Browse
Recent Submissions
- ItemOpen AccessÓkori és kora-középkori japán pénztörténet(2022) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi KarA tanulmány a 10. századig terjedő japán ókori és kora középkori érmék eredetét, mintázatait és kulturális-gazdasági szerepét vizsgálja, valamint bemutatja a kínai pénzek hatását a kialakításukra. A 7–8. században Japán a Tang-dinasztia mintájára számos kínai kultúrelemet és tudásanyagot átvett, és saját érméket, például a Mumon Ginzen és Fuhonszen típusokat kezdte önteni. Ezek a korai érmék inkább a központi hatalom és császári legitimáció jelképei voltak. Később megjelent az első „hivatalos”, kereskedelmi forgalomba került Vadó Kaicsin érme is.
- ItemRestrictedAz ókori kínai Négy Égtájőr-kultusz motívumainak koreai és japán integrációja(2022) Lázár Marianna; Kelet-Ázsia Intézet; Japanológia Tanszék; KRE - Bölcsészet- és Társadalomtudományi Kar
- ItemOpen AccessAncient Chinese and Korean influences on Japanese Tomb Murals(2021) Lázár Marianna; Japanológia Tanszék; Kelet-Ázsia Intézet; KRE - Bölcsészet- és Társadalomtudományi KarThis 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.
- ItemOpen AccessArchaeology and Onmyōdō. Human-Shaped Ritual Objects Associated with Purification Rites and Curses(2025) Lázár MariannaThis 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.
- ItemOpen AccessA 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 KarThis 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.