Japanológia

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    A Kabuki Pose in Sculptures of Auguste Rodin
    (2022) Doma Petra
    Hanako (Ōta Hisa, 1868–1945) was an insignificant member of a small Japanese theatrical troupe when she was discovered by the well-known dancer, Loïe Fuller, who after seeing Hanako’s death scene, decided to become her impresario. Thereafter, Fuller organised each of Hanako’s European tours and wrote for her many Japanese-style dramas that always ended with the cruel but utterly expressive death of the protagonist. Hanako met Auguste Rodin, the famous sculpture, at the Marseille Colonial Exhibition in 1906. The master was fascinated by Hanako’s performance and tried to sculpt the ‘death face’ that she expressed during her death scenes. This face, with a weird expression, was most probably a nirami, which is a type of mie pose in kabuki theatre. Rodin created numerous busts and faces from different materials trying to capture the emblematic moment when Hanako saw death. The present paper examines the short but interesting period of Hanako’s Western career, focusing on her meeting with Rodin. I use their story as a unique and symbolic illustration of Japanese artists’ efforts to transform themselves and their art to ‘match’ the Western eye and of the ways in which the West was looking for verification of its preconceptions of the ‘strange’ and ‘exotic’ East in the early 1900s.
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    A Kofun-kor művészete: japán sírépítészet a 3-7. században
    (2022) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
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    A kulturális és nemzeti identitás megfogalmazása Japánban és Közép-Európában a 18-19. században
    (2016) Farkas Mária Ildikó
    Kokugaku of the Edo period can be seen as a key factor in defining cultural (and national) identity based on Japanese cultural heritage in the 18th and early 19th centuries. Kokugaku focused on Japanese classics, on exploring, studying and reviving (or even inventing) ancient Japanese language, literature, myths, history and also political ideology. ‘Japanese culture’ as such was distinguished from Chinese (and all other) cultures, and thus ‘Japanese identity’ was defined. Meiji scholars used kokugaku conceptions of Japan to construct a modern nationalism that was not simply derived from Western models and was not purely instrumental, but made good use of pre-modern and culturalist conceptions of community. The role of pre-modern cultural identity in the formation of modern Japanese (national) identity – following mainly Miroslav Hroch’s comparative and interdisciplinary theory of national development – can be examined in comparison with the ‘national awakening’ movements of the peoples of EastCentral Europe. Before modernity, in the shadow of a cultural and/or political ‘monolith’ (China for Japan, and Germany for Central Europe), ethnic groups or communities started to evolve their own identities with cultural movements focusing on their own language and culture, thus creating a new type of community, the nation. A comparative examination of texts (discourses) illustrates that similar modes of argumentation (narratives) can be identified in these movements: ‘language’ as the primary bearer of collective identity, the role of language in culture and ‘culture’ as the main common attribute of the community; as well as similar aspirations to explore, search and develop the native language, ‘genuine’ culture, and ‘original’ traditions. This comparative research offering ‘development patterns’ for interpretation can help us understand how ‘cultural identity’ played an important role in the formation of national identity, with its effect (‘cultural nationalism’) present even today in Japan and in Central Europe, too.
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    A narai Sószóin kincstár múltja és jelene
    (Károli Gáspár Református Egyetem, 2025) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
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    A Négy Égtájőr díszzászlók szerepének vizsgálata a japán udvari arisztokrata kultúrában
    (2019) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
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    A Négy Égtájőr díszzászlók szerepének vizsgálata az Edo-kori Japánban
    (2024) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
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    A Study on the relationship between japanese aristocracy and the four Gods belief in medieval and pre-modern times
    (2019) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
    This paper analyzes the relationship between the Four Gods belief and Japanese aristocracy, and focuses on the development of ceremonial items (flags and staffs with sculptures on top) representing the deities in medieval times and in the pre-modern Edo period. The Four Gods belief refers to a Chinese faith in four mythological animal-beasts, each representing a cardinal direction: Blue Dragon of the east, Red Bird of the south, White Tiger of the west, Black Warrior of the north. Based on textual study, picture study and fieldwork, I would like to present my conclusions on how and why the role of the Four Gods changed gradually to modern days.
