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Keywords = Japanese tombs

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19 pages, 4028 KB  
Article
The Orientation of the Kofun Tombs
by Norma Camilla Baratta, Giulio Magli and Arianna Picotti
Remote Sens. 2022, 14(2), 377; https://doi.org/10.3390/rs14020377 - 14 Jan 2022
Cited by 8 | Viewed by 17913
Abstract
The Kofun period of the history of Japan—between the 3rd and the 7th century AD—bears its name from the construction of huge, earth mound tombs called Kofun. Among them, the largest have a keyhole shape and are attributed to the first, semi-legendary emperors. [...] Read more.
The Kofun period of the history of Japan—between the 3rd and the 7th century AD—bears its name from the construction of huge, earth mound tombs called Kofun. Among them, the largest have a keyhole shape and are attributed to the first, semi-legendary emperors. The study of the orientation of ancient tombs is usually a powerful tool to better understand the cognitive aspects of religion and power in ancient societies. This study has never been carried out in Japan due to the very large number of Kofun and to the fact that access to the perimeter is usually forbidden. For these reasons, to investigate Kofun orientations, simple tools of satellite imagery are used here. Our results strongly point to a connection of all Kofun entrance corridors with the arc of the sky where the Sun and the Moon are visible every day of the year; additionally, these show an orientation of the keyhole Kofun to the arc of the rising/shining Sun, the goddess that the Japanese emperors put at the mythical origin of their dynasty. Full article
(This article belongs to the Special Issue Remote Sensing of Archaeology)
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10 pages, 238 KB  
Article
On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan
by Koji Toba
Arts 2019, 8(2), 64; https://doi.org/10.3390/arts8020064 - 17 May 2019
Cited by 2 | Viewed by 5579
Abstract
In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb [...] Read more.
In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan. Full article
(This article belongs to the Special Issue Developments in the Japanese Documentary Mode)
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