THE BUDDHISM DURING THE KAMAKURA PERIOD
Question
Will provide instructions in document, most important is to include Chicago style citations, include thesis... In your thesis statement, you state your argument about a given topic, and then, often in another sentence, you indicate how you will prove (support) your argument.
Please let me know what topic you decide on so I can upload supporting documents. All of these responses have been written by writers on this website so the documents are also already uploaded to previous orders if you are able to get ahold of them.
Keep in mind my professor is a very harsh grader.


Solution
THE BUDDHISM DURING THE KAMAKURA
PERIOD
While
Buddhism has been practiced in Japan for centuries, during the Kamakura period,
Buddhism truly blossomed in the country. Buddhist practices and beliefs were
widely spread in Japan because of the rise of Pure Land Buddhism, Zen, and
Nichiren.[1]. Buddhism's ideals and
aspirations were adapted for the general public's needs in this movement's
success. Since the religious movement is referred to by its Japanese name
Kamakura Buddhism, it is clear that it has left an indelible effect on Japan
and has become an integral part of Japanese culture.
About
400 years after the historical Buddha Skyamuni's period, Buddhism moved from
India to China. At some point about 600 AD, it was transported from China to
Japan via the Korean peninsula. There was a significant cultural divide between
Japan and Korea, and China during the period. To obtain control over Buddhism's
thoughts and technologies in Japan, the ruling class provided a sequence of
magnificent temples wherein Buddhism could establish itself.[2]. Each of these temples had
a congregation of priests who were as often as the statue's visual qualities
were valued, its religious significance was becoming progressively overlooked.
In the early 1800s, there was a gradual transition from one view of Buddhist
statues to the other, although it was gradual. Kuki Ryûichi, from the Ministry
of an Imperial Household, headed an official mission of specialists to western
Japan, which would include visits to Nara and Kyoto to conduct studies on art
relics in the collection of temples and shrines to catalog them as per their
historical and aesthetic values.[3]. "Throughout their
extended stay in the area, the mission's top leaders, Kuki, Okakura Tenshin,
& Ernest Fenollosa, held speaking events in Nara and Kyoto where they
likened Nara and Kyoto to Greece and Rome, respectively. As the first to make
these similarities, they significantly impacted the narratives that connected
the historical European empires with Japan's, former capitals that remained
rich in cultural history and old Buddhist artworks, such as the seventh-century
sculptures in Horyû-Ji as well as Yakushi-JI temples.
Meiji
period "modernization" of Buddhist statues saw the Great Buddha of
Kamakura undergo a shift in appearance.[4]. The monument is now the
most popular tourist attraction in the city, and it appears to be as tranquil
as ever since it was freed from the responsibility of modern aesthetics. While
religious and aesthetic considerations were still important in Japan's 1960s
economic boom, the gigantic Buddha of Kamakura became more of a tourist
attraction due to its commercial value.[5]. As a result of modern
society's interest in Japanese sculpture in the mid-19th century, tourism was
inevitable.
The
anti-Buddhist campaign destroyed many treasures at temples and shrines,
particularly those located in Shinto-dominated areas.[6]. Hie Sannô shrine in mi
& Iwashimizu Hachiman shrine in the southern Kyoto area were among the most
well-known sites that Shintoist provocateurs damaged in 1868, and also Kôfuku-Ji
shrine in Nara, where all of the Buddhist monks were compelled to relinquish
the cloth.
Bijutsu
is an ambiguous term in the Japanese language. Basil Hall Chamberlain
(1850-1935) brought to light a footnote to the entry for "art" in the
first version of Things Japanese: Being Notes on Different Topics Connected
with Japan. "A curious fact, where we've never seen attention drawn, is
that the Japanese language seems to have no genuine native word for
'art.'" he wrote in the footnote. There has just been coined the compound
bi-jutsu, which translates the European term "fine art" into Chinese
characters bi [followed by the Character recognition bi or mei],
"beautiful," and jutsu [followed either by Chinese name Jutsu or
shu], "craft," "device," "legerdemain."'
"However, this compound can only be comprehended by those who are
educated." 40 ft. in length.
Efficient
and effective management for their bakufu, which in turn monitored the acts of
the imperial courts. After centuries of feudalism, the region experienced a
period of relative political stability for nearly a century.
During
the Middle Ages, Japanese Buddhism was at its height. More than a thousand
lesser-known but equally devoted religious leaders pulled Buddhism out of its
conventional monastic cloisters underneath elite patronage, discovered new
possibilities for eternal enlightenment, and spread their message to the common
people of Japan through their efforts. New schools of Buddhism like Pure Land,
True Pure Land, Nichiren, & Zen were established over these centuries, and
most Japanese adhere to them today. Reformers from some of the oldest schools
of Buddhism responded to these waves of reform, creativity, and popularization
by calling for stronger monastic discipline and making their teachings more
acceptable to ordinary folk.
Religion's
impact on society was immense throughout this religious uprising. It is
estimated that there were at least tens of thousands of monasteries and
nunneries and hermitages and training centers for lay devotees.[7]. All of these activities
were carried out by monasteries, monks, and roaming preachers, who searched for
new patrons, accepted gifts, and granted property.[8]. They were also advocates
of Buddhist philosophy as well as bearers of culture. A few old monasteries
remained major political and military players in the world's society for many
years. And that some of the younger groups, such as the True Pure Land and
Nichiren adherents, adopted a more aggressive tone.
In
conclusion, the Ainu people were tolerant and welcoming of new ways of life
since Buddhism served as the major teaching during the Kamakura period, a
period of relative tranquility.[9]. True Buddhism was infused
in these new ways so that there has been no discrimination between the evil and
the good, monks and commoners, as a result of the Amida Vow's teachings.[10]. Even though much
emphasis was placed on the need for the right religious practice at the period,
many teachings recognized that human shortcoming was an intrinsic component of
human existence and present in everyone.
Bibliography
Genji & Heike: Selections from the Tale of
Genji and the Tale of the Heike.
Stanford University Press, 1994.
Filimon, Luiza Maria. "Beware the Cosmic
String, My Son": Highjacked Realities and Accidental Utopias in Shinichirō
Watanabe's Space Dandy." Caietele Echinox 29 (2015): 156-182.
[1] Genji & Heike: Selections from the
Tale of Genji and the Tale of the Heike. Stanford University Press, 1994.
[2] Genji & Heike: Selections from the
Tale of Genji and the Tale of the Heike. Stanford University Press, 1994.
[3]
Genji & Heike: Selections from the Tale of
Genji and the Tale of the Heike. Stanford University Press, 1994.
[4]
Genji & Heike: Selections from the Tale of
Genji and the Tale of the Heike. Stanford University Press, 1994.
[5] Genji & Heike: Selections from the
Tale of Genji and the Tale of the Heike. Stanford University Press, 1994.
[6]
Genji & Heike: Selections from the Tale of
Genji and the Tale of the Heike.
Stanford University Press, 1994.
[7]
Filimon, Luiza Maria. "Beware the Cosmic
String, My Son": Highjacked Realities and Accidental Utopias in Shinichirō
Watanabe's Space Dandy." Caietele Echinox 29 (2015): 156-182.
[8] Genji & Heike: Selections from the
Tale of Genji and the Tale of the Heike. Stanford University Press, 1994.
[10] Filimon, Luiza Maria. "Beware the
Cosmic String, My Son": Highjacked Realities and Accidental Utopias in
Shinichirō Watanabe's Space Dandy." Caietele Echinox 29
(2015): 156-182.




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