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Norinaga's most important works include the Kojiki-den (Commentaries on the Kojiki), made over a period of around 35 years, and his annotations on the Tale of Genji.Using the methods of kokugaku and kaozheng, Norinaga claimed that the Kojiki was the oldest surviving Japanese text.
The Kojiki: Japanese Records of Ancient Matters. Forgotten Books. ISBN 978-1-60506-938-8 "Génesis del mundo y aparición de los primeros dioses" [Genesis of the world and appearance of the first gods] (PDF) (in Spanish). Archived from the original (PDF) on 2007-11-10.
The list is sorted by Japanese reading (on'yomi in katakana, then kun'yomi in hiragana), in accordance with the ordering in the official Jōyō table. This list does not include characters that were present in older versions of the list but have since been removed ( 勺 , 銑 , 脹 , 錘 , 匁 ).
Nihon Koten Bungaku Daijiten: Kan'yakuban [A Comprehensive Dictionary of Classical Japanese Literature: Concise Edition]. Tōkyō: Iwanami Shoten. 1986. ISBN 4-00-080067-1. OCLC 22820487. Yamaguchi, Yoshinori; Kōnoshi Takamitsu (1997). Shinhen Nihon Koten Bungaku Zenshū 1: Kojiki (in Japanese). Shōgakkan. ISBN 4-09-658001-5
[9] [145] [146] Written in ancient Japanese style using Chinese ideographs, it presents the mythological origin of Japan and historical events up to the year 628. [ 145 ] [ 146 ] Shortly after the completion of the Kojiki , the Nihon Shoki (or Nihongi ) appeared in 720, probably originating to an order by Emperor Tenmu in 681.
Hoori's legend is told in both the Kojiki and the Nihon Shoki. Hoori was a hunter, and he had an argument with his brother Hoderi, a fisherman, over a fish-hook that Hoori had forced his elder brother to lend him and had lost. Hoderi claimed that Hoori should give back the fish-hook, for he refused to accept another one (due to the belief that ...
Tomoe (巴, also written 鞆絵), [a] commonly translated as "comma", [2] [3] is a comma-like swirl symbol used in Japanese mon (roughly equivalent to a heraldic badge or charge in European heraldry). It closely resembles the usual form of a magatama. The tomoe appears in many designs with various uses.
The style of the work is based on the biographical portraits of Chinese artists such as Shangguan Zhou (上官周). In the creation of the sketches, Yōsai also borrowed from the patterns of the Shūko Jisshu ( 集古十種 ) and emulated respected artists of the past, such as Ariwara no Narihira and Ono no Michikaze .