people who apparently would leave poor masters to find someone wealthier to serve, hoping to improve their lot. Again, this was right out. We are reminded that Yamato was a slave-holding society, and they weren't going to allow that. On the other hand, the new rules also put a stop to husbands who would dismiss their wives and then, when the wives remarried, try to make a claim on the new husband's property. Similarly, there were some men who demanded a family's daughter for his wife, but before they consummate the marriage, she marries someone else. In some of those cases, the men would, again, make demands on the property of the new husband's family as well as the wife's family. The new edict put that strictly out of bounds. Following on a theme of women and marriage: there was a tradition in some places that widows who, when they married after 10 or 20 years, or even unmarried women got married for the first time, they would be forced by the community to pay for some kind of “harai”. This, along with the other practice mentioned, was forbidden. No longer would they have to pay for getting married. Now in some cases, it looks like men who wanted to divorce their wives wouldn't just let them out of the arrangement. Rather, they would sell their wives into slavery—another thing that the new edicts said would no longer be tolerated. And then there was the case of a man who believed his wife was having an affair. In that case he now had to obtain at least three credible witnesses before bringing it up to the authorities. One presumes this was to protect women from men simply making a baseless claim with no proof. Not that a determined man couldn't find—or even bribe—three witnesses to come forward and accuse his wife, but it at least upped the ante a little bit. Whether this was to provide protection to women or whether it was just to reduce the amount of work on government officials who would have to investigate and come to a decision isn't exactly clear. I would note that while many of these new rules were coming down on the side of protecting women, to some degree, there is still a very heavy patriarchal bias demonstrated throughout. In addition to all the information on marital affairs, there were a few other, unrelated issues, but all of them were connected to the need to do harai. And now we come back to our story about poor Maro and Sumi from the beginning of the episode: let's say a man, finishing his forced labor, is returning back when he falls ill on the road and dies in some village. According to established traditions, the people there could then require his companions or even family members to perform harai—presumably meaning that they would have to pay the village something or at least pay for the ritual cleansing, to compensate for the tsumi that the death caused. Similarly, if someone were to drown, his companions would be held responsible. Even if someone were to stop and cook rice by the roadside while traveling, they could be made to perform harai. And the harai for all of this was so onerous that we are told that even a younger brother might completely ignore the body of his elder brother, just to avoid being associated with him and thus forced to perform harai. In all of these cases, the edict said that this would no longer be acceptable. You couldn't just put the squeeze on someone to perform harai just because their companion happened to pass away. Being on the road and traveling—especially for official government service—was clearly something that was on their mind. Moving on from the list of things that were to be discontinued without exception, there were a few other cases that were dealt with in the same edict. First, there was the case where peasants, heading to the capital, would leave their horses with someone in Owari or Mikawa, for example. They would leave cloth and bundles of hemp as payment for the person to look after their horses, and even procure a spade as a gift when they returned. However, when they got back, they would find that their horse had died, or else the horse had been sold, but the owner was told it had died. The last trick, if it was a mare, was to get the mare pregnant and then claim that the pregnancy had polluted their house, therefore the owner would have to do harai, meaning that the horse usually ended up staying with the person who was supposed to be holding onto it. The solution was to use the new bureaucracy. The owner and the person who agreed to keep the horse would make their statement to the village elder and the owner would hand over the renumeration to the elder as the third party. This payment would be held by the elder until the owner returned, at which point it was handed over to the person who had kept the horse. This way the person keeping the horse knew that he would be paid for his troubles, but only if the horse was still around when the owner returned. So they effectively invented the concept of escrow. I suspect that such a system could be applied to many other such endeavors as well, where there was otherwise no guarantee of payment at the end of a task nor guarantee that the task would completed as agreed if they got the money up front. Besides that, the edict also had a short note about dues payable to Market Commissioners for main roads and to ferrymen—likely various fees. Instead, these kinds of positions would be granted rice-land which could be cultivated and they could receive a stipend from that. Finally, during the key agricultural months, everybody was to be working on cultivating rice-land. The edict specifically calls out that they should not eat dainty food nor drink sake, I suspect because dainty food wouldn't give you enough energy and drinking sake would impair your ability in the field. Each quarter, the Kuni no Miyatsuko were to send messengers to remind the people of this edict—a kind of human public service announcement. So all of that was part of an edict on the 22nd day of the 3rd month of 646. I am not sure that there is a clear theme to all of it, other than calling out old practices and describing how things would be done from here on out. There is clearly a concern with harai and how it would affect people's willingness to do the right thing. The next set of pronouncements would come almost five months later, and a lot of that had to do with names, as well as further work on the creation of the government bureaucracy, but that is going to take a lot more time, and so I think that for now we'll end this here: The link between the state and laborers has been changed, the tomb-building has been strictly regulated, and a series of rather specific pronouncements and prohibitions has been issued. And so, until next time, thank you for listening and for all of your support. 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.
Stories of coming back from the Underworld are some of the biggest, most dramatic comebacks of all! And there are so many of them that they won't all fit in one episode! In this one, we're exploring stories of heroes who went to the underworld and back for the sake of love. We already talked about the most famous story of this kind, Orpheus and Eurydice, back in Season 1 -- but he's definitely not the only one! You'll meet a beautiful, adventurous princess, a loyal wife, and a pair of Japanese primordial deities, all of whom face down death in one way or another. Visit the World of Mythik website to learn more and to contribute your theories to our board! All stories told on Myths & Muses are original family-friendly adaptations of ancient myths and legends. Stories from ancient mythology can also sometimes deal with complicated topics for young listeners — to the mortal parents and caretakers reading this, we encourage listening along with your young demigods to help them navigate those topics as they explore these epic tales. Transcript for Comeback Kids Episode 6 If you'd like to submit something creative you've done inspired by the stories in Myths & Muses, use this form (with a Mortal Guardian's permission!). ----more---- Stuff to Read: More on Cupid and Psyche: Psyche, Greek Goddess of the Soul at THEOI Psyche at World History Encyclopedia The Myth of Cupid and Psyche at ThoughtCo Eros and Psyche: The Greek Origin of Fairy-tales That You Never Knew, from The Collector Original story (in translation) by Lucius Apuleius Alcestis at World History Encyclopedia More on Izanagi and Izanami: At World History Encyclopedia At Mythopedia The Story of Izanagi and Izanami: A Japanese Creation Myth, at Owlcation More on Shintoism: About Religions in Japan, from Japan Tours Shinto Beliefs and Holidays, from Diversity Resources Shinto at a Glance, from the BBC Video from Cogito Stuff to Watch: Learn more about the stories in this episode with our curated YouTube playlist! Cool Images: Roman Mosaic of Cupid and Psyche from the Poseidon Villa (2nd-3rd century) Psyche Honoured by the People, Luca Giordano (1695) Psyche Revived by Cupid's Kiss, Antonia Canova (1794) Psyche, Yliade (2023) Admetus Mourning Alcestis, Johann Heinrich Tischbein (1780) The God Izanagi and the Goddess Izanami, Nishikawa Sukenobu (18th century) The Gods Izanagi and Izanami on the Floating Bridge of Heaven, Utagawa Hiroshige (1850)
Filling in the rest of Takara's reign with the stories of the various envoys at court, the Baekje princes living in Yamato, and the story of a 7th century millenial cult. For more, check out https://sengokudaimyo.com/podcast/episode-107 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua, and this is episode 107: Winds Across the Straits Villagers gathered near the center of their community. In contrast to the clean, walled up compounds of the local elites, with their raised floor buildings, the buildings here were much simpler, often sitting directly on the ground, or dug down into the earth in the pit dwelling style that had been used for centuries. Mostly what anyone would notice were the thatched roofs, which had been used for centuries to keep out the rain and snow. A tall watchtower was currently unmanned as everyone had gathered around, curious at the news coming from the east. A wandering mystic had come to town, and she was spreading words of hope across the country of Yamashiro. Over the past few years there had been droughts, famine, earthquakes, and more. People had tried everything in conjunction with the advice of their local hafuri, or priests. They had petitioned the local kami of the rivers and lakes, they had tried imported practices like sacrificing horses, and at a nearby village they had changed the location of the marketplace to see if that would work. Even when the rains had come, the damage had been done. Food was scarce, and many of those who had survived were hardly in the best of situations. Life in the village, working the land, was quite different from the life of the elites. The wealthy had servants and slaves to tend to their needs, and they had access to stores of grain and other food in times of trouble. They also had charge of the mononofu—the warriors who worked for them and were often an implicit—if not explicit—threat of violence for anyone who didn't pay their expected taxes. This is perhaps what made the mystic's message so alluring. She told them about the teachings of a man from the River Fuji, in the East, named Ohofu Be no Ohoshi: he claimed to have discovered a new kami, the god of Tokoyo, the Everlasting world. It was said that those who worshipped this god, who appeared in the land in the form of a caterpillar that thrived on orange tree leaves, would earn great things in this new world, when it came. The poor would become rich and the old would become young again, when the promises of Tokoyo came to fruition. But it wasn't as easy as just saying some words. True devotees would need to prove themselves, casting out the valuables of their house and setting out any food on the side of the road. They would then yell out: “The new riches have come!” Then they were to worship these insects that were the kami's incarnation. They would put them in a pure place and worship them with song and dance. Many had already started doing this, the mystic said. Indeed, the people of Yamashiro had heard rumors of some of these new practices, but only now were learning about why they had arisen. It was a lot to ask, to give up their valuables and the little food they had — but then again, in this dew drop world, what was there to lose, for those already working themselves to the bone? Was this any more incredible than asking the hafuri to pray to the kami, or even relying on that new religion in Yamato, where they prayed to giant bronze and gold statues to bring about prosperity and happiness. Besides, if so many others had joined up already, perhaps there was something to these fantastic stories. And thus, village by village, a new religion began to take hold of the countryside, eventually making its way to the capital of Yamato, itself. Greetings, listeners! While the thing we covered last episode -- the Isshi Incident of 645, which is to say the assassination of Soga no Iruka in front of Her Majesty Takara, aka Kougyoku Tenno -- certainly dominates the narrative in the popular imagination for this particular point in Japanese history, there was a lot more going on over these last few years, both over on the continent in the archipelago. And so this episode we are going to cover some of that: From the missions from Baekje, Goguryeo, and Silla, which were likely driven by conflict on the peninsula, to the Baekje Princes who resided in the Yamato court as political hostages as well as esteemed guests. And to finish it off we'll talk about the popular 7th century millennial cult that sprang up in Yamashiro around the worship of the God of Tokoyo, the Everlasting World. All in the reign of the Empress known to history as Kougyoku Tennou…. At least for now. Michael Como, in his book on Shoutoku Taishi, makes particular note of some of the overarching themes across the straits and how that affected what was happening—or at least what gets remembered—in Yamato. As we discussed back in episode 98, Como makes the point that the early, opposing Buddhist factions that placed Shotoku Taishi on a pedestal were largely connected with one or more continental factions. While the Soga were heavily connected with Baekje, other family groups, like the Hata, were more closely tied with Silla, at least according to later accounts. And on top of that, the area around Koshi and Tsunaga had ties with Goguryeo. As the Tang dynasty and Goguryeo were in contention on their own borders, no doubt both of them and their allies were looking to nearby nations for either support or at least neutrality. One can also see how peninsular enmities might also make their way across the strait to the archipelago with families of various ethnic backgrounds no doubt carrying on some of the continental prejudices with them even into a new land. A lot of the accounts for this reign that aren't dealing with the weather and natural disasters—topics of particular concern from the 642 to 643—are dealing with the continent. It started out in 642, with Baekje envoys arriving in the first month of that year, apparently to deliver their condolences on the death of the sovereign. They were accompanied by Yamato's envoy to Baekje, Azumi no Yamashiro no Muraji no Hirafu, who left them at Tsukushi to rush back to Yamato via post-horse, while the Baekje envoys took their time via the normal, ship-borne route. And right off the bat we have a few things of note. The first is this idea of post-horses. The various circuits around the archipelago had reportedly been set up some time back, even before horses were a thing. While a single horse would have been rather fast overland, the mention of post-horse system implies a method of travel more akin to the short-lived pony express in the American west, where various post stations were set up across the major highways so that officials could quickly traverse them, riding horseback from one station to the next, where a fresh horse would be waiting for them. This way the horses themselves could be properly fed and rested, since no single horse could cover all of the ground in a straight up gallop, just as no person could. Instead, this is something like a relay race, where the envoy Hirafu became the baton passed from horse to horse. The Pony Express used stations set up at intervals of approximately 5 to 20 miles, so that the horses could be changed out frequently. Of course, changing horses would also take some time—I've found some sources citing average speeds of only about 10 miles per hour for the Pony Express, but that beats by far the four miles per hour for a fast walker, not to mention the ability to keep going for much longer than just 8 hours a day. Of course, he would have had to take a boat for at least some of the journey, likely crossing from Kyuushuu over to Honshuu near Shimonoseki or something similar, at which point he could have caught another horse from there. The resonates with something that goes back to pre-Qin Dynasty times, when kingdoms on the continent would set up not just courier stations with horses, but systems of canal boats, and inns for people to stay overnight on long journeys. Still, it must have been a grueling experience. That such a means of conveyance could take Hirafu from Kyushu to Yamato, though, implies that Yamato's reach was fairly solid all the way out to the Dazai near modern Fukuoka, at least. It is unclear how these post stations were set up in regards to the local Miyake, or royal granaries, another government project we've talked about, but either way it demonstrates a certain degree of control over the region. And so Hirafu was able to make it back to the court in time for the ceremonies associated with the mourning of Tamura, aka Jomei Tennou, and the ascension of Her Majesty, Takara no Ohokimi. He likewise was able to inform the court of Baekje's condolence envoys' imminent arrival and give the court a head's up on the situation in Baekje, where he said that the country was “greatly disturbed”. When the Baekje envoys themselves arrived, Azumi no Hirafu, Kusakabe no Iwakane, and Yamato no Aya no Agata were sent to ask them about their news. From what we know in the Samguk Sagi, King Wicha of Baekje had just come to the throne. The previous king, King Mu, died in the third month of 641, so it hadn't even been a year since his death. Furthermore, we are told that his wife, the mother of King Wicha, had also passed away. The Baekje envoys asked for the return of prince Saeseong, possibly the younger brother of Prince P'ung, saying he had behaved badly and they wanted to convey him back to the King, but Takara refused. Presumably, based on context, this was one of the hostages that Yamato held from Baekje, but why they wouldn't turn them over to the Baekje envoys isn't explained. I suspect it had something to do with the politics of King Wicha coming to the throne, which seems like it may have not been accepted by everyone, as evidenced by his tour of the realm, mentioned in the Samguk Sagi, which was likely a political move to demonstrate his authority over the realm. This colors a lot of what we are going to talk about, so let's try to get some of it straight off the bat. Unfortunately, as we talked about in Episode 105, some of the Baekje related dates are questionable, and that means that there is a lot here that I'm going to give you where we may have to back track a bit and see if we can put it in the right order. I'm going to try to give you the information in largely chronological order according to the Nihon Shoki, but then I'll also try and place it where we think it might actually go, so apologies if this feels disjointed. Also, let me take a moment to talk a little bit more about the Baekje royal family, which will become rather important to our narrative. For one, there is King Wicha, son of King Mu. Mu passed away in 640 and Wicha came to the throne. Wicha already had several children of his own, one of whom, Prince Pung, or Prince Pungjang, will feature heavily in both the Japanese and Korean sources, though as we mentioned in episode 105, the dates around Prince Pung's arrival, which the Nihon Shoki has about 630, doesn't match up with what we know. We are fairly confident that Prince Pung returned to Baekje in 661, which accords with the Nihon Shoki, Samguk Sagi, and Tang records. However, Best makes a good case that he didn't actually come over to the archipelago until much later—probably 643. He wasn't the only royal prince of Baekje in Yamato, however. We are told of two others: Saeseong and Gyoki. Saeseong is mentioned as being a bit of a troublemaker, and requested to come home, but Yamato refuses to let him go. Gyoki is said to have caused trouble and been banished with some 40 others out to sea. I have a suspicion that much of this is misplaced in the Chronicle. Saesong may have been there first or perhaps came over with Prince Pung—I've seen him mentioned as the younger brother to Prince Pung, but I also wonder if he wasn't the younger brother to King Wicha. Gyoki, meanwhile, despite what we initially hear about him, is invited to Yamato shortly after that entry and treated like a real celebrity. It is unclear to me if he is a younger brother to Wicha or an elder brother to Prince Pungjang, but either way, he seems to have been a royal prince that wasn't quite in line for the throne. I suspect that in reality the mission that is listed as coming in 641 was actually much later—possibly in the 650s. That would explain some of it, including the gossip that the Senior Counselor, Chijeok, died in the 11th month of the previous year, Aston writes off most of this as an unreliable narrative by servants. Jonathan Best, in his translation of the Samguk Sagi, is a bit more generous and suggests that, much as with Prince Pung-jang, whom the Nihon Shoki records arriving in the 630s but who couldn't reasonably have arrived until the 640s, there was probably a dating issue. The scribes were using records with the branch and stem system of dates, and so it could easily have been off by a factor of ten or twelve years, at least. We know, for instance, that there is a record of Senior Counselor Chijeok in the Nihon Shoki in the 7th month of 642, though it says he died in 641. Furthermore, we have his name on a fragmentary inscription, likely dating to 654, noting him as a patron of a Buddhist monastery. So it would seem that word of his death was exaggerated or parts of this are coming from later accounts, and the scribes simply made a mistake. Hence my suggestion that this entire entry might be misplaced. If so, it would make more sense for Yamato to be asking about the fates of people that they knew, and hence hearing the fates of Chijeok and Gyoki, who had both visited Yamato and would have been known to the court. Regardless, it likely was the case, as recorded in the Nihon Shoki, that the envoys' ship was anchored in Naniwa harbor and the envoys were put up at the official government residence there, in modern Ohosaka. This may indicate that the mission mentioning Chijeok and Gyoki got conflated with other entries about the actual envoys of condolence and congratulations. Then, 19 days later, on the 22nd day of the 2nd month, another group of envoys showed up. This time it was Goguryeo. As mentioned, Goguryeo had a few things going on, but they still knew how to make an entrance. For example, the Chronicles mention that high ministers were sent to the district office in Naniwa to inspect the gold and silver that Goguryeo had sent with their envoys, along with other things from their country. This may have been them trying to get Yamato on their side. That said, Goguryeo had been going through a lot themselves, we are told. First off, based on the Samguk Sagi accounts, Goguryeo had sent envoys to the Tang in 640. In 641, the Tang court returned the favor, and in so doing their envoy, the Director of the Bureau of Operations in their Ministry of War, Chen Dade, used it as a chance to spy out the border region. At every walled town he would offer the local officials gifts of silk, and ask to be allowed to see the scenic spots. They let him roam freely, so by the time he went back he had an intimate account and understanding of Goguryeo's defenses along the Tang-Goguryeo border. Goguryeo seems to have been completely unaware of this touristic espionage, but then again, they may have been distracted dealing with their own internal problems. And so the Nihon Shoki reports that the envoys delivered news of this to the court: How the younger prince of Goguryeo died in the 6th month of 641. Then, in the 9th month, the Prime Minister murdered the king, along with some 180 people. He then put the son of the younger prince on the throne as king. In the Samguk Sagi, these