著者

山口 建治 Yamaguchi Kenji

出版者

神奈川大学日本常民文化研究所 非文字資料研究センター

雑誌

年報 非文字資料研究 第9号 (ISSN:18839169)

巻号頁・発行日

no.9, pp.1-18, 2013-03-20

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The Chinese character 鬼 came to be read “oni” in Japan when worship of the five chief demons of pestilence, 五瘟神, symbolizing the spirits of five people who died tragic deaths that came to be venerated as a guardian spirit to protect people from misfortune and harm like plagues, was introduced to Japan from China around the 8th century. The Chinese 瘟, “uən” changed to “oni” in Japan. Based on this theory, this paper will look at the relationship between Japanese ogres and two mythological spirits ― onryo(grudgebearing spirits) and goryo(evil spirits) ―both of which became known between the 8th and 9th centuries with reference to materials from the Heian Period. First, how the concept of the five chief demons of pestilence was formed amid the development of a folk ritual to drive away devils and diseases will be introduced. Second, the following five pieces of evidence that suggest that the demons were brought from China to Japan will be discussed in detail. (1) According to the dictionary compiled in the Heian Period titled Wamyosho, 瘧鬼 (gyakuki) was defined as “the spirit or ogre of pestilence,” whereas it was 瘟鬼 in the original. (2) In Manyoshu, or The Collection of Ten Thousand Leaves, the 鬼 that appears in a foreword written in Chinese seems to refer to the spirit of pestilence. (3) Ogres mentioned in Nihon Ryoiki, or The Miraculous Stories from the Japanese Buddhist Tradition, are either 疫神 or 疫鬼, meaning the spirit or ogre of pestilence, which are other names for 瘟神 or 瘟鬼 respectively. (4) A ritual to drive away the spirit of pestilence that often took place in the 8th and 9th centuries was actually meant for 怨霊( grudge-bearing spirits). These characters were read “oni ryau,” and the word was a synonym of “oni.” (5) 御霊社 was originally written 五霊社, which meant “a shrine to worship the five chief demons of pestilence from China.” From these proofs, it has been concluded that the ritual for onryo and goryo in the Heian Period was to worship oni and that it was a variation of the original Chinese version.

著者

李 培徳 Lee PuiTak 村井 寛志 Murai Hiroshi

出版者

神奈川大学日本常民文化研究所 非文字資料研究センター

雑誌

年報 非文字資料研究 第9号 (ISSN:18839169)

巻号頁・発行日

no.9, pp.27-50, 2013-03-20

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Advertising calendars were first created at the end of the 19th century and became phenomenally popular in the 1920s. Market players in emerging industries including tobacco, pharmaceuticals, cosmetics, insurance and food extensively used them to expand their sales channels. Illustrations with the elements of advertising, art and a calendar were extremely well received and even spread to Chinese communities overseas. British American Tobacco Co. tried to take every opportunity to force its major competitor Nanyang Brothers Tobacco Co, Ltd. out of the Chinese market and dominate it. To this end, the former invested an enormous amount of money. In the 1920s and 1930s, the two were in an intense advertising war, desperately trying to outperform each other. Amid this competition, illustrators of advertising calendars did their best to draw consumer attention and created innovative images of modern girls. Image advertisements are different from other types in that they mainly consist of illustrations, not text. Thus, illustrators made the most of their creativity to attract consumers. Following the trend of the time, they came up with illustrations of various types of women - playing a sport, smoking, posing sexily, and so on. The images express illustratorsʼ artistic creativity and what companies wanted in advertisements to win a competition. This suggests that images of modern girls were fully commercialized. Advertising calendars have not really been studied. Even though visual materials have been attracting the interest of scholars lately, most studies are on art history, visual culture, modernity in Chinese society, the image of Chinese women, and the identity of women. This paper will discuss how the influence of the competition in the tobacco industry on the development of advertising calendars affected the creation of various images of modern girls, based on 284 advertising calendars for tobacco companies collected through different routes.

著者

辻子 実 Zushi Minoru

出版者

神奈川大学日本常民文化研究所 非文字資料研究センター

雑誌

年報 非文字資料研究 第9号 (ISSN:18839169)

巻号頁・発行日

no.9, pp.135-147, 2013-03-20

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研究ノート