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    A turánizmus
    (1993) Farkas Mária Ildikó
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    A turánizmus
    (1993) Farkas Mária Ildikó
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    A Vej-dinasztia története. Feljegyzések a va népről
    (2022) Lázár Marianna; Keleti Nyelvek és Kultúrák Intézete; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
    Jelen munka egy rövid bevezető tanulmány után az első magyar nyelvű fordítását közli a Vej cse Vo-zsen csuan 魏志倭人傳 ( jap.: Gisi Vadzsinden 魏志倭人伝) néven közismertté vált krónikafejezetnek. E történelmi szöveg, mely a Szan kuo cse 三國志 (A Három Királyság története) krónika Vej-dinasztiáról szóló részében szerepel, kínai szemszögből tárgyalja az i. sz. 3. században élt ( jajoi-kori) japán nép (kül)politikai és társadalmi viszonyait, földrajzát és hagyományait. A történelemben először, kiemelten szó esik benne a máig vitatémának számító Jamatai államról és bemutatja Va királynőinek (Himikónak és Ijo/Tojonak) kapcsolatát a Vej udvarral. Történelmi és kulturális szempontból is igen jelentős műről beszélhetünk, mely elsősorban kutatóknak és leendő japanológus diákoknak lehet értékes forrás, de ugyanúgy érdekes lehet Japán (ős)története iránt érdeklődő olvasóknak is.
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    Ancient Chinese and Korean influences on Japanese Tomb Murals
    (2021) Lázár Marianna; Japanológia Tanszék; Kelet-Ázsia Intézet; KRE - Bölcsészet- és Társadalomtudományi Kar
    This paper will first introduce the basic burial customs of ancient Japan, then examine the cultural-historical factors that might have influenced the development of traditions of funerary art in the Kofun and Asuka period. The immigration of Korean monks, scholars and craftsmen to Japan during the Kofun and Asuka period transformed Japanese art. Analyzing the mural paintings of the Takamatsuzuka Tomb and Kitora Tomb, the author detects Chinese and Korean influences on Japanese funerary art. Many Korean influences during this time originated in China, but were adapted in Goguryeo or Baekje before reaching Japan. Moreover, imperial Japanese envoys who visited Sui and Tang China, came back to Japan with excellent artistic skills and introduced new artistic styles and themes of the Tang period. The frescoes of the Takamatsuzuka Tomb and Kitora Tomb are remarkable examples of how Japan greatly absorbed and modified the knowledge and philosophies of ancient Chinese culture.
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    Ancient Coins of Japan
    (2022) Lázár Marianna
    This paper aims to investigate the origins of ancient coins of Japan (until the 10th century CE), introduce the characteristics of their design and patterns, and examine their role in early Japanese culture and public administration, while briefly introducing the ancient Chinese coins that served as inspiration. Japan adopted numerous ancient Chinese cultural practices during the Asuka and Nara periods (538–794 CE). Especially from the second half of the 7th century to the 8th century CE, Japan introduced various social systems from the Tang dynasty in order to build a centralised government. Japanese nobles recognised the importance of metallic currency, leading to some silver and bronze coin production at the second half of the 7th century CE, including that of Mumon Ginsen and Fuhonsen coins. Scholars believe that they were modelled after ancient Chi nese coins. The mintage was regarded as an essential tool for the Japanese government to display the independence and the authority of the nation, both inside and outside the country. The system of the first official imperial currency (Kōchōsen) was introduced to Japan in the early 8th century CE and inspired by the Kāiyuán Tōngbǎo cash coins of the Tang dynasty. The oldest known offi cial Japanese imperial coinage is the Wadō Kaichin. In the second half of the 8th century CE, the national currency was reformed, and silver and gold cash coins were introduced. However, by the end of the 10th century CE, Japan subsequently suspended the mintage and circulation of coins.
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    Archaeology and Onmyōdō. Human-Shaped Ritual Objects Associated with Purification Rites and Curses
    (2025) Lázár Marianna
    This chapter examines human-shaped effigies (hitogata) and a unique type of ritual pottery characterized by human faces (jinmen bokusho doki) from ancient Japan in the context of Onmyōdō, a tradition of blending elements from Daoism, esoteric Buddhism, and Shintō. Hitogata were used in purification and exorcism rituals by ritualists, acting as symbolic surrogates to absorb and remove defilements, thus restoring harmony. Based on specific archaeological finds, historical records, classical literature, and secondary sources, the study explores their origin, characteristics, and function in both state and private rituals. Additionally, jinmen doki are examined for their role in roadside rituals and spirit pacification, connecting the living with the spiritual realm. The research investigates their iconography, distribution, and ritual use, reflecting continental cosmological beliefs and Onmyōdō practices. By exploring the similarities and differences between these objects, the paper demonstrates their significance in ancient ritual practices, many of which were conducted by onmyōji practitioners.
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