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The writing of a poem at the time of one's death and reflecting on the nature of death in an impermanent, transitory world is unique to East Asian culture. It has close ties with Buddhism, and particularly the mystical Zen Buddhism (of Japan), Chan Buddhism (of China), Seon Buddhism (of Korea), and Thiền Buddhism (of Vietnam).
A replica of a Man'yōshū poem No. 8, by Nukata no Ōkimi. The Man'yōshū (万葉集, pronounced [maɰ̃joꜜːɕɯː]; literally "Collection of Ten Thousand Leaves") [a] [1] is the oldest extant collection of Japanese waka (poetry in Old Japanese or Classical Japanese), [b] compiled sometime after AD 759 during the Nara period.
Hara-kiri is a Japanese reading or Kun-yomi of the characters; as it became customary to prefer Chinese readings in official announcements, only the term seppuku was ever used in writing. So hara-kiri is a spoken term, but only to commoners and seppuku a written term, but spoken amongst higher classes for the same act.
Even though the kijin and onryō of Japanese Buddhist faith have taken humans' lives, there is the opinion that there is no "death god" that merely leads people into the world of the dead. [6] In Postwar Japan, however, the Western notion of a death god entered Japan, and shinigami started to become mentioned as an existence with a human nature ...
Much of his work deals with the relation between Japanese culture and Western culture. His early works in particular are influenced by his studies in London; his novel Kairo-kō was the earliest and only major prose treatment of the Arthurian legend in Japanese. [18] He began writing one novel a year before his death from a stomach ulcer in 1916.
It was written as a personal apology to Keiko, regarding her death. [1] The story was first published in Japan in Ōru Yomimono (オール読物, "All for Reading"), a monthly literature magazine published by Bungeishunjū, in October 1967.
The death of a noble lady and the decay of her body is a series of kusōzu paintings in watercolor, produced in Japan around the 18th century. The subject of the paintings is thought to be Ono no Komachi. [18] There are nine paintings, including a pre-death portrait, and a final painting of a memorial structure: [18] [19]
During the time from 1912 to 1916 saw a shift in his writing work from fictions to historical stories, influenced by the shocking news of Nogi Maresukea’s death, a general of the Imperial Japanese Army. In this event, Ōgai saw a revival of pre-modern ritual in the world where the individualism was gradually stemming.