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Neil Gordon Munro argued that the basis for the mitsudomoe pattern, a motif found also among the Ainu, was the eastern European and western Asian figure of the triskelion, which he believed lay behind the Chinese three-legged crow design, and, in his view, its reflex in the mythical Japanese crow, the Yatagarasu (八咫烏).
The mon of the Toyotomi Clan, now used as the emblem of the Japanese Government; originally an emblem of the imperial family—a stylized paulownia.. Mon (紋), also called monshō (紋章), mondokoro (紋所), and kamon (家紋), are Japanese emblems used to decorate and identify an individual, a family, or (more recently) an institution, municipality or business entity.
Wakaba mark Shoshinsha mark displayed on a Suzuki Alto Lapin. The shoshinsha mark (初心者マーク) or Wakaba mark (若葉マーク), officially Beginner Drivers' Sign (初心運転者標識, Shoshin Untensha Hyōshiki), is a green and yellow V-shaped symbol that beginner drivers in Japan must display at the designated places at the front and the rear of their cars for one year after they ...
Naval Ensign of Japan: Flag of the Japan Self-Defense Forces and the Japan Ground Self-Defense Force: Japan Self-Defense Forces Naval Ensign of Japan: National personification: Amaterasu [citation needed] Amaterasu: National founder: Emperor Jimmu (神武天皇 Jinmu-tennō) Emperor Jimmu: National dish: Sushi, Japanese curry, ramen: Sushi, [3 ...
Ensō (c. 2000) by Kanjuro Shibata XX.Some artists draw ensō with an opening in the circle, while others close the circle.. In Zen art, an ensō (円 相, "circular form") [1] is a circle hand-drawn in one or two uninhibited brushstrokes to express the Zen mind, which is associated with enlightenment, emptiness, freedom, and the state of no-mind.
The successor to The Mikado as Europe's most popular Japan drama, Sidney Jones' opera The Geisha (1896) added the title character to the stock characters representing Japan, the figure of the geisha belongs to the "objects" which in and of themselves meant Japan in Germany and throughout the West. The period from 1904 to 1918 saw a European ...
The collection shows that Meizan used Chinese as well as Japanese motifs in his decoration, drawing from sources including Buddhist imagery and the prints of Hiroshige. [53] His designs became more intricate, sometimes using a thousand motifs in a single art work; towards the end of his career, however, he took a different approach, covering ...
However, there was a movement to revive the practice as a symbol of female empowerment and of their Ryukyuan cultural heritage. [4] Some people, concerned about the professional ramifications of permanent tattoos on their hands, turned to temporary Hajichi made using fruit-based inks.