events appear to happen a year later. Yon Gaesomun killed King Keonmu in the 10th month of 642 and put Prince Chang, aka Pojang, on the throne. The Samguk Sagi says he was the younger brother of King Keonmu, the son of King Taeyang—who was the younger brother of King Yeongnyu, so that may be where the Nihon Shoki gets that he was the “son of the younger prince”. Still, the gist is correct, even if it seems to be off by a year or so. From here, Goguryeo would be at war with the Tang dynasty for much of the next thirty years, all under the reign of King Pojang. They were able to fend the Tang off for a while, but the Tang would eventually ally with Silla, and though Baekje seems to have supported Goguryeo in general, Baekje itself was also caught between the Tang and Silla. They no doubt hoped for Yamato's aid, but while the archipelago may have had warriors, they were still a good ways from the continent, and would likely need to avoid confrontation with Silla, who now controlled all the way to the Nakdong river basin. Not that they wouldn't try. Insert dramatic sound effects alluding to a later episode. All that prognosticating aside, at this point, at least from the envoys' point of view, all of the future was unwritten. Both Goguryeo and Baekje guests were entertained at the Naniwa district office, and envoys were named to Goguryeo, Baekje, Silla, and to the no longer extant Nimna—the latter seems to have been, at this point, a not-so-polite fiction between Silla and Yamato that Nimna was still at least semi-independent. It was at this time that Gyoki was also brought to Yamato and lodged in the house of Azumi no Hirafu, the previous envoy to Baekje. Gyoki likely knew Hirafu from his time at the Baekje court. This was probably the actual arrival of Gyoki, I suspect. A week or so later, the Silla envoys of congratulations and condolence arrived: congratulations on Takara's ascension and then a group of envoys expressing condolence for her husband's death. They left after less than two weeks—apparently they simply delivered their message and left, unless there was some other reason having to do with the Baekje and Goguryeo envoys being there at the same time. No mention is made in the Nihon Shoki of exactly why they turned around so quickly. Meanwhile, Gyoki was living it up. He's referenced as the Chief Envoy from Baekje at this point—probably the highest ranking individual from the court present. On the 8th day of the fourth month he attended an audience with Her Majesty, Takara, and then two days later he was partying with Soga no Emishi out at his mansion in Unebi. Soga no Emishi had good conversations and presented a good horse and twenty bars of iron, but curiously the hostage crown prince, Sesaeng, was not invited to any of this. Given that we know what the Chroniclers think of Soga no Emishi, I'm wondering if there isn't a little bit of that same feeling towards Gyoki. After all, we were previously told he and some 40 others were exiled, so perhaps this is just leading up to that? Gyoki and his companions were later invited to witness an “archery hunt” in front of the Yosami Miyake in Kawachi. This is glossed as “Uma-yumi” or “Horse-Bow”, leading one to wonder if this was similar to yabusame, the traditional horsed archery, performed at various shrines each year. Or perhaps it was one of the other archery games from horseback, many of them much less savory, often using a live animal as the target, usually staked or confined to an area, and the archers circle around and shoot at them. By the 5th month of 642 – a little over three months after Baekje had first arrived with envoys of condolences, we are told that a shipp of Baekje envoys anchored together along with the ship of the Kishi family. This is likely Naniwa no Kishi, as Naniwa no Kishi no Kuhina had been assigned as envoy to Baekje. The envoys delivered their goods and Kuhina reported on their mission. Once again, the dates look to be slightly off. Had Kuhina really traveled to Baekje and back in just three months? It is possible, but not typically how things were done at the time. Ships often had to take their time, navigating the Seto Inland Sea and then checking in at modern Fukuoka before following the island chains out to Tsushima. At that point they could sail around Tsushima, or cross at a narrow part of the island, known today as Kofunakoshi. We know that this was used from at least the 9th century as a place where ships coming to and from the islands would stop, often transmitting their goods to a local ship on the other side, with a crew that presumably better knew the waters and was under the command of the appropriate government. In addition, as the ships reached various checkpoints they would stop for a while, and often another ship would be sent ahead to prepare the way for an official delegation. Since they didn't have phones, something like this would have been required to inform the next post to be ready to receive the visitors. More likely, this would have been Kuhina finally ready to depart to take on his mission with Baekje. Shortly after this, we are told that one of Gyoki's companions died, and then his own child died—we aren't told if it was from disease or something else. It did provide an opportunity to see some of the cultural differences between Baekje and Yamato at the time, as Gyoki and his wife refused to attend the ceremonies for their late son. The Chroniclers explained that, in Baekje and Silla, when someone dies, the parents, siblings, and spouse were not supposed to look on them again. For what it's worth, I could find no relationship between this and any contemporary Korean practice. This may have been something in Baekje and Silla that eventually went away. Then again, it is possible there was something else going on, and it was misinterpreted by the Wa. Given that the Chroniclers are dismissive of the practice, it is entirely possible that this was just slanderous rumor, too. The Chroniclers make a point of saying that the people of Baekje and Silla who practice these kinds of death rites are without feeling, and thus no better than animals. So, yeah, clearly the Chroniclers were presenting just the facts, right? Gyoki's child was buried in Ishikawa in Kawachi, and Gyoki moved his family to a house in Ohowi, in Kudara—which is to say the area of Kawachi named for Baekje. Two months after he lost his son, on the 22nd day of the 7th month, Senior Counsellor Chicheok and colleagues were entertained at the Yamato court. This is that same Senior Counsellor previously thought to be dead. Again, Aston simply treats it as gossip, while I tend to wonder if the records aren't out of order—unless Chijeok was some kind of Baekje Benjamin Button. Entertainment at the Yamato court apparently included havingvarious people wrestle for their entertainment. Even Prince Gyoki himself entered the contest. When the banquet was finished they went to pay their respect's at Gyoki's compound, likely stopping by and having a bit of a nightcap. Two weeks later the Baekje envoys tried to leave, but the storms kicked up. One of the ships was wrecked on the shore. Fortunately, it seems like those on the boat survived and they were placed on another boat a couple weeks later. A day after that, the Goguryeo envoys left for their own country. The Baekje envoys finally made it back, we are told, 11 days later, on the 26th day of the 8th month. Not bad given the journey they had to undertake, and actually a bit hard to believe. In contrast, the Silla envoys, who left in the 3rd month, apparently only made it as far as the island of Iki, between Kyushu and Tsushima, by the 10th month of 642. Perhaps they were just going at a more leisurely pace, but it does make it hard to trust that all the records were rearranged in precisely the correct order. As for this period, outside of the Silla envoys, the entire episode, starting on the 2nd day of the 2nd month of 642, finally concluded—mostly—over six months later. It occupies most of that part of Chronicle, with the exception of the accounts of the weather, drought, and famine. After all of these people had returned to the peninsula, the Nihon Shoki focuses on a few local things from the archipelago. Soga no Emishi was ordered to raise a levy in Afumi and Koshi to build a temple, the court levied various provinces to make ships—we aren't told why but previously this was often something done in preparation for war—and then Takara ordered Soga no Emishi to build a new palace with levies on various provinces and workmen from Toutoumi and Aki. That was all in the 9th month, at the end of which, we are told that several thousand Emishi from the Koshi region, where Soga no Emishi had been ordered to levy workers for a temple earlier in the month, submitted to Yamato and were entertained at court. Soga no Emishi himself entertained them at his house and asked them about their welfare. This is all a bit confusing, but let's try to understand some of what might be going on. First, you may recall in the previous reign there was a mention with General Katana who went to the east to subdue an uprising of Emishi there, so it is possible that this is a continuation of that. At the same time, these Emishi, we are told, are from the land of Koshi. It is likely that this is evidence of Yamato's increased presence in the northern region of the island of Honshi, which stretched along the northern edge of the Chubu, or middle Honshu, region, including the Noto peninsula and eastward to Tohoku, or the Northeast region. This had been an important area for various resources, including the source of jade magatama, since at least the early days of the Yayoi period, judging from artifacts discovered at various sites. It is also a region connected to the current dynasty, in that Wohodo no Ohokimi, aka Keitai Tennou, generally seen as the progenitor of the current line of sovereigns, is said to have come from that region. Furthermore, this region is closely connected to various overseas trade routes. While the most common route we hear about, at least at this point in the chronicles, is the Seto Inland Sea route, there was also a route along the Japan Sea side of Honshu, which included the areas of Izumo and the port of Tsunuga—modern day Tsuruga—which includes the Kehi shrine, purportedly for a kami who came over from the peninsula. At least one Goguryeo mission explicitly used this route—whether intentionally or otherwise—to get to Yamato, crossing over to Afumi, aka Lake Biwa, and then taking the rivers south to Naniwa. Michael Como suggests that there is enough evidence to suggest a fairly heavy Goguryeo influence in the region. He also suggests that the Soga had a good deal of interactions and influences themselves with Goguryeo, pointing out that Shotoku Taishi's teacher had supposedly been a monk from Goguryeo, and that the plan for Asukadera, the Soga temple, with three golden halls around a central pagoda, is extremely similar to temple plans found in Goguryeo and not in Silla and Baekje. I do feel it is worth pointing out that it is very possible that this was not Asukadera's original layout, and it is hard to say how much of the stories surrounding Shotoku Taishi we can trust. Still, Koshi was an area that had a long history of trade with the continent, and the ease of the waterways from Yamato to the Japan Sea would have made it at least strategically useful to the growing state. There is another aspect here, but it is a bit more tenuous. There are some that suggest that Soga no Emishi's own name, or at least the name as it is handed down to us today, comes from his dealings with the Emishi people. Here we see him intimately involved in Koshi, in the Emishi coming to submit, and him then hosting them in his own house. So even if his name is coincidental, there does appear to be some connection there. And we are still in the first year of Takara's reign. It was in this twelfth month that Okinaga no Yamana no Kimi finally pronounced a eulogy for the entire royal line. As you may recall, Takara's husband, Tamura, aka Jomei Tennou, had been a member of the Okinaga royal line, so this was likely part of the ceremonies around his death and burial. There is more here about the placement of palaces, which we touched on a lot in the last episode. There is also a lot about storms, weather, and peach blossoms blooming. Then on the thirteenth day of the third month of 643, the second year of Takara's reign, there was a terrible fire in Naniwa. The official guest quarters for Baekje burned down, and the houses of the common people also caught fire. This is also around the time that Best suggests that Prince Pungjang, son of King Wicha of Baekje, may have actually arrived, as we discussed earlier. That actually could be tied to events a month later, when the Dazai in Tsukushi—the government outpost on Kyushu—sent a mounted messenger to Her Majesty, Takara, to let her know that Gyoki's younger brother, the son of the King of Baekje, had arrived. The Baekje ships, which had arrived in the area of modern Fukuoka around the 21st day of the 4th month finally arrived in Naniwa two months later. Presumably the Baekje envoys' official guest quarters had been repaired or rebuilt at this point, and several high ministers went to inspect the tribute. They couldn't help but notice that the tribute this time was less—fewer items and of lower quality that previously. The Envoys promised that they would make up the shortfall. Around all of this, the drama between the Soga, Prince Naka no Oe, and others was playing out, with Iruka attacking and eventually killing Yamashiro no Oe, all of which was discussed in the last episode. Meanwhile we get a small line about Prince Pung keeping four hives of bees on Mt. Miwa, but apparently they didn't grow large enough to multiply, so that doesn't seem to have taken off. We'll return to Prince Pungjang later. For now, we have seen much of the disturbances that were caused and eventually led up to the Isshi Incident in 645, and 644 is full of many long entries about everything that happened, but I don't want to worry about that—we covered most of that last episode. What I do want to concern ourselves with is the story I started the episode with – the curious tale of a man named Ohofube no Ohoshi, who started up his own millennial cult. Now there has been quite a bit of speculation around this episode, especially given that all we really have is a single entry, dated to the 7th month of 644, and here I'll quote Aston's translation: “A man of the neighbourhood of the River Fuji in the East Country named Ohofu Be no Oho urged his fellow-villagers to worship an insect, saying: "This is the God of the Everlasting World. Those who worship this God will have long life and riches." At length the wizards and witches, pretending an inspiration of the Gods, said:--"Those who worship the God of the Everlasting World will, if poor, become rich, and, if old, will become young again." So they more and more persuaded the people to cast out the valuables of their houses, and to set out by the roadside sake, vegetables, and the six domestic animals. They also made them cry out: "The new riches have come!" Both in the country and in the metropolis people took the insect of the Everlasting World and, placing it in a pure place, with song and dance invoked happiness. They threw away their treasures, but to no purpose whatever. The loss and waste was extreme. Hereupon Kahakatsu, Kadono no Hada no Miyakko, was wroth that the people should be so much deluded, and slew Ohofu Be no Oho. The wizards and witches were intimidated, and ceased to persuade people to this worship. The men of that time made a song, saying: Udzumasa Has executed The God of the Everlasting World Who we were told Was the very God of Gods. This insect is usually bred on orange trees, and sometimes on the Hosoki. It is over four inches in length, and about as thick as a thumb. It is of a grass-green colour with black spots, and in appearance entirely resembles the silkworm.” This is remarkable in several ways. For one, we get a glimpse of how a popular cult might get started. Since it is at this same time the cult of Shotoku Taishi is taking hold in some temples, it is interesting to draw parallels between the two. Como points this out in his book on Shotoku Taishi, and notes several other things. For one is the discussion of this “ever-lasting world”, or Tokoyo. We've heard of Tokoyo before – the term is found in the Chronicles in the section around the Age of the Gods. Sukuna Bikona himself leaps off to Tokoyo from a blade of grass in one story, much like an insect himself. Tokoyo is a bit mysterious. It isn't the land of the dead, where Izanami goes to live when she dies in childbirth. Neither is it the Great Plain of Heaven, Takama no hara, where Amaterasu dwells. We have the gods of the Heavens and gods of the Earth, but no gods of Tokoyo. Indeed, Tokoyo is mentioned, but not well described. By all accounts it would appear to be a place that spirits go after death to an unchanging world, rather than coming back to this one. This fits in with various other continental ideas starting to come over at the time, especially as part of the Mahayana Buddhist tradition, which included a search for effective ways to reach enlightenment. There had been feelings for some time that humans were already in the latter days of the law, or Mappo: the concept that the further we get from the time of the Buddha, the more morality would decline and the harder it would be for people to break the chains of materialism and desire that hold them to this plane of existence. As such, some sects and teachers taught simpler and more expedient methods, in an effort to save all of the sentient beings. Things like an abbreviated mantra that would help you get into a paradise where you could eventually attain enlightenment certainly had its adherents, especially amongst those who might not have the time or inclination to join the monastery themselves. The idea of a Pure Land, or Joudo, took off early, This Pure Land, is most commonly connected with Amida Butsu, the Amithaba Buddha. Sutras referencing Amida and the Pure Land were translated by Kumarajiva as early as the 5th century, and may have been part of the larger corpus of scrolls brought over to the archipelago. According to the sutra, they say that if you honestly chant Amida Butsu's name just once—often through the phrase “Namu Amida Butsu”—then rather than being reborn again into the world on your death, you would instead be reincarnated in a Pure Land, where you could focus entirely on your own enlightenment for however long it would take, removing yourself from the pain and suffering of this world. This practice was taught by the Sanron school as well as by the Hossou school in the 7th and 8th centuries, along with other practices. It would continue to be taught, especially developing in the Tendai sect. Of course chanting “Namu Amida Butsu” was something you could do while working the fields, or doing any other number of profane, yet necessary tasks. So you can see why this was an attractive idea to many people, even if they didn't have the ability to start a temple or study the scriptures or become monks or nuns themselves, at least in this life. Pure Land belief and practices continued to grow and develop in various Buddhists sects, but really took off as an independent practice in Japan in the Kamakura Period, appealing to warriors and commoners alike with its seemingly simple mantra. Shotoku Taishi himself is closely connected to the Pure Land concept, as Como points out. He and his teacher, Eija, are both said to have attained the Pure Land upon their deaths. The famous embroidery, commissioned after Shotoku Taishi's death, known as the Tenjukoku Mandala, presumably also describes a country of Heavenly Long Life. “Tenjukoku” does not have an immediate connection to any particular continental sect or philosophy, but it does seem to be at least a cognate for some of these other ideas such as the Joudo Pure Land OR the Tokoyo of Ohofube no Ohoshi. Whether Ohoshi was, in fact, influenced by other continental ideas is unclear. We're not even sure if his was the first use of the concept of “Tokoyo” or if that was an idea already planted in the public consciousness by that time—though if so, I would think it would be a bit more widespread. One could understand, however, how people who had been through famines, floods, earthquakes, disease, and more might find the idea of an eternal ever-after where they could be rich and young again quite inviting. Enough people found it so that they apparently were willing to give up everything they owned and place it out on the streets. Even if this wasn't just a scheme to go and scoop up all the goods and skip town, one can see how this may have been viewed as disruptive and unhealthy for the community, at least by those comfortably seated in power, whose workforce was being pulled away from their labors to this new belief system. The ones who were spreading this good news, while called wizards and witches by Aston, use characters that one could just as easily ascribe to Shinto priests and sacred Miko. Since Shinto wasn't fully formed as we know it today, I think it might be better to say various ritualists and diviners. Whether they were true believers or simply “pretending” to be inspired, as the Nihon Shoki says, who can say for certain. What makes one vision more objectively “true” than another, beyond your own belief and faith? And it should be remembered that bringing in new spiritual ideas wasn't, well, new. That's how Buddhism got started, and likely was one of the ways that Yamato itself expanded its own influence. How many other quote-unquote “cults” like this existed, and how many were absorbed into the establishment and how many were cast aside? In this case, it would seem that Ohoshi's main problem was likely that he was attracting the wrong sorts of people, which is to say he was appealing to commoners. In the Warring States period, we would see a not dissimilar dynamic with the independent Joudo Shinshu, a sect of Pure Land Buddhism, supporting commoners in what became known as the ikkou ikki. They formed communities that helped each other, but at the same time bucked the yoke of the local daimyo and others. This would bring about violent retribution from warlords like Oda Nobunaga, who wasn't having any of it. Similarly, as the Tokoyo sect spread into Yamashiro and down into the capital region, Kadono no Hata no Miyatsuko no Kawakatsu decided to take matters into his own hands. Ostensibly, he was upset that people would be so deluded, and under that pretext, he had Ohoshi killed and his followers intimidated. Cutting the head off the snake, as it were, caused the body to wither, and apparently the Tokoyo cult was not so everlasting after all. And here's where we bring things back around. You may recall Hata no Kawakatsu, or at least his family. The progenitor of the Hata family was called Uzumasa, and even today their name is affixed to an area of Kyoto, which was built in the old Hata territory. Hence the poem about Uzumasa executing the God of the Everlasting World. That area, from Lake Biwa down to Naniwa, is on that corridor from Yamato to Koshi. The Hata themselves are connected with the continent—especially with Silla. The Hata temple of Kouryuuji even has a Silla image said to have been obtained by Shotoku Taishi and given to them. Along with Shitennoji, it is one of several Silla-influenced temples that helped promote the cult of Shotoku Taishi. It is, of course, possible that we are reading way too much into this. Some of these things could just be coincidence, but then again, why was it written down and why did the Chroniclers feel that it was important to spend ink on the process? That's the real question here. And what more was going on that never got written down, or at least not clearly? It is likely that we will never truly know the answer to all of these questions. Unless some ancient documents are found from the period that miraculously survived, with significantly different stories, it would be hard to say much more, but that doesn't mean we can't wonder. But that's all we'll do for now. At this point, I think we've covered these years from 642 to 645 as best we could, and it is probably time to move on. I'm not going to prognosticate on next episode just yet, other than to say that we will eventually need to talk about the Taika Reforms—the Great Change. But that may take a little more time to research so that we can do it properly, but we'll see. Until then, thank you for listening and for all of your support. If you like what we are doing, 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 Tweet at us at @SengokuPodcast, or 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.
