Sign in to use this feature.

Years

Between: -

Subjects

remove_circle_outline

Journals

Article Types

Countries / Regions

Search Results (1)

Search Parameters:
Keywords = Gagaku

Order results
Result details
Results per page
Select all
Export citation of selected articles as:
24 pages, 8894 KB  
Article
Gagaku in Medieval Japanese Religion
by Fabio Rambelli
Religions 2022, 13(7), 582; https://doi.org/10.3390/rel13070582 - 22 Jun 2022
Cited by 4 | Viewed by 12346
Abstract
Contrary to the widespread assumption in the study of Japanese religions that Kagura is historically the main genre of performing arts at Shintō festivals, something dating back to the beginning of Japanese history, in this article I focus instead on Gagaku (and its [...] Read more.
Contrary to the widespread assumption in the study of Japanese religions that Kagura is historically the main genre of performing arts at Shintō festivals, something dating back to the beginning of Japanese history, in this article I focus instead on Gagaku (and its Bugaku dance repertory) as a central component of rituals, ceremonies, and festivals not only at the imperial court but also and especially at many temples and shrines across the country. While Gagaku and Bugaku were deeply rooted in the Kansai area, with guilds of hereditary professional musicians affiliated with, respectively, the imperial court in Kyoto, Kasuga-Kōfukuji in Nara, and Shitennōji in Osaka, and with the most lavish performances being held at temples and shrines in the region, those art forms had already spread to the provinces by the end of the Heian period. This article investigates some of the connections between religious ideas, rituals, and musical performances in relation to Kuroda Toshio’s concept of the exo-esoteric system (kenmitsu taisei) and the creative use of Buddhist canonical sources that such connections originated. Full article
(This article belongs to the Special Issue Interlacing Networks: Aspects of Medieval Japanese Religion)
Show Figures

Figure 1

Back to TopTop