Kawaii Culture

The Samurai were warriors in Japan. They were around during pre modern Japan. As you know the samurai were warriors these warriors came around very early they were first in Japan as early as 8th century c.e.

The Japanese term geisha literally means “person of art” as they were known as entertainers from the 16th century. The Japanese view geisha as professional entertainers. They are also known as geigi or geiko. However, the majority of the world perceive them as white faced, red-lipped prostitutes that wear their hair in a bun. Geisha are much more than women with too much makeup, they are an important part of the traditional Japanese social life. Even today, they are the definition of beauty and grace. Geisha are not prostitutes reflected in their history, appearance, skills and role.

Every culture in the world has their own customs and ways they do things. All cultures have different ways of initiating people into their cultural groups. The people that are joined into a particular culture group have family that are in the group already. Although, there are cases where outsiders join into other cultural groups. A way that this occurs is by marriage. Every culture has their own ways of going about a wedding ceremony. This paper will focus on the marriage ceremony of the Maasai community of East Africa and then the Jewish community, a religious group scattered around the world with many located in America.

In this day and age, people tend to avoid being different. Fitting in with the status quo when it comes to physical attractiveness is considered the proper thing to do, yet in The Samurai’s Garden, the characters show their beauty in a unique way. Due to their circumstances, Sachi, a once beautiful member of a leper colony, Stephen, a young Chinese student diagnosed with tuberculosis and Matsu, a quiet man who chooses to live in near seclusion, are all regarded as outcasts. However, these challenges give them a chance to grow and mature into truly beautiful people, especially on the inside. Through unveiling Matsu and Sachi’s distinct personalities, Stephen discovers another dimension to beauty; through this, Tsukiyama conveys that the most

The word ukiyo stemmed from Buddhist origins meaning floating world. It was used to describe the impermanence of the human world, and the belief that all thing are short lived. During the Edo period (1600-1868) the word ukiyo changed, the fleeting nature of life was to be enjoyed to the fullest because of it ephemeral nature. The word became synonymous with the pleasure and theater districts of Edo that were constantly changing. Ukiyo-e literally translates floating world pictures. Woodblock prints are the most representative art form of ukiyo-e and the Edo period.

The National Museum of the American Indian (NMAI) opened in 1990. It represent American Indian cultures in South and North America over 12000 years of history. In 1989, Senator Daniel Inouye introduced (NMAI) to Congress, and it is established as human remains. In Washington Dc, it consists of collection, Mitsitam café, and theaters.

As a complete overview of the impact of women in Heian Japan could easily fill hundreds of pages, I have chosen for this paper to review the three most important areas of influence upon Japanese culture at the time: Fashion and Beauty; Letters, Poetry and Literature; Sex and Marriage. Each grouping intersects the others in such a way that it is impossible to talk about any of them, without touching upon the rest and all three have aspects that carried over even unto today, over 1200 years later, creating one of the most influential and impacting cultural shifts ever documented in

James Jacques Joseph Tissot (1836-1902) was among the first artists to purchase Japanese items and in large quantities throughout the 1860’s; one of his more prized possessions was his kimono. At least five of his paintings have Japanese subjects from this time period. While these works do not focus on adopting a Japanese form, they are heavily doused in Japanese content (Janis 1968, JSTOR). In La Japonaise au bain, 1864, a young woman with long

For over 250 years, Japan was under strict military dictatorship. However, between the 1670s through 1865 was the Tokugawa period or also known as the Edo period, where Japan found internal peace and economic growth (The Editors of Encyclopædia Britannica). Not only has Japan found stability in the Edo period, creativity flourished from the lower class of artisans and merchants through ukiyo-e printmaking. The term, ukiyo-e, is a combination of uki (floating), yo (world), and e (pictures) that originated as a Buddhist term to express impermanence of human life. Ukiyo-e was experimented and developed to become a popular art form that displayed familiar subjects, and illustrations that circulated in books. This paper examines the influence of

Japan during the earliest parts of its pre-modern history was a nation forged and made great by the end of a blade, from the earliest era dubbed; the Jōmon Period, that indicated the necessity of motes around individual villages, to the most famous period of Japanese history commonly referred to as feudal Japan wherein the Onin War and the Sengoku Jidai took place, each lasting generations. It is from this ceaseless unrest that the Japanese military culture began to take shape, cultivate, evolve and eventually consume every aspect of Japanese life including the design philosophy of some of its most beloved and treasured monuments.

geisha and a Japanese prostitute is the kimono that they wear (The History and Culture of

Ukiyo-e significantly influenced contemporary Japanese prints (kindai hanga). Such an impact can be directly observed when comparing the Nakamura Utaemon as Tonase contemporary print (1984) by Tsuruya Kokei with Toshusai Sharaku’s Segawa Tomisaburo as Yadorigi ukiyo-e (1794-1795). Both of these prints can be categorized as okubi-e, which are Japanese woodblock prints that feature up-close portraits of their subjects by concentrating on the face and upper torso. They also depict a famous kabuki actor as the character that he is well known for playing. Other than having a similar subject matter and an identical portrayal of it, the simple, plain background, bright colors, and sense of flatness generally found in ukiyo-e are employed in Kokei’s

They are the ritualization in Japanese culture, women’s implicit expression of love, women’s hierarchy in 18th Japan, and how the landscape of Japan influences the prosperity of Geisha culture.

Within the Japanese culture, one can find several cultural values that are instilled into society by the Japanese creation myth. The Japanese creation myth begins with a man, Izanagi, and a woman, Izanami, on a bridge with the task of creating the land of Japan. After this task was completed, the two walked in opposite directions on the newly formed land until they met in the middle. Once they met, the woman spoke first and then they procreated. The offspring was a failure and they asked the gods why their attempts were not successful. The gods told them that it was because the woman spoke first. The two walked around the land they created and met in the middle once again. This time the man spoke first and the procreation was successful. After several births, the woman gave birth to a fire-child and she was burnt so severely she passed on to the underworld. The man chased after her and when he found her decomposing body, he ran in terror. As he washed away his horrifying experience, several more children were born. One of these was the ancestor of the ruling family of Japan. Japan’s first ruler met a beautiful woman and asked for her hand in marriage. Her family granted the ruler the woman and her sister. The ruler refused the sister, even though she could grant their children immortality, because of her ugliness (Philippi). From this myth, the reader can gather that Japan values men over women, beauty, and obedience to authority.

In Japanese literature throughout history, there tends to be an idea of nature that is not nature as it really is, but is a projection of the subjective self. This is portrayed through the concept of Mappō. Mappō in Japanese Buddhism, is the age of the degeneration of the Buddha’s law, when only the teachings remained, the practices were no longer pursued, and enlightenment was a mere word. This is a concept that has substance, especially when combined with mujō, the idea of impermanence. Mujō became an idea because Buddha taught that because all things within our lives and our world are constantly changing, it’s important to remember that nothing is permanent. Kamo no Chōmei’s writing presents a variety of elements related to Mappō, which, through the concept of mujō, shows the impermanence of nature as well as humanity fading into the vastness of nothingness. Through the traditions of simplicity, isolation, and religion, specifically Buddhism and the Lotus Sutra, Hōjōki shows this disastrous fleeting through a calm, poetic, narrative voice. This paper will argue that themes of nature are connected to the idea of the subjective self, through impermanence, and studies how Chōmei’s worldview affects his perspective on nature and the natural world.