Dans notre nouvel épisode, nous abordons un sujet essentiel : le rôle des femmes au Japon. Nous aurons le plaisir d'être accompagnés d'une invitée spéciale, Natacha, enseignante et spécialiste du sujet en Nouvelle-Calédonie. Notre épisode sera structuré autour des réponses aux questions de Mathieu et Nico, avec Natacha apportant son expertise. Nous explorerons le rôle des femmes dans l'histoire et la société japonaise, en mettant en lumière les défis auxquels elles ont été confrontées et les changements qu'elles ont réalisés au fil du temps. Natacha partagera ses connaissances et ses réflexions sur des sujets tels que les normes sociales, les stéréotypes de genre et les mouvements pour l'égalité des sexes au Japon. Les discussions seront animées par les questions perspicaces de Mathieu et Nico. Rejoignez-nous pour cet épisode passionnant de "Kaiwa", où nous découvrirons ensemble les multiples facettes du rôle des femmes dans la société japonaise, grâce aux échanges stimulants entre nos animateurs et notre invitée experte. Les termes japonais de l'épisode : “shogun”: général de guerre japonais “Tokugawa Ieyasu” : Shogun au 17 ème siècle “Amaterasu” : Déesse japonaise su soleil “Izanami” et “Izanagi” : Divinités japonaises “Kutoo” : mouvement social de protestation contre l'obligation tacite faite aux femmes japonaises de porter des chaussures à talon sur leur lieu de travail “Kawai” : adjectif signifiant mignon “lolicon” : lolita + complex, attirance pour les jeunes adolescentes “lolita” : mode vestimentaire japonaise “tanoshikatta desu” : c'était amusant Générique : « tiger & dragon » Crazy Ken Band. Sortie le 8 mars 2024
Dans cette vidéo, je vais vous parler de la mythologie japonaise. La plupart des mythes japonais qu'on connait appartiennent au shintoïsme. Le shintoïsme est une religion très importante au Japon. Adhérez à cette chaîne pour obtenir des avantages : https://www.youtube.com/channel/UCN4TCCaX-gqBNkrUqXdgGRA/join Pour soutenir la chaîne, choix: 1. Cliquez sur le bouton « Adhérer » sous la vidéo. 2. Patreon: https://www.patreon.com/hndl Avec: Laurent Turcot, professeur en histoire à l'Université du Québec à Trois-Rivières, Canada Script: Le héraut de l'Histoire. https://www.youtube.com/@LeherautdelHistoire Montage: DeadWill. Wilfried Kaiser, https://www.youtube.com/@DEADWILL Abonnez-vous à ma chaine: https://www.youtube.com/c/LHistoirenousledira Facebook: https://www.facebook.com/histoirenousledira Instagram: https://www.instagram.com/laurentturcot Images provenant de https://www.storyblocks.com Musique issue du site : epidemicsound.com Les vidéos sont utilisées à des fins éducatives selon l'article 107 du Copyright Act de 1976 sur le Fair-Use. Sources et pour aller plus loin: Alain Rocher, Les 100 légendes de la mythologie japonaise, Paris, France, Que sais-je ? / Humensis, 2022, 126 p. Petit Larousse des mythologies, Paris, France, Larousse, 2007, 735 p. Joshua Frydman, The Japanese Myths: A Guide to Gods, Heroes and Spirits, Thames & Hudson, 2022. « Mythologie japonaise » Wikipédia (FR) https://fr.wikipedia.org/wiki/Mythologie_japonaise Site spécialisé sur le Japon: "Mythologie Japonaise", Univers du Japon https://universdujapon.com/blogs/japon/mythologie-japonaise Article concernant la venue de Ninigi sur terre (tenson korin) : "Tenson kōrin shinwa", Dictionnaire historique du Japon (1993), vol. 19, pp. 84-85. https://www.persee.fr/doc/dhjap_0000-0000_1993_dic_19_1_947_t1_0084_0000_5 "Tenson kōrin, la descente sur terre de Ninigi le petits-fils d'Amaterasu" (9 mars 2021) Japan Da (Blogue) https://japanda.fr/mythologie-japonaise-tenson-korin-ninigi-amaterasu/ Les trois objets impériaux japonais : Éric Seizelet, "Les 'trois Trésors sacrés' de la monarchie japonaise: un 'patrimoine caché'?", In Situ, en ligne. vol. 42 (2020) https://journals.openedition.org/insitu/28162#:~:text=Le%20Miroir%2C%20le%20Joyau%20et,histoire%20de%20l'institution%20imp%C3%A9riale. Vidéo sur la mythologie japonaise : See U in History/Mythology, "Japanese Mythology: The Essential - The Story of Amaterasu, Susanoo, Tsukuyomi, Izanagi and Izanami", YouTube, mis en ligne le 26 mai 2021 https://www.youtube.com/watch?v=Oosm5ns4Kxk Le texte et les sources ont été vérifiés de manière indépendante par un historien PhD. Autres références disponibles sur demande. #histoire #documentaire #japon #shintoisme #mythologie
Witness the creation of the world through old stories of Japanese mythology and folklore. Fall asleep with 12 Shinto gods and goddesses: Izanagi, Izanami, Kagutsuchi, Amaterasu, Susanoo, Tsukuyomi, Ame-no-Uzume, Raijin, Fujin, Inari, Kitsune and Ukemochi - as you follow their joys and sorrows across mystical mountains, rivers, and valleys of ancient Japan.
Acabamos la tercera temporada del podcast con un episodio ligero sobre el mito de la creación de Japón, que ya se cuenta en el Kojiki, escrito en 712. Un libro que, aunque se llame "crónica histórica", tiene una gran parte de mitología. Te contamos sobre Izanagi e Izanami y, por supuesto, sobre la deidad del sol Amaterasu y su hermano Susanō, que se llevan fatal. De Amaterasu descienden (mitológicamente, claro) los emperadores japoneses según este escrito. Al final, hacemos un breve repaso por lo que ha dado de sí la temporada y os pedimos ideas de episodios que queráis para la cuarta, que empieza en breve. Nosotros tenemos ya muchas ideas, pero siempre escuchamos lo que tenéis que decir. ¡Mata ne! ¿Quieres colaborar con el programa? - Colabora en Patreon - Únete a la Comunidad Japonismo - Reserva hoteles en Japón (y en todo el mundo) - Consigue seguro de viajes (¡no sólo para Japón!) - Busca los mejores vuelos - Lleva Internet (pocket wifi o SIM) - JR Pass para viajes ilimitados en tren ---- Continúa la conversación en: - Web: https://japonismo.com - Discord: https://discord.gg/hZrSa57 - Facebook: https://facebook.com/japonismo - Twitter: https://twitter.com/japonismo - Instagram: https://instagram.com/japonismo - Pinterest: https://pinterest.com/japonismo - Newsletter semanal: http://eepurl.com/di60Xn
This episode we set the stage for one of the most momentous conflicts of the 6th century. A lot of change is coming to the islands, and the outcome of the power struggles would determine just what shape that change would take. For more see our podcast webpage: https://sengokudaimyo.com/podcast/episode-90 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua, and this is episode 90: Setting the Stage So when last we left off, the sovereign Nunakura Futodamashiki, aka Bidatsu Tennou, had passed away, and there had been some early flirting with Buddhism, which largely ended up pitting members of the relatively new Soga family against the powerful forces of the ancient Mononobe, as well as their allies, the Nakatomi. It even got so bad that the heads of the two houses, Soga no Umako and Mononobe no Moriya, were openly mocking each other at the sovereign's funeral. And unfortunately, things weren't getting better any time soon. In fact, I should probably warn you that around this point in the narrative we are really going to get all Game of Thrones on the archipelago. Family against family, sibling against sibling, with deadly political intrigue. And as we get into it, we should talk about a few things up front to help put everything in context. So let's come back up to speed on the situation, shall we? In the late 6th century, the royal court was in its third dynasty. The sovereign, Nunakura Futodamashiki, aka Bidatsu Tennou, died from a plague that settled on the land. Across the straits, the once small kingdom of Silla was on the rise, having gobbled up the small polities around it, including Yamato's apparent ally, Nimna. Now the southern peninsula was largely divided between two kingdoms, Silla and Baekje. Both were in contact with the Yamato court. And then there is the far distant northern power of Goguryeo, pressing southward themselves. Yamato's involvement on the peninsula meant there was quite a bit of cross-strait intercourse—in more ways than one. There were Wa on the peninsula, but there were also groups of Baekje, Silla, and Goguryeo men and women who settled in the archipelago. They brought with them various innovations and ways of thinking. One of these things was the concept of corporate “Be” families. Now, don't get me wrong, there clearly were families in the archipelago and had been for some time, but at some point we see the literal creation of the official families, the Uji: Groups of people who shared a similar job, gathered together under a family head, who in turn was given a place in the Yamato court. The family then regulated the business of its members to the benefit of the court. These created families, usually marked with the suffix of “Be”, became an outgrowth of the court's power, and they were in turn ranked with a collectivist title, or “kabane”. The highest ranking uji were given the titles of “Muraji” and “Omi”, and the heads of those households were known as the “Ohomuraji” and the “Ohoomi”. One of the oldest of these families, on one side of this growing interal conflict, was known as the Mononobe. They claimed a likely fictional descent from Nigi Hayahi, a “Heavenly grandchild”, similar to the ancestor of the royal family, Ninigi no Mikoto - an illustrious backstory that no doubt helped justify their position. As for the rest, well, “Mononobe” literally translates to “the be of things” … and in this case, those things were weapons, reflecting a historical role of this important family as the enforcers and the heavyweights of the Yamato court. Of course, they weren't the only ones with access to troops and weapons, as we've seen various families raising troops to go fight on the continent, and one can only assume that most powerful individuals at least had those they could call upon in case things got physical. For all that administrative power was rooted in spiritual authority, physical power was also important, and we see this in the way that armor and swords were important elite grave goods, and not just for a single family. But few groups were so clearly tied to the exercise of martial power as were the Mononobe. And they wielded that power on the behalf of the sovereign and the State. Whether it was punishing rebels, or just executing the cruel whims of a violent and entitled ruler, the Mononobe were the ones, more often than not, knocking down your door in the middle of the night and dragging off those deemed enemies of the state. This position was such that you can see evidence of it in the earliest parts of the Chronicles. For example, the Mononobe are connected to their ancestral shrine of Isonokami, one of the oldest shrines mentioned. It was said to be the home of the sword that Susanoo no Mikoto, the wild brother of Amaterasu, used to slay the giant, 8-headed serpent, Yamata no Orochi, generally seen as a metaphor for Yamato conquering parts of Izumo. Then there were the piles of swords made and stored at the shrine, which make it sound less like a place of spiritual worship and more like an armory—though let's face it, for some people those are basically one and the same. Add to that all of the times that the Mononobe were called upon to unalive some opponent to the throne, and we get a pretty clear picture of how they had for so long held a place at the very top of the court structure. On the other side is the Soga family, currently personified with Soga no Umako at their head. While the Soga certainly traced their lineage back a respectable distance, including to Takechi no Sukune and others, at this point they are clearly relatively new, with their earliest mention coming in the reign of Wakatakiru, aka Yuryaku Tenno, in the late 5th century, about 100 years before, and they had no clear spiritual center of note, at least in the Chronicles. One source of their power and authority came through their connections with the continent, primarily with Baekje, and related families. The other part was through their marriages, especially the daughters of Soga no Iname. Up to this point, the descendants of Wohodo no Ohokimi, aka Keitai Tennō, had been ensuring that their queens were members of the previous dynasty. This gave them and their offspring connections back to those other lineages helping bolster their claims to an unbroken lineage and their right to rule over Yamato. While the sovereigns might marry daughters of other houses, those wouldn't typically be named as queens, although they might be expected to raise royal princes and maybe future queens. Often these were political marriages that enhanced the court's connections to various regions. A few particularly influential family names also appear, such as Katsuraki, Okinaga, and the Wani no Omi. Still, the success of those families pales next to what Soga no Iname enjoyed in a single reign. Soga no Iname had achieved what few others had. He was the head of his family, one of the few of the Omi, or ministerial, kabane; and he had the personal title of Sukune, one of the highest honorifics attainable by an individual. Both of those spoke to his power at court. And when he passed away, he was succeeded in his post by his son, Soga no Umako, who was also made Ohoomi and who also held the honorific of Sukune. Moreover, and perhaps more importantly, Soga no Iname married two of his daughters (Umako's sisters), Kitashi Hime and Wonane Gimi, to Ame Kunioshi, that is, Kimmei Tennou. Both of them had a number of sons who were also royal princes. And one of Kitashi Hime's daughters, Kashikiya Hime, then went on to marry Ame Kunioshi's son and successor (and her own half-brother), Nunakura Futodamashiki, aka Bidatsu Tennou – and when Nunakura's own wife passed on, he elevated Kashikiya Hime to the rank of queen. Long story short, the immediate children and grandchildren of Soga no Iname were in a great position. Soga no Umako was a powerful person at court, and brother and uncle not just to a number of the royal princes of Ame Kuniyoshi's line, but to Nunakura's queen as well, which gave him some powerful sway. We are also told that he had taken as his wife the younger sister of Mononobe no Moriya, likely as an attempt to bring the two families closer together. Spoiler alert: it didn't. All of those royal princes of Soga descent would not have been eligible for the throne under normal circumstances. But here's where things get a little dicey. Nunakura had been the son of Ame Kunioshi and Ishi Hime, who was, herself, the daugther of former sovereign Takewo Hiro Kunioshi. Of course Takewo's mother had come from the Owari no Muraji, a sister clan to the Mononobe, but the Nihon Shoki glosses over that by claiming Takewo was just holding the throne until his more legitimate brother was ready. Still, long story short, Nunakura was the direct descendant of at least two previous sovereigns, so one would imagine that he would be succeeded by his son, Hikobito no Ohine, son of Nunakura and his previous Queen, Hiro Hime. And yet, Hikobito was probably relatively young, and besides Nunakura there were numerous other sons of Ame Kunioshi – conveniently, for the Soga, through his Soga descended wives. One was Kashikiya Hime's brother, Tachibana no Toyohi, and there were also her half-brothers from her aunt, Wonane Gimi, including Princes Hasetsukabe Anahobe no Miko and Hatsusebe—or just Hasebe—no Miko. Remember that there is no such thing at this point as primogeniture—it doesn't matter if you are the oldest son of the previous sovereign, and the throne commonly passed to brothers before it went to sons and nephews. Finally, there is Kashikiya Hime herself, niece of Soga no Umako and newly elevated queen of Nunakura. While some women may have been content to simply raise the future generation of sovereigns, there is plenty to indicate that Kashikiya Hime was a highly political animal in her own right. On top of that, although her grandfather had passed away, her uncle, Soga no Umako, had taken his place at one of the top spots in court. She was around 34 years old when she became queen, and 42 when Nunakura passed away. She knew the ins and outs of the court, and she seems to have favored her uncle and her Soga family. And so, when Nunakura, aka Bidatsu Tennou, died of plague, the stage was set for a political challenge – to determine just who will be the next sovereign, and more than that, which family – and even which branch of which family – will take the reins in directing matters on the archipelago going forward. Now, before we get much further, I have to warn you, the sources we have are clearly biased when it comes to the events they were recording. I mention this because many of the stories in this highly dynamic period and I don't want to keep caveating everything all the time. So let me get a lot of it out of the way now, before we get into the really juicy bits. This also goes for some of the stuff in the last few episodes as well. While the Chronicles were built from records that survived into the 8th century it is clear that not every family is equally represented, and it is also clear that the Chroniclers, who knew the outcome, were massaging the narrative in certain ways. And so we get a narrative of how the Mononobe were enemies of Buddhism, attempting to stop it from spreading and trying to protect the indigenous worship of the kami. They were assisted in this by the Nakatomi, a family of court ritualists, who no doubt were also out to stop Buddhism's progress. As for the sovereigns, Ame Kunioshi, and Nunakura, while they weren't necessarily Buddhist, they are portrayed as essentially neutral, going back and forth between the advice of their ministers as they fought, internally. Most of this comes from the Nihon Shoki. The Sendai Kuji Hongi gives a much more abbreviated version of the actual history, and the Kojiki is pretty much focused just on the lineages at this point. By that point, a lot had happened, and neither the Soga nor the Mononobe were necessarily running things anymore. Michael Como, in his book, “Shotoku”, suggests that, in all probability, Ame Kunioshi and Nunakura were likewise hostile to this new religion, and I think I can see that. After all, they had to realize it was a threat to their own authority as the dedicated interpreters of the will of their ancestral kami. It may be that the positions put forth by the Mononobe and the Nakatomi were, indeed, their actual thoughts on the matter, but it isn't as if the Mononobe just went ahead and destroyed the Soga temples—twice!