EAJS2021 next-generation workshop

EAJS2021 next-generation workshop

Nichibunken Overseas Symposium II (EAJS2021 next-generation workshop)

Thursday 26 August, 10:15 - 11:45 (Time zone: UTC+2)
Names of Speakers:

  1. Cheng Yongchao, Tohoku University
  2. Mick Deneckere, Gent University
  3. Kameyama Mitsuhiro, Tohoku University
  4. Chen Yijie, The Graduate University for Advanced Studies, SOKENDAI

Moderator: Gouranga Charan Pradhan, International Research Center for Japanese Studies
Discussant: GU Xueni, International Research Center for Japanese Studies

1. Cheng Yongchao (Tohoku University)
Diplomacy and Kingship : Trilateral Relationships among Japan, Korea, and China in the early 17th Century
This presentation discusses the process of interactions between new political forces in East Asia, followed by a re-examination from the perspective of trilateral relationships of the Chinese dynasties, the Korean kingship, Japanese court and samurai factions where all factions affected each other to a great extent at the dawn of their creation.

2. Mick Deneckere (Ghent University)
Choshu, Shin Buddhism and the Restoration of the Emperor
In this presentation I discuss how the intertwinement of strong pro-emperor sentiment in Chōshū—a domain with an important Shin Buddhist presence—and the historical link between the Shin sect and the imperial institution propelled Shin Buddhism into playing an important, yet underacknowledged role in the Meiji Restoration.

3. Kameyama Mitsuhiro (Tohoku University)
Modernity for the True Dharma: Sangha, King, and Buddhist Precepts
In this presentation, I will explore the discursive entanglements of the “true dharma” (shōbō 正法) with kingship in Meiji Japan (1868–1912), with a focus on the ideas and activities of a precept-upholding monk (jikaisō 持戒僧), Shaku Unshō 釈雲照 (1827–1909).

4. Chen Yijie (The Graduate University for Advanced Studies, SOKENDAI)
The Red Sun : National Idol in Japanese and Chinese Paintings during 1930s-1960s
This paper analyses the red sun motif in Chinese painter Fu Baoshi’s works during 1950s-60s, traces the origin back to ancient court paintings. There is no solid proof to show he learnt from the 1920s-30s Japanese paintings, but they do share many similarities. I presume they both inherited the traditional models to depict the national idol.