—on their own. They first made sure to get an order from the sovereign, an order that may not have taken much arm twisting to issue. Como and others also point out that there is a problem with another often overlooked aspect of the struggles as they are portrayed. The typical narrative pits the “foreign” religion of Buddhism against the “indigenous” religion of the way of the kami—what would eventually be known as Shinto, but at this point really didn't have any particular name. The usual way of telling this story is that native religionists were simply pushing back against a foreign incursion, and even though Buddhism would thrive in the Japanese archipelago, and even come to be another tool of the state, there was a certain conflict that always remained, due in large part to the ceremonial role that the sovereign was supposed to inhabit. The problem is that there is nothing that clearly indicates that the so-called indigenous religions were appreciably less foreign to the islands. Even the earliest stories that were recorded in the Nihon Shoki, which depicts Japan as a special place, formed by the kami themselves, there are clear connections to the continent. In some cases, like with Ame no Hiboko and Himegoso, we have deities coming over directly from the continent as princes and princesses of foreign lands. In others, like with some of the stories of Susano'o, we see the kami coming down from Heaven and first setting foot in the world on the Korean peninsula. Combined with a plethora of other clues, at the very least we can assume that the ways of the kami, including stories and rituals, were heavily influenced by continental thoughts and ideas, some of which may have arrived more than a century earlier. On the other hand, the use of horizontal tomb chambers is a pretty clear archaeological change that we can see happening. We first saw this tomb design back in the 5th century in Kyūshū, and in the 6th century it had spread across the archipelago, becoming the dominant form. But how does that connect to continental influence on indigenous spiritual and religious practice? I think we can generally agree that tombs, beyond the practical idea of not allowing corpses to just sit around above ground, rotting and breeding disease, were largely concerned with what we consider religious concepts about the afterlife. Sure, there is the political capital achieved by reminding everyone just who's in charge, but it is designed around the needs of the rituals surrounding the treatment of the deceased. Hence the grave goods, as well as the clay, stone, or even wood pillars and statues erected around them. So when the burials go from relatively simple pits, dug in the top of these massive burial mounds to more complex chambers of giant stone blocks, which show evidence of people using multiple times, then we can gather that something changed in the rituals surrounding death and the afterlife. Those changes are reflected in the stories about the kami, including stories about Izanagi and Izanami, about Susano'o, and even about Amaterasu in the Heavenly Rock Cave, which all have imagery associated with this new kind of burial practice. That suggests that these stories either originated in a time when the horizontal burial chambers were prevalent, or at least they were changed and updated as ritual life also changed. And most of these changes can be traced back to the continent. We can see evidence, there, of horizontal stone chambers, and then trace that influence as it makes its way to Kyūshū and then the rest of the archipelago. This isn't to say that there weren't elements that were conceived of on the archipelago itself. Certainly local traditions evolved to meet the needs of the people, but not without outside influence. Even today, modern Shintō includes concepts from Daoism, geomancy, and general Yin-Yang theory, among other things, while retaining its own character. The point is that the argument that the resistance to Buddhism was purely because of is foreign nature seems laughably false, and yet that has been the view reinforced within the cultural imaginary of the Japanese for centuries, and it would go on to define the separate roles of Shintō and Buddhism in relation to the State for most of that time. As we look at what takes place, however, just keep in mind that this was much more about sheer, naked, political power, regardless of how later generations tried to make it look. Also, it is unlikely that were any clear villains or heroes, either. Real people are complex, and motivations are rarely straight forward. And with that, let's get back to the funeral of Nunakura. The throne was empty, except for the presence of the Queen, Kashikiya Hime, who continued to reside in the palace presumably receiving guests and whatever the Yamato version of funeral potatoes was—probably some kind of dried fish. The succession at this point wasn't exactly clear. Nunakura had a son, Hikobito, who was no doubt the heir presumptive, but there is nothing explicitly stating as much. Ame Kunioshi had been quite prolific, and many of Nunakura's brothers or half brothers were still running around. In addition, though unstated in the Chronicles, Hikobito was not the son of Kashikiya Hime, and so it remains unclear just how motivated she was to help him ascend the throne. The first to act to resolve this uncertainty was a Prince that was neither a direct sibling of Nunakura nor of Kashikiya Hime. It was Hatsusekabe Anahobe no Miko. Like Kashikiya Hime, he was a grandchild of the illustrious Soga no Iname, except that he descended through Iname's younger daughter, Wonane Gimi. Anahobe seemed to have clear designs on the throne. He marched straight up to the Palace of interment, and demanded entry to see his half sister. This was the location, it would seem, where Nunakura's body was lying in state, prior to burial. However, given some of the accompanying statements, I suspect they may have been using Nunakura's own Palace for this purpose, and his queen, Kashikiya Hime, was likewise residing there, possibly out of loyalty and expectations, but also because where else was she to go on short notice? The steward in charge of the Palace at that time was a man by the name of Miwa no Kimi no Sakahe, also just known as Sakahe no Kimi. He was suspicious of Anahobe, and his intentions. After all, it wouldn't take much for Anahobe to force his way in, force himself on Nunakura's queen, claim they were married and therefore he deserved to rule. It wouldn't be the first time that a sovereign had married the queen, out at least a consort or daughter, of the former ruler to strengthen their own claim. Kashikiya was double prized as she was born the daughter of Ame Kunioshi and the Queen of Nunakura. Sakahe no Kimi want about to let that happen, however. We are told that he had faithfully served the royal family up to that point, and it didn't look like he was about to just lay down now, not even for a prince of the blood. This pissed off Anahobe to no end. He left, incensed, and started talking smack about Sakahe no Kimi to anyone who would listen. In particular, he complained to the two Great Ministers, which I can only assume to mean Soga no Umako and Mononobe no Moriya, the Ohomi and Ohomuraji of the court. He mentioned how, at the eulogy, Sakahe had said that the court of Nunakura would not be left desolate, and that he, Sakahe, would keep it pure as the surface of a mirror. Who was he to make such a bold claim to be the defender of Nunakura's virtue, especially when there were so many total princes and the court Ministers themselves? And on top of that, he had the temerity to deny Anahobe access to the Palace of interment seven times. For such insolence, he demanded the authority to put Sakahe no Kimi to death. They both agreed, and next thing you know, prince Anahobe grabbed a bunch of troops, along with Mononobe no Moriya, the King's Hand of the ancient Yamato Court, and put together a posse to go bring justice, in the form of a quick sword to the back of the neck, to Sakahe no Kimi. This was not exactly a quiet affair, however, and when the assembled forces of the aggrieved princes rolled up on the home of Sakahe no Kimi, in Ikenobe, in Iware, he had already split, hightailing it up Mt. Miwa. He then climbed down in the night and made straightaway for Kashikiya Hime's country house in Tsubaki-ichi. There he went to hide out and lay low, as Kashikiya Hime still had his back. However, it wasn't only the royal family that had some people with divided loyalties, and two of Sakahe's own relatives, Shiratsutsumi and Yokoyama, decided to turn him in, apparently trying to cozy up with Anahobe, whose star appeared to be on the rise. Knowing where Sakahe was hiding out, Anahobe and his brother, Hasebe, ordered Mononobe no Moriya to head out and treat Sakahe as though he were being played by none other than Sean Bean himself. Not only that, they were to kill his sons as well, ending his direct line. Moriya accepted this duty without hesitation, once again gathering a large force and setting out. I would point out at this point that Sakahe was clearly a close confidant of the previous sovereign, Nunakura, and he was seeking refuge at Queen Kashikiya Hime's summer cottage—we aren't told if she was there, or still at the palace of interment, but either way, Moriya's forces were moving against her property. As Soga no Umako heard about this, he quickly came to the conclusion that going after Sakahe, and invading the Queen's residence to do so, was one of those Really Bad Ideas. Sure, he may have initially agreed to Sakahe being punished, because there was an order to things, and no doubt Sakahe's actions threatened that order—though it is also possible that the two “Chief Ministers” mentioned in the text were others, as nobody is specifically named, so it is possible he was just learning about this for the first time, but doubtful. Still, he was now against it. Perhaps it was the clear involvement of Kashikiya Hime, or maybe it was the thought of killing the innocent kids. Or possibly Umako had come to realize the truth—that this was simply an excuse for Anahobe to take the throne for himself. Whatever the reason, Umako went to his nephew Anahobe and pleaded with him not to go out with Moriya. He suggested that, at the very least, it would be unseemly for him to go himself. Anahobe was determined, however, and so he headed out to meet Mononobe no Moriya and to see to Sakahe's end, personally. Here the Chronicles diverge, giving us two slightly different accounts. In one story, Umako tagged along, and eventually he was able to persuade Anahobe not to go himself, and Anahobe finally relented. However, shortly thereafter, Moriya returned with news that he had executed Sakahe no Kimi and the others. In the other account, it is Anahobe himself who ended Sakahe no Kimi and his line, demonstrating that he was not afraid to get his hands dirty. Either way, Soga no Umako realized that this was not the end of it, and that there would likely be more violence. He was clearly upset that Anahobe hadn't listened to him to call the whole thing off, and Kashikiya Hime, well, I think we can see why she may not have been happy. The Chronicles say they both conceived enmity against Prince Anahobe, even though he was their nephew and cousin, respectively. Now this was all happening shortly after Nunakura's death—Nunakura died in 585, and this is all taking place between then and late 586 – and clearly it's related to a question of succession. However, the Chronicles try to claim that there was, in fact, a sitting sovereign at that time. That honor went to none other than Kashikiya Hime's own full brother, Tachibana no Toyohi, aka Youmei Tennou. So given what we've discussed about Anahobe's antics in trying to marry Kashikiya, what's up with that, and where did Toyohi come from? Why Toyohi was selected, or even how he was selected, is a bit strange. We are told that he was the fourth child of Ame Kunioshi, and as I mentioned, he was the full brother of Kashikiya Hime, making him a son of Kitashi Hime and a grandson of Soga no Iname. We are also told that he believed in the Law of the Buddha and also Revered the Way of the Kami. Finally, we are told that his capital was set in Iware—specifically at the Ikenobe no Namitsuki no Miya. If that sounds familiar, it is because Ikenobe, in Iware, was also the location of our Sean Bean stand-in, Miwa no Kimi no Sakahe's, house as well—a strange coincidence in a tumultuous time. Toyohi wasn't long on the throne. During the feast of first fruits, the Niinamesai, which was performed on a riverbank in Iware, Toyohi took ill. The Niinamesai is typically observed on or about the 23rd day of the 11th month of the old lunisolar calendar, which could have been as late as December or even early January, meaning that it was likely cold, and possibly even cold and wet, especially along a riverbank. It brings to mind the story of US President William Henry Harrison, who gave his inaugural address on a cold and wet day, and ended up catching pneumonia weeks later, passing away shortly thereafter. In a similar vein, Toyohi's illness grew worse and worse, and so he requested that he be able to give worship to the Three Precious Things, which is to say Buddhism, likely hoping that worshipping the Buddha would cure him. Obviously, Soga no Umako was in favor of this, having tried to get his own temple started in the previous reign, but both Mononobe no Moriya and Nakatomi no Katsumi both opposed it, claiming he would be turning his back on the kami of the Japanese archipelago. It was déjà vu all over again. The tie breaker in this case came from what might seem an unusual source. It was Prince Anahobe himself who found a priest and brought him to his elder half-brother's side. The records simply state that it was Toyohi's “younger brother”, but a note in the Nihon Shoki explains that Prince Anahobe is assumed to be the one they mean. This is bolstered, somewhat, by the fact that Toyohi is said to have been married to *Princess* Hasetsukabe Anahobe no Himemiko. That's right, Toyohi had married Anahobe's sister, which may have also made them closer than even normal bonds of kinship would account for. Thus, whatever designs Anahobe had on the throne seem to have been overcome by his desire to help his half-brother, an apparently touching moment. Unfortunately, it didn't help. Toyohi grew worse and worse and eventually it was clear that he wasn't going to make it. Kuratsukuri Be no Tasuna, a son of Shiba Tattou, offered to become a monk on Toyohi's behalf and help make merit for him. Shiba Tattou had been the one to help Soga no Umako with his first attempt at setting up a temple, including having his daughter ordained as a nun, so this seems rather on brand for him. It is interesting that Tasuna is mentioned as a member of the Kuratsukuri Be, however—the guild of saddle makers. Once again, related to horses and thus back to Baekje and the continent. Tasuna offered to make a Buddha image that was about 16 feet high, and to build a temple. The Chronicles say that this temple, along with its attendant Boddhisatvas, was still around several centuries later at the temple of Sakata in Minabuchi, which would appear to place it in the region of Asuka, the Soga family stronghold. Toyohi's reign was extremely short—assuming, of course, that he reigned at all. As we've already discussed with Anahobe's Game of Thrones antics, it seems like things were generally still up in the air, though it is quite possible that since Toyohi was Kashikiya Hime's full brother, she deferred to him and helped him take the throne as everything else was going on. It is just as likely, though, that the Chroniclers needed someone to fill the space, and he fit the bill. There are a couple of things that suggest this interpretation. First off are his offspring, specifically two. One was Nukade Hime, who he made the Ise Princess, which is to say the Royal Princess, or Himemiko, who was assigned to the shrine of Amaterasu in Ise. There is some question about the actual importance of Ise at this point, but there wouldn't be by the 8th century, and so to the Chroniclers this would have been an important point to make, even though there is some scholarly thought that Ise really wasn't that big of a deal until around the time of the Temmu dynasty. The other child of Tachibana no Toyohi is very important – someone we've touched on briefly, and I'll probably go into a whole episode on in not too much longer: Prince Umayado. Aka the Prince of the Kamitsu Palace, or Kamitsumiya. He's better known as Shotoku Taishi, and he holds a special place in Japan's cultural identity about itself and Buddhism. For anyone who hasn't heard of Shotoku Taishi, I'll try to break it down quickly. As I said, we need to do at least one episode on him at some point. “Shotoku Taishi” is the single individual most credited with spreading Buddhism in Japan – the most mentioned, though he wasn't the first. The problem is that this means there are a lot of stories around him and his accomplishments, such that it is hard to pull out fact from fiction. Much like Yamato Takeru, Shotoku Taishi's legend had already grown by the time the Nihon Shoki was being written, to the point that different temples were almost fighting over who got to write the narratives about him and whose stories were taken as factual. Think about George Washington chopping down the cherry tree and you get the picture of the kinds of cultural imaginaries that get attached to Prince Shotoku. And so it is little wonder that this very important figure's father, Tachibana no Toyohi, gets credited with at least a few years on the throne, whether or not he ever actually sat as the ruler. It provides even that much more legitimacy to Prince Umayado's later accomplishments—or at least the accomplishments that were attributed to him. It also might explain why Toyohi's own story centers so much on his belief in Buddhism as well. There is a point made of talking about the fact that Toyohi believed in Buddhism, and he is the first sovereign we have to actively seek out the worship of Buddhism. Once again, it is hard to know if he was truly sovereign—I tend to feel like this whole period was one of the periods where the court couldn't initially get united behind a single person, and what we are seeing is more after-the-fact ascensions to boost the lineage. But the dispute over Buddhism is clearly the centerpiece here for something much greater. But we haven't gone full family-on-family war yet, which brings us back to Mononobe no Moriya. He was clearly not happy about the whole situation with the sovereign ignoring his advice and performing more Buddhist worship, and it didn't help that the powerful prince Anahobe had stepped in on the side of the pro-Buddhist faction. They had just been out murdering people together, and now Anahobe turned his back on him. Moriya likely felt tossed aside. I've seen some suggestion that the Mononobe house and the Soga house at this time were equals. Sure, the Nihon Shoki uses the “Omi” and “Muraji” kabane, with “Omi” having a distinctly more prominent feel, but it is possible that the two families were actually of equal rank. There's the fact that the text at one time references “The Two Oho-omi”, which is generally taken to just mean the two “Chief Ministers”, Umako and Moriya, but which could also be seen as acknowledging that Moriya stood on equal footing with Umako. There is also a note in the Sendai Kuji Hongi that suggests that Moriya was made both Ohomuraji—that is, head of the house—and also a high Minister, or Omi. It is unclear what this means, but probably similarly placed him on equal footing with Umako. Certainly in the discussions up to this point, the Mononobe often had the favor of the court over the wishes of the Soga, especially when it came to burning down their Buddhist establishments. Now, however, the Soga were clearly ascendant. The grandsons of Soga no Iname were Royal Princes, and that shifted the power dynamics. Even Anahobe was a Soga descendant. It is easy to see how Moriya was likely feeling isolated and even belittled by the court. Enter Iago… I mean Oshisakabe no Kekuso, who bent Moriya's ear and convinced him that all of the other ministers were now plotting against him. More than that, they were about to ambush him and take him out of the picture altogether. And was that so strange? Hadn't something similar just happened with Sakahe no Kimi when the powerful people of the court found him too troublesome? Moriya himself had helped carry that out and bring it about. This was not exactly a time where one was innocent until proven guilty, and if you wanted someone out of the picture, well, it was hard for them to tell their story from inside a massive burial mound. This was a dangerous time to be on the political outs. And so we are told that Mononobe no Moriya retired. He left the court and went to Ato, where he had his own country-house. This would have been in a Mononobe stronghold. It is often thought to have meant somewhere on the Kawachi plain, around Yao, on southeastern edge of the modern metropolis of Ohosaka, and outside of the Nara Basin. There he gathered a force of troops around him, presumably for his own protection. Allies, such as Nakatomi no Katsumi, came to his aid. As Umako had predicted, this whole thing was not going to end well. The two most powerful ministers at court had been feuding since the death of the previous sovereign. They had broken on policy, on religion, and even on threats to the throne. And now one of them had holed up in their own stronghold and was building an army. Meanwhile you still had a bunch of princes running around, all of them possibly eligible to ascend and take the throne of Yamato for themselves. The storm clouds of war had gathered, and people were taking sides. Whatever happened, its clear that it would have momentous consequences for everyone involved—at least, if they lived to see it through. Until next time, thank you for listening and for all of your support. If you like what we are doing, 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 Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com. And that's all for now. Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.
From the legend of Baba Dochia trying to freeze out her daughter-in-law, to the Shinto creation myth of Izanami and Izanagi, to the tale of a Japanese vagina demon who broke its teeth on a steel dildo, sex myths have inspired love festivals across the globe. We'll cover two today: Dragobete, the Romanian Love Holiday, and Kanamara Matsuri, the Japanese Penis Festival.See omnystudio.com/listener for privacy information.
More Uchiha bullshit in this set of episodes as Itachi and Sasuke continue their battle with Kabuto. The boyz talk about Izanami and Izanagi being bah-roken and they're general problem with the Uchihas! Love what you're hearing? Join our Patreon at https://www.patreon.com/talking_naruto for more content!
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Fundada por imigrantes japoneses em São Paulo, a organização Shindo Remnei acreditava que o Japão tinha VENCIDO a 2º Guerra Mundial, silenciando quem pensasse o contrário
Izanami Martínez tiene un gran poder para comunicarse y relacionarse con personas, las ayuda a encontrar cosas que detonan una energía especial para que puedan conseguir sus objetivos. Izanami nos indica que para conectar efectivamente con las personas hay que tener siempre el foco en la persona que nos escucha, apartando los miedos y con una expresión sencilla para que el mensaje llegue de forma correcta. Suscribete y Visitanos en: www.RecetaDelExito.com Apple Podcast (iTunes): https://apple.co/2Igcnoh Listo para Crear tu Podcast? www.CursoDePodcastGratis.com Twitter Handle: @alexdalirizo Facebook Page: https://www.facebook.com/recetadelexito/ RDExito: http://recetadelexito.com Instagram: https://www.instagram.com/alexdalirizo/ Stitcher: https://www.stitcher.com/s?fid=508313&refid=stpr Spotify: https://spoti.fi/3cmJqVs
Si quieres que tu negocio online funcione, tienes que dedicar tiempo a conocer bien a tu cliente, y así responder a sus expectativas. Hoy nos acompañan Mercedes Mariño de Amazon Web Services e Izanami Martínez, emprendedora en serie y fundadora de Soulgate para compartir estrategias y aprendizajes para conocer mejor al cliente y mejorar su experiencia.
O que vou chamar de mitologia japonesa surgiu dentro do Xintoísmo, que pode ser considerado a religião nacional do Japão. A mitologia japonesa está baseada em dois livros, um chamado Kijiki, que é o livro mais antigo sobre a história do Japão, feito no ano de 712 d.C. (usando o nosso calendário); e o segundo livro é o Nihonshoki, que é um livro de crônicas e considerado o segundo mais antigo da história do Japão. Mesmo esses dois livros terem algumas pequenas divergências entre eles, são considerados os fundadores da mitologia japonesa e até hoje são lidos e estudados como forma de conhecer a própria história do Japão e seus deuses. A Mitologia Japonesa se forma em um momento em que o Budismo estava crescendo, principalmente na China e chegou até a influenciar o Xintoísmo e os japoneses. Até por isso esses dois livros que eu comentei com você foram escritos, para organizar a parada. Mas como toda boa mitologia, no início de tudo era o caos. Praticamente todas as mitologias e religiões se iniciam com essa ideia de caos que em seguida foi organizado e na Mitologia Japonesa isso aconteceu depois que a terra e os céus se separaram e espontaneamente surgiram os três Kamis, que são espíritos da natureza, a tríade da natureza. Os Kamis não chegam a ser deus ou deuses, e sim espíritos. Os Kamis tinham uma função nesse mundo que estava aos poucos se organizando. Esses Kamis deram origem a outros Kamis e dentro da Mitologia Japonesa esses Kamis viraram espíritos que estavam em todos os elementos da natureza e até nas emoções. O Kami das águas, das florestas, das lágrimas, do segundo rio, etc. Quando a terra se separou dos céus, nesses dois ambientes surgiram Kamis que criaram algumas coisas em cada um dos lugares mais depois desapareceram. Os Kamis dos céus criaram a condensação do ar, enquanto os Kamis da terra criaram os bambus. Mas como disse, todos desapareceram. Depois da sétima geração de Kamis que desapareceram, finalmente surgiu e se apresentou ao mundo Izanagi e Izanami. Izanagi era o macho que convida; e Izanami era a fêmea que convida. São conhecidos como o par primordial, aqueles que vão dar origem a todas as coisas. Para a Mitologia Japonesa, o início da vida se dá a partir da criação de um homem e de uma mulher. Quando esse “casal” apareceu, os Kamis que tinham desaparecido voltaram e deram a eles a missão de organizar a terra. Toda boa mitologia que se prese além de deuses, espíritos e criação de mundos tem elementos ferramentas especiais para executar determinada função. O maior exemplo disso é o Thor e seu martelo. Izanagi e Izanami receberam uma lança decorada com joias, chamada Amenonuhoko (lança do céu). Com essa lança, Izanagi que estava nos céus, remexeu a terra e quando levantou a lança uma gota caiu. Essa gota seria a primeira ilha, que comporia o Japão. Não sei se seus conhecimentos de geografia chegam a esse ponto mas o Japão é um arquipélago, conjunto de ilhas. Essa grande ilha passou a se chamar Onogoro, e serviu como morada de Izanagi e Izanami. O que temos aqui é um “pai” e uma “mãe” primordial, assim como temos em outras mitologias. Adão e Eva; Gaia e Urano, etc. Nesse ponto dá para ver que de certa forma boa parte das mitologias tem algo em comum, mesmo que de origens completamente diferentes uma das outras.
O que vou chamar de mitologia japonesa surgiu dentro do Xintoísmo, que pode ser considerado a religião nacional do Japão. A mitologia japonesa está baseada em dois livros, um chamado Kijiki, que é o livro mais antigo sobre a história do Japão, feito no ano de 712 d.C. (usando o nosso calendário); e o segundo livro é o Nihonshoki, que é um livro de crônicas e considerado o segundo mais antigo da história do Japão. Mesmo esses dois livros terem algumas pequenas divergências entre eles, são considerados os fundadores da mitologia japonesa e até hoje são lidos e estudados como forma de conhecer a própria história do Japão e seus deuses. A Mitologia Japonesa se forma em um momento em que o Budismo estava crescendo, principalmente na China e chegou até a influenciar o Xintoísmo e os japoneses. Até por isso esses dois livros que eu comentei com você foram escritos, para organizar a parada. Mas como toda boa mitologia, no início de tudo era o caos. Praticamente todas as mitologias e religiões se iniciam com essa ideia de caos que em seguida foi organizado e na Mitologia Japonesa isso aconteceu depois que a terra e os céus se separaram e espontaneamente surgiram os três Kamis, que são espíritos da natureza, a tríade da natureza. Os Kamis não chegam a ser deus ou deuses, e sim espíritos. Os Kamis tinham uma função nesse mundo que estava aos poucos se organizando. Esses Kamis deram origem a outros Kamis e dentro da Mitologia Japonesa esses Kamis viraram espíritos que estavam em todos os elementos da natureza e até nas emoções. O Kami das águas, das florestas, das lágrimas, do segundo rio, etc. Quando a terra se separou dos céus, nesses dois ambientes surgiram Kamis que criaram algumas coisas em cada um dos lugares mais depois desapareceram. Os Kamis dos céus criaram a condensação do ar, enquanto os Kamis da terra criaram os bambus. Mas como disse, todos desapareceram. Depois da sétima geração de Kamis que desapareceram, finalmente surgiu e se apresentou ao mundo Izanagi e Izanami. Izanagi era o macho que convida; e Izanami era a fêmea que convida. São conhecidos como o par primordial, aqueles que vão dar origem a todas as coisas. Para a Mitologia Japonesa, o início da vida se dá a partir da criação de um homem e de uma mulher. Quando esse “casal” apareceu, os Kamis que tinham desaparecido voltaram e deram a eles a missão de organizar a terra. Toda boa mitologia que se prese além de deuses, espíritos e criação de mundos tem elementos ferramentas especiais para executar determinada função. O maior exemplo disso é o Thor e seu martelo. Izanagi e Izanami receberam uma lança decorada com joias, chamada Amenonuhoko (lança do céu). Com essa lança, Izanagi que estava nos céus, remexeu a terra e quando levantou a lança uma gota caiu. Essa gota seria a primeira ilha, que comporia o Japão. Não sei se seus conhecimentos de geografia chegam a esse ponto mas o Japão é um arquipélago, conjunto de ilhas. Essa grande ilha passou a se chamar Onogoro, e serviu como morada de Izanagi e Izanami. O que temos aqui é um “pai” e uma “mãe” primordial, assim como temos em outras mitologias. Adão e Eva; Gaia e Urano, etc. Nesse ponto dá para ver que de certa forma boa parte das mitologias tem algo em comum, mesmo que de origens completamente diferentes uma das outras.
NVP Entretenimento (segundo canal): https://www.youtube.com/channel/UCQx0mk39maqKNsx35VC-UNA Novo Investigações Em Série https://youtube.com/playlist?list=PLiIPcDnIqofRhAFb7cuwuycG_qcxkBfpg Canal do Ronin https://www.youtube.com/channel/UCV53zxPjeBcioF7kSDEbFXA
Court Games: News and Discussion for FFG's Legend of the Five Rings LCG and RPG
Thank you for Listening! Timestamps 0:00 Introductions 1:12 Reminder: CourtGames is biweekly now 2:42 Inspirations behind Jigoku 13:24 Jigoku's influence on other spiritual realms 24:40 Founding of the Shadowlands 30:56 Forces of the Shadowlands 41:29 Pros and Cons for including the Shadowlands 50:37 Note: use Session 0 to discuss horror 52:40 Closing Mentions Japanese Hells: https://www.tofugu.com/japan/japanese-hells/ Izanami and Izanagi and ritual cleaning: https://yamatomagazine.home.blog/2019/06/15/yomi-and-the-fate-of-izanami-and-izanagi/ CourtGames is a fan project and is not an official affiliate of Fantasy Flight Games. Legend of the Five Rings is the property of Fantasy Flight Games. All opinions expressed on this podcast belong solely to the hosts of this show. The music used in this episode is titled "Aiko", created by Carlos Estella Any feedback is a gift, find us online: @CourtGamesPod on Twitter Join the L5R discord server Check out our website! Listen to the Courtgames LCG Cast Check out Crimson Gold Agonies, a CourtGames AP Check out Fortune and Strife, a CourtGames AP Brought to you by our supporters on Patreon In affiliation with D20 Radio "Where Gamers Rule!"
Grab that tanuki suit and fly with us into the land of the Kami, Yokai and Oni as we discuss the history, rituals and mythology of Japanese Shintoism; making sure to touch on the traditions that often confound us when they first appear in anime and even our favorite childhood videogames.In the free show we discuss:-The Kojiki Shinto Creation Story-is Shinto a religion??-Where Luck comes from-Shinto Adam and Eve-The Kami-Kagura Dance-Where Oni (demons) come from…-Maneki Neko-Influence of Buddhism-Tanuki & Animal Crossing-Amateratsu the Sun Goddess-Shapeshifting Kitsune-The Super Mario Twins-Inside a JinjaIn the extended show available at www.patreon.com/TheWholeRabbit we discuss:-Inari-Shinto Enchantments-The Tengu Oni-Japanese Nationalism-Purification Rituals-Taboo Words-Temple Oracle Girls-Fat Unicorns-The Odori-Tools of Shinto Ritual-Mudras-OfudaMusic By:Spirit Travel Plazahttps://open.spotify.com/artist/30dW3WB1sYofnow7y3V0YoWhere to find The Whole Rabbit:Youtube: https://youtu.be/z4DL6BFdzfMMerch: https://shop.spreadshirt.com/thewholerabbit/Spotify: https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVInstagram: https://www.instagram.com/the_whole_rabbit_/Notes: Temples, Ritual, Clergy and Blessings (and other) sections written by Heka AstraSources:Shrines:https://www.britannica.com/topic/Shinto/Types-of-shrinesShinto Corpus:https://www.japanese-wiki-corpus.org/Shinto.htmlFujin:https://mythopedia.com/topics/fujinYokai:https://www.goodreads.com/en/book/show/13829873-the-night-parade-of-one-hundred-demonsSupport the show (https://www.patreon.com/thewholerabbit)
In our third annual Halloween special, Jacob and Evan discuss even more spooky stuff from history. From the Japanese creator deity who became the goddess of death to the widespread panic over Satanic ritual abuse in 1980s America. Don't lose your head, this one is getting spooky.Support the show (https://www.patreon.com/PoddingThroughTime)
On this episode, Brian and Emma sit down to talk about mythology! Each of them brings a summary of a story from a different mythology and the other uses their limited knowledge to guess what it is. Join along in the fun and take a guess for yourself. Enjoy! Want to get in touch with us? For work related inquires and suggestions for the show: murdermirthmonsters@gmail.com Twitter: @MirthAndMurder Sources for this episode: https://en.wikipedia.org/wiki/Izanami https://en.wikipedia.org/wiki/Izanagi https://en.wikipedia.org/wiki/Yomi https://www.ancienttexts.org/library/celtic/ctexts/nera.html https://www.history.com/topics/holidays/samhain https://en.wikipedia.org/wiki/Nera_(mythology) https://en.wikipedia.org/wiki/Soul_cake
This week we look at Izanami, the central female deity of Japanese creation and death mythology. Izanami and her brother/husband Izanagi create the firmaments of the earth and all of the elements; however, at Izanami's death she becomes a demonic figure that chases after Izanagi when he betrays a promise to her.
Sarah und Steffi befassen sich in der vierten Folge ihres Mythologie Podcasts für Kulturbanaus*innen erneut mit ihnen selbst bisher unbekannten Mythen. Da es sich um vergleichsweise kurze Geschichten handelt, stellen sich die beiden heute gegenseitig jeweils einen asiatischen Mythos vor: Sarah spricht über einen japanischen Mythos, Steffi über chinesische Mythologie. Im Kern geht es wieder um die Entstehung der Welt. Zudem hast das Finale von „Princess Charming“ großen Eindruck auf die zwei gemacht und es entsteht eine leichte Meinungsverschiedenheit in Bezug auf die erste Folge der neuen Staffel "Die Bachelorette". Wer Spoiler vermeiden will, sollte 30:21 bis 39:49 überspringen.Izanagi und Izanami - Mythologie JapansIn der japanischen Mythologie ist die Weltentstehung eng an das Geschwister-/Ehepaar Izanagi (Ehemann) und Izanami (Ehefrau) gebunden. Den beiden wird von den Gött*innen aufgetragen, Japan zu "machen". Das tun sie vor allem, indem sie nach ihrer Hochzeit Inseln statt Kinder bekommen - es gibt allerdings einige Komplikationen und am Ende gipfelt eine die Geschichte in der Geburt des Feuergottes Kagu-tsuchi, bei der die Mutter (Izanami) stirbt. Izanagi folgt ihr in die Unterwelt, begeht aber dort einen schweren Fehler - und statt mit der Rückführung seiner Frau in die Welt der Lebenden endet diese Mission des japanischen Gottes mit einer Scheidung und der endgültigen Trennung zwischen Unterwelt - deren Herrscherin nun Izanami wird - und der Oberwelt. Als sich dann Izanagi einmal ordentlich wäschst entstehen dabei auch die Herrscher*innen des Himmels, der Nacht und des Meeres. Die Geschichte von Pangu - Mythologie ChinasEin chinesischer Mythos zum Thema Weltentstehung erzählt eine ganz andere und wesentlich weniger blutige Geschichte: Am Anfang ist - wie immer - das Chaos. Innerhalb dieses Chaos entsteht ein Ei. Und in diesem Ei entwickelt sich über nicht weniger als 18.000 Jahre das erste lebende Wesen der Welt: ein gehörnter, sehr haariger Riese namens Pangu. Als dieser Riese letztendlich aus seinem Ei schlüpft, bildet das mit ihm herausströmende Eiweiß den Himmel (Yang) und das Eigelb die Erde (Yin). Pangu befindet sich zwischen den beiden und hält sie auseinander. Von nun an vergehen bis zur vollständigen Erschaffung der Welt wie wir sie heute kennen laut chinesischem Mythos noch einmal 18.000 Jahre. In dieser Zeit wächst Pangu täglich und schiebt dabei Yin und Yang immer weiter auseinander, bis er eine Größe von 45.000 Kilometern erreicht hat - den korrekten Abstand zwischen Yin und Yang. Dann legt er sich zum Sterben nieder und aus ihm werden die Bestandteile der Welt: Sein Kopf, sein Bauch, seine Füße und seine beiden Arme werden zu den heiligen Bergen Chinas, sein Atem wird zu Wind und Wolken, seine Körperbehaarung wird zu Pflanzen und Bäumen. Laut einigen Auffassungen werden die kleinen Flöhe, die auf seinem Körpfer gelebt haben, sobald sie zum ersten Mal vom Wind berührt werden, zu den Menschen.Weiterhin gibt es neben diesen beiden asiatischen Mythen in dieser Folge noch einen Fun Fact zu Yin und Yang, Reportagentipps zur chinesischen Geschichte und zu den drei Hauptrichtungen der chinesischen Philosophie sowie eine kleine Side-Story über Mistkäfer. Viel Spaß und bis nächste Woche!
Da sempre la storia del Giappone è legata alla mitologia, narrazione che racconta le origini del Paese del Sol Levante e legittima la Famiglia Imperiale.Nell'episodio di oggi approfondiamo questi miti, nonché la figura dell'imperatore e alcune delle più celebri entità del folclore giapponese, in un intreccio fra magico e reale che rende questo lato della cultura nipponica davvero affascinante.
Japanese Myths, Izanagi and Izanami. IG: Everythingsjustphine --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/phines-jackson-jr7/support
Japanese Myths, The Creation: Izanagi and Izanami. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/phines-jackson-jr7/support
Izanami is an izakaya serving upscale japanese bar food. Small plates meant for sharing, creatively prepared locally-sourced meat and produce with an emphasis on seasonality, all accompanied by unique libations. Don't expect the usual. There is no nigiri sushi. No soggy tempura. Definitely none of the sickly-sweet, hot sake that has given sake such a bad rap. They are extremely selective about their purveyors and only order enough seafood and organic produce to get them through the day. Most of our beef is wagyu. It's possibly the most delicious meat you will ever eat. They have the best selection of artisanal microbrew cold sake found anywhere between the coasts, green teas from shizuoka, locally roasted coffee drinks, ten different japanese craft beers, and housemade spritzers.
Episodes discussed: 338 & 339 It's like Groundhog Day, but with more swordfighting! Kabuto is stuck in the Izanami, which gives Itachi and Sasuke plenty of time to talk some stuff over. Plus, the Kages are not doing so great against Madara and his army of Susano'o. Whatever shall they do to get out of this mess?? It's NARUSHOW!
Izanami Martínez es madre, antropóloga, emprendedora y autora del libro Vivir Notox. Después de lanzar e internacionalizar proyectos digitales, presidir la Asociación Española de Startups y compartir su experiencia en las mejores Escuelas de Negocio colapsó y tomó la firme decisión de dejar de esparcirse en expectativas ajenas y empezar a construir hacia su propósito. Especializada en neurociencia y comportamiento humano, Izanami explora el por qué antropológico de que sigamos viviendo a medias y propone las herramientas para transformar la realidad que creamos. Izanami nos cuenta que o el aprendizaje es comunitario y conversacional, nos explica que aprender no es un proceso unidireccional, nos platica que el cambio es lo que nos ha obligado a seguir evolucionando y lo que nos ha permitido sobrevivir, además hablamos de: Por qué el cambio no sólo es natural sino positivo y además necesario. Nos cuenta que la estabilidad es antinatural y debemos dejar de poner resistencia a los cambios. Nos explica que lo contrario a la resiliencia es la resistencia y que el miedo al cambio es lo que nos hace resistirnos a dicho cambio. Nos cuenta que nuestro cerebro funciona muchísimo mejor en situaciones de incertidumbre que en situaciones de estabilidad. Nos cuenta que, en el entorno corporativo, las políticas son las que frenan el cambio y la innovación. Además, nos cuenta que lo que se premia en las organizaciones es todo aquello que es predecible, aquello que no tiene riesgo y por eso es que se vuelve muy complicado innovar en las grandes organizaciones. Nos explica que como individuos necesitamos recalibrar nuestro umbral del miedo para adoptar con mayor facilidad el cambio y una de las mejores formas de recalibrarlo es reflexionar sobre las consecuencias de intentar o no hacer cosas distintas. Izanami nos Recomienda su libro: Vivir Notox. El método para resetear tu vida
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Read from the 1913 work, "Myths and Legends of Japan" by F. Hadland Davis Narration by Tanner Campbell Music by Nico Vettese Support this podcast
Creating the world cost Izanami her life. Now, a rage-filled Izanagi defies the elder gods and vows to rescue his wife’s soul from the land of the dead. But as Izanagi risks it all, Izanami embarks on her own strange journey. This episode is brought to you by Mythology, a Spotify Original from Parcast. For more episodes like this one, follow Mythology, free on Spotify!
Welcome to the 37th episode of Stories That Made Us. The podcast brings to you stories from cultures and civilizations from around the world, and this week, it is the conclusion of the wondrous and magnificent creation myth of the Japanese. If you have missed the previous two episodes on the Japanese or would like a refresher, it is now a good time to check them out. In part one of the myth, we spoke of the creation of the world and all the deities of natural phenomena by the gods Izanagi and Izanami. In the second part, we continued the story with the tale of Amaterasu, the sun goddess, and Sosa Nowono, the mischievous trickster god. The episode concluded with the travels and tribulations of the deity named Ohona Moji. The episode ended when the Ohona Moji finally found happiness after marrying Suseri Hime, the daughter of Sosa Nowono. He found his own kingdom in the province of Izumo. The finale that is this episode, continues with his story and concludes with the end of the reign of Gods and deities upon the earth, and the beginning of the reign of emperors. I hope you enjoy the tale. If you do, please leave a rating and feedback. Share and subscribe! Your patronage would help us immensely! Get in touch with us: Twitter: @storiesthtmdeus Instagram: @storiesthtmdeus Facebook: https://www.facebook.com/storiesthatmdeus e-mail: info.storiesthatmadeus@gmail.com The music used for the episodes is either free to use or under creative commons license. Below are their links and attributions: Cattails - Thatched Villagers by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100743 Artist: http://incompetech.com/ Chance, Luck, Errors in Nature, Fate, Destruction As a Finale by Chris Zabriskie is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://chriszabriskie.com/reappear/ Artist: http://chriszabriskie.com/ Consequence - Wonders by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100283 Artist: http://incompetech.com/ Day of Chaos by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1300040 Artist: http://incompetech.com/ Dreams Become Real by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1500027 Artist: http://incompetech.com/ Namaste by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://audionautix.com/ Prelude No. 6 by Chris Zabriskie is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://chriszabriskie.com/preludes/ Artist: http://chriszabriskie.com/
¿Quieres probar un modelo de negocio o poner a funcionar tu idea de emprendimiento? Si quieres probar Shopify de manera gratuita y sin ingresar los datos de tu tarjeta, haz clic aquí: https://bit.ly/3s8pjlG¿Sientes que te agobias y te consumes cuando te enfrentas a tu ecommerce? No estás solo. El estrés laboral es una realidad que nos impacta a todos. Por eso, y porque este año ha sido de cuidado, conversamos con Izanami Martínez, experta en controlar emociones tóxicas, para aprender cómo podemos hacer para superar el estrés y convertir una emoción primitiva y negativa, en algo positivo y que nos ayude a mejorar. ¡Acompáñanos!
This week, Allison teaches Meghan the myth of Izanagi and Izanami, also known as the Japanese Creation Myth! Though it's own mythology based in Shintoism, there are quite a few similarities to two very well-known Greek myths. Can you tell which ones before we get to it? Happy listening. Recorded and Edited by Allison Varca and Meghan Pavlovsky. Music Credits to Michael Vontas Email us at outoftheaveragepod@gmail.com or follow us on Instagram @outoftheaveragepod Sources: https://owlcation.com/social-sciences/IzanagiandIzunami https://www.learnreligions.com/japanese-mythology-izanami-and-izanagi-4797951 https://parabola.org/2018/05/27/izanagi-and-izanami-a-japanese-myth-retold-by-paul-jordan-smith/
The myth of Izanagi and Izanami the two Shinto Gods or Kami from the Shinto religion is well-known in Japanese mythology and folklore. They were the gods held accountable for the creation of the Shinto gods, the creation of the world, creation of the Shinto religion and the creation of Japan. the story of Izanagi & Izanami smite gods in Japanese Folklore were the fifth pair of the Shinto gods belonging to the second generation of Japanese Kami, just after the KOTOAMATSUKAMI. Despite being husband and wife, Izanagi and Izanami were brother and sister, but after giving birth to Kagutsushi, Izanami perished burned by the flames of Kagutsushi the god of fire, and went to Yomi and became the queen of the Yokai and demons of the underworld.
Creating the world cost Izanami her life. Now, a rage-filled Izanagi defies the elder gods and vows to rescue his wife’s soul from the land of the dead. But as Izanagi risks it all, Izanami embarks on her own strange journey.
This is the Japanese Shinto tale of the god Izanagi and the goddess Izanami: two young deities tasked with marrying each other and creating the world. Their idyllic existence is threatened when Izanami rebels against the subservient role she’s expected to play—and Izanagi must choose between obeying the elder gods or supporting his wife.
Sailor Noob is the podcast where a Sailor Moon superfan and a total noob go episode by episode through the original Sailor Moon series!Tragedy strikes this week as the Sailor Senshi meet the unstoppable force of the DD Girls! Can our heroes face their ultimate challenge or will their fight to save the Earth end in the frozen wastes of the Arctic Circle?In this episode, we discuss the Shinto and Buddhist afterlives, harae and kegare, Yomi-no-kuni, Izanami and Izanagi, Tsukuyomi, Amerterasu, Susanoo, Itsukushima, Takamagahara, chūu, Meido, Sanzu River, the Ten Kings of Hell, Samsara and the six realms, Bon Festival, Japanese curry, and the CC Girls. We also talk about traumatized penguins, sailor teleport, lack of spoiler fear, cat bandages, Apocalypse in a turtleneck, '80s sitcom "oohing", Sailor Strumpets, "spicy spaghetti", "live by Shinto, die by Buddhism", the purity of Irish Spring, deathalytic converters, "you got that Yomi Yomi Yomi", Colonel Curry Potato, drowning Ami, lame duck 4th king, cutting *everything* for America, and Boogeru!SCOUT POWER!We're now on iTunes and your listening platform of choice! Please subscribe and give us a rating and a review! Arigato gozaimasu!https://podcasts.apple.com/us/podcast/sailor-noob/id1486204787Sailor Noob is a part of the Just Enough Trope podcast network. Check out our other shows about your favorite pop culture topics and join our Discord!http://www.twitter.com/noob_sailorhttp://www.justenoughtrope.comhttp://www.instagram.com/noob_sailorhttps://discord.gg/ATMBeUDBuy us a Kōhī on Ko-Fi!https://ko-fi.com/E1E01M2UA
In this episode, Tracey and Rowan explore Creation Goddesses and their roles in the beginning of the world...and possibly the end of it? Explore the stories of Tiamat and Izanami and Izanagi.SourcesWikipedia Mother Goddess https://en.wikipedia.org/wiki/Mother_goddessEncyclopedia Britannica Mother Goddess https://www.britannica.com/topic/mother-goddessEncyclopedia Britannica Lahmu and Lahamu https://www.britannica.com/topic/Lahmu-and-Lahamu#ref233798WikipediaTiamat https://en.wikipedia.org/wiki/TiamatOracc Museum http://oracc.museum.upenn.edu/amgg/listofdeities/tiamat/index.htmlAncient EU https://www.ancient.eu/article/225/enuma-elish---the-babylonian-epic-of-creation---fu/“God as a Man Versus God as a Woman: Perceiving God as a Function of the Gender of God and the Gender of the Participant”https://womrel.sitehost.iu.edu/REL301%20Women/GodAsManVsGodAsWoman.pdfGoddesses Of The Ancient World: Legends Of Powerful Religious Deitieshttps://www.magellantv.com/articles/goddesses-of-the-ancient-world-legends-of-powerful-religious-deities“Zeus Grants Stupid Wishes: A No Bullshit Guides to World Mythology”https://smile.amazon.com/Cory-OBrien-ebook/dp/B0099CTXZ8/ref=sr_1_1?crid=1K5B5Q3JFE0MC&dchild=1&keywords=zeus+grants+stupid+wishes&qid=1589402093&sprefix=zeus+grants%2Caps%2C219&sr=8-1Shakti: A Universal Forcehttps://chopra.com/article/shakti-universal-forceGoddesses Of The Ancient World: Legends Of Powerful Religious Deitieshttps://www.magellantv.com/articles/goddesses-of-the-ancient-world-legends-of-powerful-religious-deitiesYouTube: Little Art Talkshttps://www.youtube.com/watch?v=l3MKdJjQeOwYouTube: See U in Historyhttps://www.youtube.com/watch?v=N1QksqU5ZaQYouTube: Extra Creditshttps://www.youtube.com/watch?v=BGPo-TvgiGc&t=36sAncient History Encyclopediahttps://www.ancient.eu/Izanami_and_Izanagi/Wikipediahttps://en.wikipedia.org/wiki/Izanami
This episode we continue with the rest of the story of Ōnamuchi--aka Ōnamochi, Ōkuninushi, Ōmononushi, Ashihara Shiko'o, Utsushikunitama, etc. Last episode talked about his martial and marital exploits in becoming Ōkuninushi, the Great Land Master, and now we dive into his role as a Creator kami--finishing the work of Izanagi and Izanami. We'll also talk a little about his partner, Sukuna Bikona, who assisted him in most of this endeavor, as well as how he came to also be associated with Ōmiwa no kami, the tutelary spirit of Yamato. Finally, we'll discuss the land-ceding story, and how he eventually gave it all up to the Imperial Ancestor, Ninigi no Mikoto.
¿Tienes la sensación que estás en la rueda del hámster y que los días se repiten a un monótono ritmo?Ese es el tema principal del programa de esta semana, donde aprenderás cómo volver a tu estado natural, sano, vital y feliz, haciendo un reseteo de tu vida con Izanami Martínez.Hija de profesores de Yoga, empezó a hacer Asanas casi antes que a caminar. Y mientras se licenciaba en antropología por la UNED, montó su propio centro de yoga, danza, y pilates en Cádiz. Después de terminar su MBA por la ISEM Fashion Business School, la seleccionaron para lanzar en España Glossybox, las cajitas de cosmética. Con esa idea de negocio montó Nonabox, las cajitas con productos orientados a la maternidad, y en 3 años llegaron a ser líderes europeos. Vendió su parte europea para lanzar Doctor 24, una startup de telemedicina, hasta llegar a su proyecto actual, The Notox Life.A día de hoy compagina la gestión de este proyecto con su faceta como formadora, conferenciante, y escritora. Acaba de publicar el libro «Vivir notox. El método para resetear tu vida».Notas de programa(Las notas del programa están disponibles en https://kenso.es/episodio/96-izanami-martinez-notox-vida)Índice de la entrevista(0:00) Bienvenida a Izanami y la historia detrás de su nombre(4:37) Del mundo de la antropología al emprendimiento(8:29) Un punto de inflexión en su vida(18:04) ¿Cómo podemos priorizarnos?(21:32) El significado de TOX y NOTOX(26:05) Enfermedades causadas por nuestros hábitos(29:47) Un reseteo en la vida(34:51) TOX y NOTOX en el placer(41:54) TOX y NOTOX en el miedo(49:19) TOX y NOTOX en el poder(53:29) Cómo llevar una vida serena(54:26) Sugerencias de Izanami para ti(55:45) Cuestionario KENSO(59:27) Resumen y despedidaRecursos mencionadosWeb: Vivir NOTOXLinkedIn: IzanamiTwitter: @izanami_esLibro: Vivir notox, el método para resetear tu vida de Izanami MartínezEpisodio 88: Una dieta que no cojea con Aitor SánchezPsicólogo: Robert Bilder de la Universidad de CaliforniaLibro: Sapiens, una breve historia de la humanidad de Yuval Noah HarariLibro: Mujeres que corren con los lobos de Clarissa Pinkola EstésCanción: Let’s get loud de Jennifer LópezPelícula: Sonrisas y lágrimas de Robert WiseLa página web de KENSOSuscríbete al boletín electrónico de KENSOPara más aprendizajes productivos: suscríbete a nuestro canal de YouTubeSorteamos el libro Vivir notoxIzanami nos ha dejado algunos ejemplaros de su libro Vivir notox: El método para resetear tu vida para los oyentes de este podcast.Si quieres participar en el sorteo de los libros, dirígete al vídeo de esta entrevista en nuestro canal de YouTube y contesta la pregunta de Izanami: «¿Qué, de todas las cosas que haces, lo haces para crear una realidad mejor para los demás?».Participa en el episodio 100 del podcastNos gustaría crear el episodio número 100 en colaboración con la comunidad de todos los seguidores del podcast.Queremos saber cuál ha sido el aprendizaje más importante que has sacado de las entrevistas y píldoras productivas del podcast. También puedes enviarnos tus preguntas o dudas relacionadas a ser efectiva para vivir más feliz.Grabe tu mensaje de audio de 30 segundos desde tu ordenador o móvil y envíalo antes de 21 de junio a sugerencias@kenso.es.Estamos esperando tus audios.Comparte tus sugerencias¿Qué te gustaría escuchar en futuros episodios del podcast?Déjanos tus sugerencias de personas a entrevistar o temas a tratar en los comentarios de las notas del programa.
Había una vez un mundo donde la tierra se movía como una medusa en un vasto infinito que es el universo, sin forma ni estructura. En este universo vivía El primero de los dioses Kunitokotachi. creo cinco generaciones de parejas de dioses y de estas parejas la última en crearse fueron Izanagi y su hermana Izanami. Debio a que la tierra no era estable Kunitokotachi le asigno a los dioses Izanagi y su hermana Izanami que crear estructura y orden en la tierra. Kunitokotachi les dio para ello una lanza con joyas preciosas. Izanagi y su hermana se pararon en un puente flotante que caia del cielo y desde allí revolvieron las aguas que cubrían la tierra, luego levantaron la lanza y cuando la punta de la lanza salio del agua traía consigo una gota de agua que cuando cayo de nuevo al océano formando una isla. La isla de Onogoro. Izanagi y su hermanas Izanami bajaron a la isla Onogoro y construyeron un gran palacio para vivir allí. En dicho palacio construyeron un enorme pilar central que comunicaba con el cielo. Pasado el tiempo ambos decidieron comenzar una familia y siguiendo el rito cada uno debía girar alrededor de la columna en sentidos contrarios. Cuando se encontraran podrían juntarse para hacer hijos. Inseguros por ser su primera vez, se encontraron y fue Izanami la primera que hablo y luego le respondió Izanagi. Cuando nacio su hijo este resulto deforme como castigo por haber sido la mujer la primera en hablar y tuvieron que abandonar a su hijo. Lo intentaron de nuevo y esta vez fue Izanagi el primero en hablar y cuando se juntaron tuvieron un hijo normal en forma de isla y luego otra y otra hasta completar las 8 islas principales de Japon. Luego Izanami procreo el mar, el viento , los arboles, las montañas y todo tipo de manifestaciones naturales. Su último hijo seria el fuego, pero este al nacer quemo a Izanami hasta matarla y al morir nacieron la muerte y el dolor. Izanagi desesperado de ver como el fuego había quemado a su mujer tomó una espada y lo corto en pedazos dispersándolo por todas las islas. Izanami había caído al inframundo llamado yomi y su esposo Izanagi decidio ir a buscarla. Despues de un largo y peligroso viaje la encontró en la puerta del Yomi, allì le pidió que regresara con el pero ella le advirtió que no la mirara. Izanagi desobedeciendo a su mujer, encendio una antorcha y para su horror vio que su mujer no era mas que un cadáver lleno de gusanos horrorizado se dio mediavuelta y huyo hacia el mundo de los vivientes. Adolorida por la afrenta de su marido al dejarla por su estado, Izanami afirmo que su marido la había traicionado y como castigo dejo salir a los demonios y las brujas del Yomi para perseguir a su marido y que no lo dejaran escapar. Y este solamente después de una lucha infernal alcanzo a cerrar la puerta del inframundo enrollando una enorme roca para bloquear la salida. Roca que dice el mito aun permanece allí separando el mundo de los vivos y el mundo de los muertes Cuenta el mito que después de esto, Izanagi hizo lo que los japoneses hacen cuando están estresados, tomo un baño. Asi que fue a un riachuelo de una de las islas y se sumergio en el agua y estando en las aguas emergieron de su cuerpo tres diosas. De su ojo derecho Amaterasu, la diosa sol, De su ojo izquierdo Sukiyomi, la diosa luna y de su nariz Susanoo, la diosa de las tormentas marinas. Y desde estas épocas inmemoriales los japoneses viven en sus islas protegidos por sus dioses y siempre atentos a los caprichos de la diosa del mar y sus tormentas
This week we talk more about Guardian Games and what we have left to do in that event. Forges, Gambit, Strikes, Crucible, and Destinations...oh my! Then we move on to what else we have been doing in the game, most notably some raids. We talk about the news in the twab about how and why Titans are winning. Then we move onto the talk about how seasonal events will be sticking around longer come next year in Destiny. Thanks for listening as always. See you next week!
Finally, it's out of our BRAINS and into the WORLD! This is the origin story of the universe, Earth, and life told from the Shinto perspective! Not only are there multiple variations of the creation of these gods and their stories, but you'll also learn about an awesome place any lady can casually lay her old underpants to rest! And just in case you're curious, here's the link to the only video referenced, but worthy of watching... when STONED. www.youtube.com/watch?v=o1z25LLGKcI
CW: This episode deals with ancient Japanese stories that contain depictions of sex, misogyny, and death. The Chronicles of Japan finally get into the Japanese Chronicles! This episode starts our foray into the Japanese Chronicles: The Kojiki and the Nihon Shoki, with a look at what's behind the Chronicles and one of the first real stories: The creation of the archipelago and the kami, or gods, of Heaven. We'll start with a discussion of the main chronicles for this time and go on to discuss the story of Izanagi and Izanami, the two gods who are said to have created Japan and are the progenitors of most of the later kami. We'll examine all of this and look at some of the possible cultural information that can be gleaned from these stories.
Una memoria dal Giappone primordiale. Quando ancora gli dei camminavano sulla terra, Izanagi, dio creatore dell Sol Levante, decise di scendere a Yomi, il Regno dei Morti, per recuperare la sua sposa Izanami.► CHI SIAMO - Interpretato da: Filippo Carrozzo (http://www.filippocarrozzo.com) - Scrittura e editing audio: Federico Gallinari (https://www.linkedin.com/in/federicogallinari/) - Illustrazione in copertina: Linda Aquaro (http://www.lindaquaro.com)► CONTATTIVuoi inviarci un messaggio? Utilizza il seguente link per avere un contatto diretto con noi: https://bit.ly/30ddFum
The mythological beginning in the long Saga of Japan, beginning with the creation of the deities Izanami and Izanagi. The Sun Goddess Amaterasu is also born. The first Emperor Jimmu, guided by a mystical three legged crow, leads his people to their new home. Join us as we begin the epic history and saga of the island nation of Japan. Hope you enjoyed the episode! Please feel free to leave a review, rating, or even subscribe! Every bit helps the podcast grow and is a great encouragement to keep this show going. Send us your questions, comments, or suggestions for future topics at: https://twitter.com/SagaofJapan I personally read all of them! Support The Saga of Japan by donating to their Tip Jar: https://tips.pinecast.com/jar/the-saga-of-japan
Hoy tengo el placer de presentaros a la sexóloga experta en género y comunicadora Sonia Encinas, y a su bebé Noah que nos acompaña en parte del Podcast. Si Sonia fuera una canción sería Natural Woman, un animal: una loba y una película: Hysteria. Le gusta estar en armonía con sus mariposas y ser fiel a sus principios. Conocí a Sonia en una comida de emprendedoras que organizo Izanami Martínez la semana pasada, Izanami me ha hablado maravillas de sus talleres, me ha dicho que te empoderan y te reconcilian con tu sexualidad.. En el episodio de hoy hablamos de: - Diferencias entre Sexualidad y Sexo - Cómo nos podemos reconciliar con nuestra sexualidad - Cómo nos podemos empoderar - Cómo podemos reconectar con nuestro cuerpo - ¿Es el sexo necesario? - ¿Es importante que haya amor en la práctica sexual? - Cómo podemos vivir la menstruación de forma consciente - Alternativas a los anticonceptivos - Qué es el feminismo - Qué cambios sociales necesitamos para poder respetar y cuidar nuestro cuerpo -Por qué es importante que haya una revolución masculina Puedes encontrar a Sonia en: https://www.instagram.com/soniaencinass/ https://www.soniaencinas.com Recomendaciones del Podcast: https://www.soniaencinas.com/taller-cuerpo-placer https://www.soniaencinas.com/sabiduria-menstrual https://www.soniaencinas.com/mujer-consciente https://www.soniaencinas.com/programa-mujer-emprendedora Mujeres que corren con los Lobos - Clarissa Pinkola Estés Cuerpo de mujer, sabiduría de mujer - Christiane Northrup Ginecología Natural - Pabla Pérez San Martín Puedes seguir el podcast de SATISFACTION en mi cuenta: www.instagram.com/ixiavila/ y en la web: ixiavila.com/es/blog-podcast Mucho amor y satisfacción, Ixi Ávila.
Conocer a Izanami Martínez es un regalo... Antropóloga, fundadora de Vivir Notox y madre de dos niños preciosos. En el episodio de hoy hablamos de: - El virus Superwoman -Artículo de Yodona haciendo bullying a la actriz René Zellweger, y las consecuencias que esto tiene -El poder de las palabras -Cómo gestionar nuestra crítica Interna -El miedo al rechazo -Cómo emprender con tus ideas cuando empiezas de cero -Que es el éxito realmente -Las fases del parto y que tienen que ver con escribir un libro -Cómo utilizar los químicos naturales de nuestro cuerpo a nuestro favor -Cómo comer Notox -Cómo pensar Notox -Cómo vivir Notox Puedes encontrar a Izanami en @izanami.es https://www.thenotox.com Puedes seguir los Podcast de SATISFACTION en mi cuenta: @ixiavila https://ixiavila.com/es/podcast-spa
Welcome to Episode 10 of Sharpest Knives Podcast! This episode is the finale of Season 1 of this project and represents the culmination of a year’s worth of work. Thank you for listening and I hope you’ve enjoyed this first season!Episode 10 is Maris’s conversation with ceramicist Hanako O’Leary. Hanako talks about how her institutional and real world arts education work together, her inspiration for her current izanami project including Hanako's additions to the story of the Shinto queen of the underworld Izanami, letting go and making space for new knowledge, and how her processes are rooted in gratitude and community.Hanako has a busy 2020 coming up with exhibitions at King Street Station and Method Gallery in September 2020. But you have a couple opportunities to see her work before then. First, the first half of Hanako's work from her Izanami project will be on display at Edmonds College in February, and there will be an opening reception on February 21 for that exhibition.Hanako will also have some of the masks from her 1200 Spirits collection on exhibit and available for purchase at Pottery Northwest for ClayFest Northwest which opens December 13th and runs until the 20th.Last, if you folks want to keep up with what Hanako is up to, make sure to follow her on instagram @HannyaGrrrl. She posts a lot of in process photos and video while she works.Follow along or become a supporter of Sharpest Knives at www.Patreon.com/SharpestKnivesPodcastFind Sharpest Knives on Facebook.com/SharpestKnivesPodcastFollow @SharpestKnivesPodcast on InstagramEmail any suggestions or questions for future guests to SharpestKnivesPodcast@gmail.comSharpest Knives is partially supported by the Seattle Office of Arts and Culture.Support the show (http://www.patreon.com/sharpestknivespodcast)
Sit back relax and listen to one of the oldest mythical tales ever recorded. The legend of Izanami and Izanagi describes the eventful story of how Japan was created, along with much MUCH more. Be sure to check out the blog post on Japponline.com to review. Word Of The Episode: Power Spot - Location in Japan known for spiritual power. Recharging ones energy. This Episodes Blog Post: HERE For more Jappon checkout our other platforms. Instagram - @japponmedia Youtube - https://www.youtube.com/channel/UCN1XV5wmceUffg730hCyTag Japponline.com and sign up for all the information you will need! Prepare for next level learning like no other. Questions or comments? Email us at contactjappon@gmail.comPlease rate, comment, and subscribe to this podcast to help improve your future lessons :)
Hija de profesores de Yoga, empecé a hacer Asanas casi antes que a caminar y no comí carne hasta que me independicé con dieciocho. Mis estudios de Antropología me dieron un profundo entendimiento de la evolución de nuestra especie y mi breve pero intenso affair con los alimentos procesados, el azúcar, el estrés y la ansiedad cimentó la certeza de que los hábitos pueden transformar nuestra vida.Durante unos años me convencí de que la salud es suerte y de que tener dolores casi crónicos de espalda, un poco de insomnio, cansancio permanente y 3 o 4 gripes al año era lo normal.Me convencí de que la única forma de mantener mi peso era pasando hambre, vomitando y desgastando la elíptica a deshoras. De qué dormir era lo que se hacía en las pocas horas que le sobraban al día y de que mantener el 100% de la atención durante una reunión era un objetivo inalcanzable. Vivía arrancada a las necesidades de los demás. Desviviéndome por llenar todas las necesidades, todos los "hay que", todas las expectativas creadas. Dejándome siempre para el final y sintiéndome culpable y egoísta si se me escapaba el intento de priorizar. Hasta que de tanto intentar llegar acabe esparcida y deshecha. Y entonces, me quedé embarazada. Y el embarazo me hipersensibilizó a los efectos de los alimentos procesados, del estrés, del sedentarismo. Me obligó a conectar, a ponerme en el centro y a mirarme en un espejo en el que se me veía desgastada, asustada y vacía por dentro. Y así, me embarqué en el proceso de reajustar uno a uno mis hábitos hasta resetear mi salud. Empecé a estudiar. Me hice todos los cursos online de nutrición, epidemiología y enfermedades no comunicables que encontré y empecé a devorar estudios científicos, libros de divulgación y documentales. Y la evidencia científica unánime de cómo funcionamos, de cómo nos afecta cada pensamiento, cada alimento y cada movimiento cambió mi vida para siempre. Entendí que en el último 5% de nuestra existencia como especie hemos desestabilizado el equilibrio de nuestro organismo con hábitos tóxicos y hemos terminado por creer que estamos destinados a engordar, a enfermar y a vivir con ansiedad y agotamiento. Pero nadie está destinado a enfermar. Nadie está obligado a engordar. Nadie está condenado a vivir deprimido. Nuestro estado natural es estar sanos, vitales y felices. Tenemos todas las herramientas fisiológicas necesarias pero la forma en la que comemos, pensamos y nos movemos es tóxica y contraproducente. Sólo cuando retiramos uno a uno esos hábitos y los sustituimos por hábitos Notox nos devolvemos la oportunidad de volver al estado que nos corresponde. Eso es vivir Notox, vivir de acuerdo a la ciencia y a la lógica evolutiva para transformar la calidad de vida. Mi primer paso fue empezar a priorizarme. Madre primeriza, emprendedora e infectada con el virus Superwoman no me quedaban ni un minuto ni un pensamiento al día para mí. Me pasaba el día poniéndole la máscara de gas a todo el mundo mientras yo a duras penas podía respirar. Arrancándome la culpabilidad a pegotes, gradualmente me puse en el centro de mi vida. Y fue desde ahí desde donde pude empezar a vivir Notox. Empoderada con el conocimiento de cómo funciona nuestro sistema hormonal descubrí que cuantas menos calorías comes menos grasa quemas, que los atracones son rugido de supervivencia del hipotálamo y que vomitar era el resultado de sentirme culpable por intentar vaciar una piscina con un colador. Dejé de comer productos y empecé a comer comida y con la densidad nutricional le devolví el equilibrio al adipostato (el termostato que regula la quema de grasa) y nunca, nunca más volví a contar calorías. Saber que tenemos más bacterias que células y que de ellas depende nuestro sistema inmunitario y la codificación de nuestros genes me dio la respuesta a la hinchazón, los cambios de humor y el cansancio crónico que llevaba arrastrando toda mi vida.Entender, gracias a los últimos descubrimientos de la neurociencia, cómo funciona nuestro cerebro me abrió las puertas a la felicidad más profunda y verdadera. Porque descubrí que no somos lo que pensamos, que la voz de nuestro pensamiento consciente representa un pequeño porcentaje de toda nuestra capacidad de procesamiento cerebral y que de 70.000 pensamientos que tiene al día el 90% son reiterativos y el 80% negativos. Y al entender que yo era algo, mucho más que esa voz insistente y avinagrada recuperé la perspectiva necesaria para poder controlarla. Recuperé también el control sobre mis sentimientos desbocados, entendiendo su función evolutiva como respuesta hormonal pero reconociendo que igual que no soy lo que pienso, tampoco soy lo que siento. Y centrada, me abalancé a recuperar la felicidad que recordaba de la infancia. Y comprobé que lo que Aristóteles intuía, hoy lo demuestra la ciencia y que la felicidad que nos da el placer es efímera por diseño. Y así, atrapados en un círculo vicioso de adicción evolutiva, hacemos el vacío cada vez más grande y vamos dejando la felicidad cada vez más lejos. Porque la felicidad está esperando en nuestro potencial extraordinario. No somos los animales más fuertes. Ni los más rápidos. Ni los más organizados. Pero en un solo latido de la vida del planeta lo hemos transformado por completo y hemos transgredido para siempre la definición de animal. Y lo hemos hecho solo con nuestra capacidad de crear. Con esa capacidad innata nuestra de imaginar lo que aún no existe y encontrar la forma de manifestarlo. Mira a tu alrededor, prácticamente todo lo que te rodea antes de existir fue una solo una idea en la mente de alguien. Y esta capacidad de crear, cuando se utiliza con un propósito vital, estimula y aprovecha todas las funcionalidades de la capa cerebral que nos hace humanos, el neocortex. Por eso es el origen de la auténtica felicidad, porque es nuestro estado natural. Así que, el último paso para vivir Notox fue entender que no somos lo que pensamos, ni lo que sentimos ni lo que queremos, somos lo que creamos. Este episodio es patrocinado por: MANÁ. Crianza orgánica, los peces en los sistemas de MANÁ, viven en agua purificada constantemente y son criados sin antibióticos, hormonas, de manera segura, trazable y sostenible.Mana comercializa tu producción de peces crustáceos y moluscos de consumo humano, así como vegetales orgánicos y acompañantes en el proceso de principio a fin.La próxima vez que pidas pescado, que mar de crianza orgánica y disfrútalo. Conoce más en www.sistemasmana.com
Hija de profesores de Yoga, empecé a hacer Asanas casi antes que a caminar y no comí carne hasta que me independicé con dieciocho. Mis estudios de Antropología me dieron un profundo entendimiento de la evolución de nuestra especie y mi breve pero intenso affair con los alimentos procesados, el azúcar, el estrés y la ansiedad cimentó la certeza de que los hábitos pueden transformar nuestra vida.Durante unos años me convencí de que la salud es suerte y de que tener dolores casi crónicos de espalda, un poco de insomnio, cansancio permanente y 3 o 4 gripes al año era lo normal.Me convencí de que la única forma de mantener mi peso era pasando hambre, vomitando y desgastando la elíptica a deshoras. De qué dormir era lo que se hacía en las pocas horas que le sobraban al día y de que mantener el 100% de la atención durante una reunión era un objetivo inalcanzable. Vivía arrancada a las necesidades de los demás. Desviviéndome por llenar todas las necesidades, todos los "hay que", todas las expectativas creadas. Dejándome siempre para el final y sintiéndome culpable y egoísta si se me escapaba el intento de priorizar. Hasta que de tanto intentar llegar acabe esparcida y deshecha. Y entonces, me quedé embarazada. Y el embarazo me hipersensibilizó a los efectos de los alimentos procesados, del estrés, del sedentarismo. Me obligó a conectar, a ponerme en el centro y a mirarme en un espejo en el que se me veía desgastada, asustada y vacía por dentro. Y así, me embarqué en el proceso de reajustar uno a uno mis hábitos hasta resetear mi salud. Empecé a estudiar. Me hice todos los cursos online de nutrición, epidemiología y enfermedades no comunicables que encontré y empecé a devorar estudios científicos, libros de divulgación y documentales. Y la evidencia científica unánime de cómo funcionamos, de cómo nos afecta cada pensamiento, cada alimento y cada movimiento cambió mi vida para siempre. Entendí que en el último 5% de nuestra existencia como especie hemos desestabilizado el equilibrio de nuestro organismo con hábitos tóxicos y hemos terminado por creer que estamos destinados a engordar, a enfermar y a vivir con ansiedad y agotamiento. Pero nadie está destinado a enfermar. Nadie está obligado a engordar. Nadie está condenado a vivir deprimido. Nuestro estado natural es estar sanos, vitales y felices. Tenemos todas las herramientas fisiológicas necesarias pero la forma en la que comemos, pensamos y nos movemos es tóxica y contraproducente. Sólo cuando retiramos uno a uno esos hábitos y los sustituimos por hábitos Notox nos devolvemos la oportunidad de volver al estado que nos corresponde. Eso es vivir Notox, vivir de acuerdo a la ciencia y a la lógica evolutiva para transformar la calidad de vida. Mi primer paso fue empezar a priorizarme. Madre primeriza, emprendedora e infectada con el virus Superwoman no me quedaban ni un minuto ni un pensamiento al día para mí. Me pasaba el día poniéndole la máscara de gas a todo el mundo mientras yo a duras penas podía respirar. Arrancándome la culpabilidad a pegotes, gradualmente me puse en el centro de mi vida. Y fue desde ahí desde donde pude empezar a vivir Notox. Empoderada con el conocimiento de cómo funciona nuestro sistema hormonal descubrí que cuantas menos calorías comes menos grasa quemas, que los atracones son rugido de supervivencia del hipotálamo y que vomitar era el resultado de sentirme culpable por intentar vaciar una piscina con un colador. Dejé de comer productos y empecé a comer comida y con la densidad nutricional le devolví el equilibrio al adipostato (el termostato que regula la quema de grasa) y nunca, nunca más volví a contar calorías. Saber que tenemos más bacterias que células y que de ellas depende nuestro sistema inmunitario y la codificación de nuestros genes me dio la respuesta a la hinchazón, los cambios de humor y el cansancio crónico que llevaba arrastrando toda mi vida.Entender, gracias a los últimos descubrimientos de la neurociencia, cómo funciona nuestro cerebro me abrió las puertas a la felicidad más profunda y verdadera. Porque descubrí que no somos lo que pensamos, que la voz de nuestro pensamiento consciente representa un pequeño porcentaje de toda nuestra capacidad de procesamiento cerebral y que de 70.000 pensamientos que tiene al día el 90% son reiterativos y el 80% negativos. Y al entender que yo era algo, mucho más que esa voz insistente y avinagrada recuperé la perspectiva necesaria para poder controlarla. Recuperé también el control sobre mis sentimientos desbocados, entendiendo su función evolutiva como respuesta hormonal pero reconociendo que igual que no soy lo que pienso, tampoco soy lo que siento. Y centrada, me abalancé a recuperar la felicidad que recordaba de la infancia. Y comprobé que lo que Aristóteles intuía, hoy lo demuestra la ciencia y que la felicidad que nos da el placer es efímera por diseño. Y así, atrapados en un círculo vicioso de adicción evolutiva, hacemos el vacío cada vez más grande y vamos dejando la felicidad cada vez más lejos. Porque la felicidad está esperando en nuestro potencial extraordinario. No somos los animales más fuertes. Ni los más rápidos. Ni los más organizados. Pero en un solo latido de la vida del planeta lo hemos transformado por completo y hemos transgredido para siempre la definición de animal. Y lo hemos hecho solo con nuestra capacidad de crear. Con esa capacidad innata nuestra de imaginar lo que aún no existe y encontrar la forma de manifestarlo. Mira a tu alrededor, prácticamente todo lo que te rodea antes de existir fue una solo una idea en la mente de alguien. Y esta capacidad de crear, cuando se utiliza con un propósito vital, estimula y aprovecha todas las funcionalidades de la capa cerebral que nos hace humanos, el neocortex. Por eso es el origen de la auténtica felicidad, porque es nuestro estado natural. Así que, el último paso para vivir Notox fue entender que no somos lo que pensamos, ni lo que sentimos ni lo que queremos, somos lo que creamos. Este episodio es patrocinado por: MANÁ. Crianza orgánica, los peces en los sistemas de MANÁ, viven en agua purificada constantemente y son criados sin antibióticos, hormonas, de manera segura, trazable y sostenible.Mana comercializa tu producción de peces crustáceos y moluscos de consumo humano, así como vegetales orgánicos y acompañantes en el proceso de principio a fin.La próxima vez que pidas pescado, que mar de crianza orgánica y disfrútalo. Conoce más en www.sistemasmana.com
RWRS CH 92 Playlist. 1) TRAP by Malik Scott ft. LeeWater 2) Maroon Gold by PK tha Poet 3) High Def Smoke Sesh by Scottie Da Ghost ft. Mike Dae4) Hoops & Dreams by The Originalsin 5) Wildwest Shanghai by Elijah Young prod by Shade One 6) The Squeaky Wheel Gets The Grease by Scottie Da Ghost 7) Just A Vibe by Dom Root 8) Tang by Malik Scott 9) Izanami by Scottie Da Ghost 10) All The Good by Haresha 11) Blow It Away by Don Green 12) Backspace by Scottie Da Ghost See acast.com/privacy for privacy and opt-out information.
In our 95th episode, Lauren steers our third installment of *MYTHOLOGY MAY* toward the Land of the Rising Sun. [It’s time to refresh your knowledge–or in some people’s cases, learn about for the very first time–Japanese deities from Izanagi and Izanami to the Seven Lucky Gods.] Later, enjoy a quiz called “They’re After ‘Em!” . . . [Music: 1) Anne Akiko Meyers, “Birds in Warped Time I,” orig. Somei Satoh, 2006; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]
This week we feature an up and coming Twitch streamer, Aliway! We talk about Izanami in our Session of progression and hear the answers to our community question from last week.
In this episode, Dr. Copeland documents several cases of "unruly women" who disrupt Japanese social norms, from mythical goddess Izanami to popular activists and female writers in the Meiji and Taishō Periods like Kishida Toshiko and Miyake Kaho, and finally to contemporary writer Kirino Natsuo. We discuss formalist versus historicist literary analysis, questions of agency and individuality in Meiji women's cultural production, and the importance of translation in the field of literary studies. (Transcript here).
More about 'Movin' Bass' by Tali Rush here: https://fanlink.to/MovinBass Enter the deep dark woods of Shikome located in the heart of Eonity. A place of communal and spiritual solace that our ancestors have been performing atonement in since the sun first rose upon the Earth. They say the ancient shamans still lurk within forests. Banished from practice in the Temples and cities thrown to worship among the shadow. They are rumored to wear deeply etched, elaborately decorated and detailed masks mirroring their celebrated deity; Shikome, Izanami, Ebisu and more. Their skin is painted in a mosaic of tattoos created by the ink of their own blood - to reflect their entrapped souls... Seemingly miles you've walked on this pilgrimage through the hallow wood as a twig suddenly snaps behind you. The legendary priestess and renowned shaman, Tali Rush, stands fiercely behind you. She holds her elaborately detailed hand outward and without a second thought you grab at it... Time seems to cease, reality shifts, colors turn to sound... Feel the ancestral humming of the trees and behold the skirmishing circle that is life unfolding around you. Embrace the now, listen to the trees as they breathe and whisper sweet nothings into your ear. Watch as Tali turns, day into night and water into fire as the shadows cast from her flame dance with you into the night. Walk deep into the darkest forest of Eonity and there you'll find Tali Rush Movin' Bass. --------------------------------------------------------------------------------------------------------------------------------------- ● Spotify Playlists: » League Of Legends ~ The Real Gaming: http://bit.ly/LOLGaming » Best Hip-Hop & Rap Spotify playlist: http://bit.ly/HipHopAndRap » Electronic Hits 2018: http://bit.ly/ElectronicHits --------------------------------------------------------------------------------------------------------------------------------------- ● Support Tali Rush: » SoundCloud: https://soundcloud.com/TaliRush » Spotify: http://bit.ly/TaliRushOnSpotify » Facebook Page: https://www.facebook.com/TaliRush » Instagram: https://www.instagram.com/TaliRush » YouTube: http://bit.ly/TaliRushOnYouTube » Twitter: https://twitter.com/TaliRushMusic » Apple: http://bit.ly/TaliRushOnApple ● Support Eonity: » SoundCloud: https://soundcloud.com/EonityMusic » Spotify: https://open.spotify.com/user/EonityMusic » Facebook: https://www.facebook.com/EonityMusic » YouTube: https://www.youtube.com/EonityMusic » Twitter: https://www.twitter.com/EonityMusic » Instagram: https://www.instagram.com/EonityMusic » Website: https://www.Eonity.co --------------------------------------------------------------------------------------------------------------------------------------- Connected by Music, United by Passion ♥ Magic Record Label & Music Services ♫ Visit us at https://www.Eonity.co!
Ep39. Featuring Izanami, Patch Notes 6.1 Pt.3 & We Talk Hel by Split Push Podcast
This week we finally get to talk PULLED PORK! we Dive into discussing what it means for the future of our least favorite character! You can find the Audio version of this Podcast at: New Podcast Page: https://destinydownunder.podbean.com/RSS Feed: https://DestinyDownUnder.podbean.com/feed.xml DISCORD: https://discord.gg/waGK9XM https://twitter.com/DDU_Podcast https://twitter.com/myelingames https://twitter.com/LogPowerslave https://twitter.com/RealTimeSloth
Marriage is a hot topic in Julia’s life, which is why we’re talking about Izanami & Izanagi - a marriage that helped create the world, introduced death into it, and definitely isn’t one to emulate. Including the happy-ish tale of Ebisu, Trinitite, and Amanda’s tea recommendation. You can also get tickets to our LIVE SHOW at Brooklyn Horror Film Festival! Sponsors - Stitch Fix is an online personal styling service that finds and delivers clothes, shoes, and accessories to fit your body, budget, and lifestyle. Get started at stitchfix.com/spirits for 25% off when you keep your whole box! - Amazon Prime Video offers hundreds of channels, and you only pay for what you want. Start your free trials at tryprimechannels.com/spirits. Find Us Online If you like Spirits, help us grow by spreading the word! Follow us on Twitter, Facebook, Instagram, YouTube, & Goodreads, and review us on Apple Podcasts to help new listeners find the show. You can support us on Patreon to unlock bonus audio content, director’s commentaries, custom recipe cards, and so much more. Transcripts are available at spiritspodcast.com/episodes. To buy merch, hear us on other podcasts, contact us, find our mailing address, or download our press kit, head on over to SpiritsPodcast.com. About Us Spirits was created by Julia Schifini, Amanda McLoughlin and Eric Schneider. We are founding members of Multitude, a production collective of indie audio professionals. Our music is "Danger Storm" by Kevin MacLeod (http://incompetech.com), licensed under Creative Commons: By Attribution 3.0.
We regret our words and deeds. Topics include: WIXOSS FINALE!; Real anime club experiences; banned from the library for tiddy; legit weeb cred; hashtag blessed; weird shot of Ruuko's clothed ass; Iona's reaction to Ruuko emailing her; Yuzuki and Mayu both don't know shit; incoming Madoka shit; DUBS VS. SUBS; LRIG wish consent; Hitoe the tough weenie; breaking down the Ruuko mom scene; explode with WIXOSS energy; Japanese immigration; Epic Bacon Girl Ruuko; Izanami from Persona 4; Iona's fan event; the card texts in the Yugioh anime; Ulith's dub lines; the opening theme of the final episode; killing yourself for your friends is the most beautiful thing; Ruuko Nukes; Ulith and Tama DBZ shit; analyzing the Ulith bloody mouth scene; reinforcing each other's sexual pathologies; Black Desire; White Hope; should've memorized every line of the oath; dueling wishes; battling with you forever; Transmediacrity defeated; Simoun sucks; news stuff. Ending theme is "Akira" from the Selector Infected WIXOSS OST. Send us questions and game jam submissions!! Rate us on iTunes! Email us at transmediacrity@gmail.com! Check out our TUMBLR and TWITTER and Curiouscat! SUPPORT US ON PATREON! Or donate directly to Madiha for hosting costs. Check out our YOUTUBE CHANNEL. Subscribe, and like our videos! Special thanks to Velt for our cover art! Check her art here. (Not worksafe.) You can find us at: Madiha: Twitter, Tumblr, Mastodon, The Solstice War. Esther: Twitter, Tumblr.
Martin and Charles (a.k.a. SwordNine) discuss ANOTHER Persona game. This time it's Persona 4, which celebrates its 10 year anniversary release in Japan (July 10, 2008).SPOILER WARNING: This episode contains MAJOR PERSONA 4 SPOILERS! DO NOT listen to this episode if you don't like spoilers...or Adachi. Thank you. LinksCritical Index on FacebookCritical Index PageCritical Index on the TwitterSwordNine's FB PageSwordNine's Twitter PageIzanagi and IzanamiMonday Music Mayhem — “Nevermore” — Shihoko Hirata — Persona 4 OST (July 9, 2018) ---Download the episode here. we're @chFourteen on twitter we're also on Google+ but if you're oldschool, email us contact@channelfourteen.com--- ---
Mon, 20 Feb 2017 11:32:36 +0000 https://echtjetzt.podigee.io/2-echt-jetzt-2-naruto bdc0d1258f5e68b604ed90ac28061238 Nach leider einer viel zu langen Wartezeit geht der Anime-Podcast "Echt Jetzt!", mit dem Thema Naruto in die zweite Runde. Neben allgemeinen Thematiken wie Ninja und Ninjutsu widmet sich Marvin auch der Herkunft verschiedener Namen von Charakteren und Techniken aus der Serie. Außerdem als kleine Kirsche auf der Sahnehaube der Deluxe-Unterhaltung werden eure Fragen am Ende des Podcasts beantwortet. Gab es eigentlich wirklich Ninja und Ninjutsu? Woher hat der Sage of the Six Paths seinen Namen? Wie hängen die Namen von Izanami, Izanagi, Susanoo, Amaterasu, Kagutsuchi und Tsukuyomi zusammen? Dies und vieles mehr erfahrt ihr in der aktuellen Folge! Solltet ihr mich unterstützen wollen, bewertet und rezensiert den Cast doch einfach auf iTunes. Weitere Möglichkeiten mir unter die Arme zu greifen, findet ihr auf der Website www.runaways.eu. Ich wünsche euch viel Spaß mit der neuen Folge! 2 full no Echt Jetzt
Hey Knuckleheads! Today we review book one in the Souls Eternal series called “ The Izanami Children". We hope you guys enjoy it has much as we did! Check out HashtagComics.com If you want your own copy and cant find it contact Bohdan on IG or Twitter @Bneswiacheny. Make sure to follow Rob too! @Bneswiacheny. The series is also coming soon to comixology so be on the look out. “Souls Eternal” Synopsis- Strange things are happening in the Japanese city of Izanami. Monstrous creatures are haunting the woods and countryside. But four extraordinary friends have risen up to face the darkness. Kelly, David, Emma and Jade fight to discover the truth behind the evil that stands ready to destroy their world. Also we are sorry about the Humming we had to run our Air Conditioner or we would of passed out! In the second half of the episode we talk a little about Batman 66 animated movie coming out,Marvel DC rivalry, Kevin Smith and flopped movies. If you like our intro music check out the artist on sound cloud and IG. soundcloud.com/massive-thoughts-n-action and @massivethoughts. Dont forget to rate,review and subscribe on iTunes,Podbean and Stitcher! Need an ad or review? reach out to Theknuckleheadspodcast@gmail.com.
Hey Knuckleheads! Today we review book one in the Souls Eternal series called “ The Izanami Children". We hope you guys enjoy it has much as we did! Check out HashtagComics.com If you want your own copy and cant find it contact Bohdan on IG or Twitter @Bneswiacheny. Make sure to follow Rob too! @Bneswiacheny. The series is also coming soon to comixology so be on the look out. “Souls Eternal” Synopsis- Strange things are happening in the Japanese city of Izanami. Monstrous creatures are haunting the woods and countryside. But four extraordinary friends have risen up to face the darkness. Kelly, David, Emma and Jade fight to discover the truth behind the evil that stands ready to destroy their world. Also we are sorry about the Humming we had to run our Air Conditioner or we would of passed out! In the second half of the episode we talk a little about Batman 66 animated movie coming out,Marvel DC rivalry, Kevin Smith and flopped movies. If you like our intro music check out the artist on sound cloud and IG. soundcloud.com/massive-thoughts-n-action and @massivethoughts. Dont forget to rate,review and subscribe on iTunes,Podbean and Stitcher! Need an ad or review? reach out to Theknuckleheadspodcast@gmail.com.
Calling all anime fans! We welcome Bohdan Neswiacheny and Roberto Torres to talk about their high action manga comic ‘Souls Eternal’. 'Souls Eternal' centers on a group of friends in a fictional city in Japan called Izanami. These children are special and are destined to have huge roles in their world as either saviors, or destroyers. Beset upon on all sides by dark forces, can they rise to the occasion and fulfill their destinies? Grab a copy and find out! We spend this weeks ‘Retro Roundtable’ talking about Robin Williams. Having been gone two years now, we discuss what he meant to us and why his legend will ring on through the ages. You don’t want to miss this episode, so come on in and make yourself comfortable. hashtagstudios.com @RobTorresPS @Bnewswiacheny @HashtagStudios CannedAirPodcast.com @CannedAirPod 'ComeTogether' performed by Robin Williams and Bobby McFerrin
In this fourth episode discussing Final Fantasy IX, we turn to the latter half of the game and Brett loses his mind over six hours riding chocobos. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: From Treno/Tetra Master Tournament to Pandemonium Podcast breakdown: 0:30 Podcast intro 1:02 Segment 1: Chocobos and World Changes 37:35 Break 1 38:03 Segment 2: Character arcs 1:10:28 Break 2 1:10:53 Reader mail, outro Issues covered: Chocobo Dreams and the whole enormous Chocobo side quest, Kupo Nuts side quest (referenced; mentioning here because I never got back to the email), side quests in Western RPGs and FOMO, Final Fantasy IX strategy guide, the Stellazio side quests, side locations and the overworld pay-off, "curing" Cid, state changes in locations as the world progresses, getting to know a place, setting and character, Blue Narciss and overworld travel escalation, the Oeilvert Maguffin (which is the name of Brett's new all-synth band), Black Mage moral quandaries, character arcs, Quan's cave, world on the brink, comparing the Final Fantasies, the dark side of varying mechanics, mentally modeling an environment and camera changes, adventure games, merging two characters into a monster, Cid mini-game, adding two and two and making four, adulterous Cid, localization, narrative compression, Tim's dislike of Zidane, the four temples, lack of preparation time for gear, ability equipping, conflicting gear, Terra and Gaia, the human level of motivation, art direction correlations between Terra and Iifa, ties between Zidane and Vivi, Garland and Darth Vader, souls and identity themes, meeting your maker, Zidane's original sin, Soulcage reader feedback, descent in Japanese myth (Yomi/Hell/Hades, and Izanami and Izanagi), reviews and the setting of expectations. Games, people, and influences mentioned or discussed: Final Fantasy XIII, Jason Schreier, Witcher series, BioWare, Tomb Raider (2013), other Final Fantasies, Billy Connell, Sakaguchi, Secret of Monkey Island (obliquely), Total Recall, Ernst Lubitsch, Justin Bieber, Legend of Zelda, Starcraft, Halo, Star Wars, Jon Hassan, Daniel Johannson, Enslaved: A Journey to the West, Benjamin Lauser, Barrington Case, Zach Kuschel, Metal Gear Solid V, Filmspotting, Adam Kempenaar, Reed Knight, Trespasser, Deadly Premonition, Skyrim. Next time: Finish the game! @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com
Our journey into Lucifer continues as Yo and Jed watch the Devil face off against Izanami, demons, and and 11-year old British Grammar School Student in
-In this episode: Daniel takes Kate to visit Izanami. They finally meet an enemy face to face, and learn of a new threat. Music: Litte Pieces by Beatnik Turtle.
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